Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/316

 *ron's "Corsair"); Greek Corsairs on Sea-*shore; Madonna with Seraphs, Royal Chapel, Castiglione; Neophyte in the Catacombs; Cæsar Borgia at Siege of Capua; The Iconoclasts; Episode during Sicilian Vespers; Queen Ginevra; Page and Lady; Christ Embalmed; Christ Derided; Loves of the Angels; Assumption, Royal Chapel, Naples; Sailing of Fugitives from Aquileja; Tasso reading to Eleonora d'Este; Morning in Florence; Evening in Venice; Christ walking on the Waters; Mater Dolorosa; Madonna Consolatrix; Temptation of St. Anthony; Assumption; Christian Martyrs; Pompeian Bath (1867); Odalisque after Bath; Love of Angels; Daughter of Jairus; Prayer in Desert; Mary's Walk to Golgotha; Singing Monk; Glad Tidings of Christ (1884).—Art Journal (1880), 262; (1885), 345, 357; Gaz. des B. Arts (1867), xxiii. 224; Illustr. Zeitg. (1881), i. 291, 296; Müller, 377.

MORENO-CARBONERO, Don JOSÉ, born in Malaga; contemporary. Medals: Madrid, 3d class, 1875; 2d class, 1878, 1881; 1st class, 1884. Works: Doña Juana la Loca; Don Carlos de Viana (1881); Gladiators in the Arena (1883); Conversion of Duke of Candia (1884).—La Ilustracion (1882), i. 83; (1884), i. 382; ii. 153; Zeitschr. f. b. K., xvii. 281.

MORERA, Don JAIME; contemporary. Landscape painter. Works: Ruins of Pæstum (1880); Laguna de Abcoude (1881); Road in Brittany (1884).—La Ilustracion (1880), i. 291; (1881), i. 59, 382; (1884), i. 337; Illustr. Zeitg. (1881), i. 30.

MORETTO, IL, born at Brescia about 1498, died there in 1555. Venetian school; real name Alessandro Bonvicino, but commonly called Moretto or Moretto da Brescia. Said to have been a pupil of Titian's, but probably only a diligent student of his works, as his earlier creations show a dependence on his master Fioravante Ferramola and Romanino. Later he made a very successful approach to the highest performances of the Venetian school; and still later his colour foreshadowed the coming of Paolo Veronese. He aided Ferramola in 1518 in painting an organ screen for the old cathedral, Brescia, and Romanino in 1521 in the decorations in S. Giovanni Evangelista, Brescia. In later years he painted much for this church, one of his best efforts being the Massacre of the Innocents, a canvas tempera. Many other churches in Brescia possess one or more of his pictures, the more noteworthy of them being the Coronation of the Virgin and the Christ in Glory in S. Nazzaro e Celso, the Virgin and Child in S. Clemente, the Majesty of St. Margaret in S. Francesco, the Virgin and St. Nicholas in S. Maria de' Miracoli, and the Glory of St. Anthony in S. M. delle Grazie. His Supper at Emmaus is in the Tosi Collection. In 1544 he painted his celebrated Feast in the House of Simon, in S. M. della Pietà, Venice, the model of the style elaborated by Paolo Veronese. The Marriage at Cana in S. Fermo, Lonigo, is of about the same date. Other important works by Moretto are: The Death of Adonis, Uffizi, Florence; Death of Peter Martyr, Ambrosiana, Milan; Virgin in Glory, SS. Clara and Catherine, St. Jerome and an Apostle, and Assumption, Brera, Milan; Faith, Judith and Holofernes, Allegory of Faith, Hermitage, St. Petersburg; Madonna (ascribed to Giorgione), Leuchtenberg Gallery, ib.; Adoration of the Shepherds, Madonna in Glory (1541), Berlin Museum; The Virgin, Dresden Museum; Madonna, Four Roman Fathers at the Church, Städel Gallery, Frankfort; St. Justina, Vienna Museum; SS. Bernardino and Louis, and SS. Bonaventura and Anthony of Padua, Louvre; Portrait of a Nobleman (1526), St. Bernardino of Siena, National Gallery, London.—C. & C., N. Italy, ii. 396; Ch. Blanc, École