Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/240

 *lery, ib.; Young Girl caressing Old Man, Cassel Gallery; Advocate and Clients, Dresden Museum; The Virgin nursing the Child (?), Portrait of Jehan Carondelet, Old Pinakothek, Munich; Death of Lucretia, St. Jerome, Portrait of a Goldsmith, Vienna Museum; The Virgin appearing to David and his Prophets, Hermitage, St. Petersburg; Ecce Homo, Ducal Palace, Venice; St. Jerome, Portraits of himself and his Wife (1520), Uffizi, Florence; Christ with Mary and St. John, Madrid Museum; Bust Figures of Christ and the Virgin, National Gallery, London; Portrait of Petrus Egidius, Longford Castle; Triptych, Historical Society, New York. His younger son and pupil, Cornelis (born at Antwerp about 1512, master of the guild in 1531, and still living in 1580), was a figure and landscape painter, by whom is a Village Street Scene (1543) in the Berlin Museum.—Allgem. d. Biogr., xxi. 521; Art Journal (1880), 145, 177; Ch. Blanc, École flamande; Cat. du Mus. d'Anvers (1874), 239; Dohme, 1i.; Eugerth, Belved. Gal., ii. 259; Fétis, Cat. du Mus. roy., 138; Förster, Denkmale, vii. 7; do., Gesch., ii. 131; Gaz. des B. Arts (1861), xi. 31; xii. 154; Immerzeel, ii. 215; Kramm, iv. 1074; Kugler (Crowe), i. 114; Mag. of Art (1886), ix. 414; Michiels, iv. 287; Repert. f. K., vi. 405; Riegel, Beiträge, i. 4; Rooses (Reber), 34; Van den Branden, 40, 122, 145, 234, 650; Van Even, Ancienne École de Louvain; Vlaamsche school (1855), 56, 69; Wauters, Peinture flamande, 100; W. & W., ii. 509; Zeitschr. f. b. K., xxi. 94.

MASTER OF ALTAR OF HOLY KITH-AND-KIN. German school, in which, during the early part of the 16th century, were represented partly the idealism of the old school of Cologne combined with the more modern tendency to truth and individuality, partly an independent and ingenious adaptation of Upper-German influences, and chiefly a close leaning to the contemporaneous art of the Netherlands. This master is the brilliant representative of the first-*named tendency. Works attributed to this painter: Altar der heiligen Sippe, Cologne Museum; SS. Columba, Ursula, and Agnes, Germanic Museum, Nuremberg; works in the Museums of Berlin and Munich.—W. & W., ii. 97, 488.

MASTER OF THE APE. See Cleef, Marten van.

MASTER OF BARTHOLOMEW ALTAR. See Master of Thomas Altar.

MASTER OF CAPPENBERG, 16th century, German school; his style is closely related to that of the brothers Dünwegge. Works: Crucifixion, Parish Church, Copenhagen; Holy Family, Münster Museum.—W. & W., ii. 502; Zeitschr. f. b. K., xviii. 60.

MASTER OF DEATH OF THE VIRGIN, flourished in Cologne first half of 16th century, died there, 1556. German school; painter of many altarpieces and portraits, identified by some writers with Jan Joest, though possibly his pupil, as he worked long after the death of that master, whose style is traceable in his early pictures. His later works resemble those of Quinten Massys and Mabuse so closely that they pass in several collections under those two masters' names, while many of his portraits have been ascribed to Holbein. Of late, attempts have been made to identify this master with Jan Scorel, which seem to have much in their favor, but have called forth a lively controversy by opponents. Works: Death of Virgin, Cologne Museum (1515); do., SS. George and Nicasius, St. Christina, Christ on the Cross, Repose in Egypt, Old Pinakothek, Munich; Scenes from Life of Christ (1516), St. Mary's Church, Dantzic; Adoration of Magi, Berlin Museum; do., Dresden Gallery; do. (?), Hohenzollern Museum, Sigmaringen; Altarpiece with Madonna and Angel, Madonna (2), Vienna Museum; Bewailing Christ, Louvre; Adoration of Magi, San Donato, Genoa; do., and Crucifixion, Naples Museum; Madonna, Hermitage, St. Petersburg; Portraits in Cassel Gallery (1525), Cologne and Nuremberg (3) Museums, Uffizi (1520) and Corsini Gallery, Flor