Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/241

 *ence, Borghese Gallery, Rome, and Liechtenstein Gallery, Vienna.—Engerth, Belved. Gal., ii. 264; Förster, Denkmale, iii. 25; xi. 17; Kugler (Crowe), i. 224; Kunst-Chronik, x. 74; xix. 112; xxi. 365; W. & W., ii. 494; Zeitschr. f. b. K., xviii. 30, 46, 61; xxi. 83, 145.

MASTER OF FRANKFORT, flourished between 1500 and 1520. German school; his works have been erroneously attributed to Konrad Fyol. Works: Adoration of Magi, Antwerp Museum; Crucifixion, Städel Gallery, Frankfort; Holy Family, Frankfort Museum; Triptych with Madonna and St. Ann, Berlin Museum.—Meyer, Museen, 273; W. & W., ii. 499.

MASTER OF LIESBORN, flourished about middle of 15th century. German school; he is known only through a great altarpiece, painted about 1465 and representing the life and passion of Christ; formerly at the Abbey of Liesborn, near Münster. In the two fragments now at the National Gallery, London, the heads are peaceful in expression and devout in feeling. The colouring is clear and agreeable, but as regards truth to nature these pictures are very inferior to those of contemporary Netherlandish painters. Works: Half-length Figures of Six Saints, Annunciation, Presentation, National Gallery, London.—Förster, Denkmale, i. 5; Kugler (Crowe), i. 133; Lübke, Kunst in Westfalen, 345; Schnaase, viii. 362; W. & W., ii. 98.

MASTER OF LYVERSBERG PASSION, second half of 15th century. German school; this artist, named after his masterpiece once in possession of Mr. Lyversberg, of Cologne, whose works were formerly attributed to the engraver Israel van Meckenen, was the first to bring into prominence the graft of Flemish realism upon the idealism of the old school of Cologne. Works: Eight Scenes from Life of Mary, Twelve Apostles, Three do. (2), Old Pinakothek, Munich; Five Scenes in Life of Mary, Germanic Museum, Nuremberg; Lyversberg Passion, Cologne Museum; Madonna with Saints, Berlin Museum.—Kugler (Crowe), i. 131; do., kl. Schriften, ii. 302; Schnaase, viii. 355; W. & W., ii. 95.

MASTER OF SIGMARINGEN, first half of 16th century. German school; contemporary of Martin Schaffner, and much his inferior. Works: Altarpiece with Scenes from Life of Mary, Hohenzollern Museum, Sigmaringen; other works in Carlsruhe and Stuttgart.—W. & W., ii. 454.

MASTER OF THOMAS ALTAR, flourished in Cologne, end of 15th and beginning of 16th century. German school; though influenced by the contemporaneous art of Upper Germany, this master, formerly identified with Lucas van Leyden, and later with Christoph, an earlier painter at Cologne, was an artist of strong individuality. Despite the meagre forms and awkward motions of his mannered figures, they are not devoid of a certain grace and expression. Works: Bartholomew Altar, Old Pinakothek, Munich; Thomas Altar (1501), Crucifixion, Cologne Museum; Two Altar Wings with Saints, Mentz Gallery; do., National Gallery, London; Descent from the Cross, Louvre (attributed to Quinten Massys, and formerly to Lucas van Leyden).—Förster, Denkmale, XII. iii. 1; Kugler (Crowe), i. 227; Rep. f. K., vii. 1; W. & W., ii. 488; Zeitschr. f. bild. Kunst, xvi. 83.

MASURE, JULES, born at Braine (Aisne); contemporary. Marine painter, pupil of Corot. Medals: 1866; 2d class, 1881. Works: Environs of Antibes; Sea at Fréjus (1866); Bay of San Raphael; Cape of Antibes, Gulf of Juan (1868); Sunset at Granville, Solitude among Rocks at Granville (1874); Morning at Antibes, Gust of Wind at Granville (1879); Environs of Nice, Cliff in Normandy (1880); November Morning at Granville, Low Tide (1881); Fishing Boats at Granville, The Undertows (1882); Evening, Rough Sea (1883); Autumn Afternoon (1884).—Du Camp, Beaux Arts, 231; Meyer, Gesch., 753.