"The flesh is dim, opaque, and brownish, with sharp, dark shadows."

(C. & C.)

"The painter has given a distinctive and individual character to all the heads, among which that of St. Gregory is the best." (Eastlake.)

588. Mantegna (Andrea). *St. George. (For account of St. George, see under Carpaccio's pictures in San Giorgio degli Schiavoni.) This beautiful little picture is highly praised by all critics. The details are minutely and carefully finished, and the figure of the Saint in perfect proportion. At his feet lies the dragon, and behind is a landscape with a winding road leading to a walled town. It was formerly in the Manfrini Gallery. On wood: 2 ft. in. by I ft. in. “A small and exquisitely painted half-length figure." (Morelli.) "A masterpiece of his Mantuan time The shadows here are thin enough to show the underground, yet the colour has the lustre of enamel." (C. & C.)

"St. George's features are well modelled, but are singularly devoid of expression. The details of the armour are exquisitely painted, and finished with almost microscopic accuracy.

This is a small but characteristic work, well worthy of minute examination." (Eastlake.)

"Examine it with a magnifying glass of considerable power. For in that you have a perfect type of the Italian methods of execution corresponding to the finish of the Dutch painters in the North; but far more intellectual and skilful. You cannot see more wonderful work, in minute drawing with the point of the brush. It is to be regarded, however, only as a piece of workmanship. It is wholly without sentiment. (Ruskin, "Guide," etc., i. p. 13.) 307. Marconi (Rocco). The Redeemer. Canvas: 3 ft. 2 in. by 2 ft. 6 in.

334. The Woman taken in Adultery. This is probably one of the three paintings of the same subject which Marconi executed, though some consider it a copy. The best of the three was in the Giovanelli Palace. Compare it with Tintoretto's representation of the same subject. Canvas: 3 ft. 11 in. by 3 ft. 9 in.

"Overfilled with figures, and weak in expression." (Kugler.) "Most of the heads are coarsely painted, with forced shadows and flesh tones, varying from a warm brown complexion to sickly pallor.' (Eastlake.)

66

Imagination malheureuse de Giorgione et un amas de figures entassées sans goût." (Rio.)

166. * Descent from the Cross. The Virgin is at the foot of the Cross, the Magdalene on the right, and St. Joseph of Arimathea on the left, SS. Benedict and Monica. This is

an exceptionally good picture of this painter, and his best in Venice. The landscape background is very fine. There are only a few other works in Venice by this little-known artist. Formerly in the Church of the Servi. Canvas: 14 ft. 6 in. by 10 ft. 2 in.

66

"A powerful work in which the breadth of the treatment, both in the landscape and figures, is quite in the spirit of the new century.” (Woltmann & Woermann, ii. p. 611.)

66

In spite of the somewhat modern prettiness of the Madonna's face and the affected attitude of the Magdalene, this is an impressive and decidedly pathetic picture. The Saviour's form is admirably painted; the features refined, and even dignified in death. Richness of female costume in such a scene as this may be offensive to modern taste, but it is impossible to help admiring the exquisite design of the embroidery on the Magdalene's dress." (Eastlake.)

"Il règne dans les figures une naïveté et un sentiment exquis, le coloris et le dessin sont d'une grande finesse. La figure blonde agenouillée devant le Christ est admirable." (Lecomte, "Venise," P. 413.)

"Où il est vraiment d'une habilété notable c'est dans le maniement du pinceau et dans le ménagement des couleurs. Ce n'est pas que son dessin manque de fermété et de correction, mais il présente un singulier mélange des vieilles habitudes avec les innovations que Giorgione avait introduites dans l'art de peindre. Ainsi Rocco arrête son contour et donne de la rondeur aux milieux." (Chas. Blanc, "Ecole Venitienne," appendice 18.)

317. The Saviour with SS. Peter and Andrew. In the centre, Christ in benediction; on the right, Andrew with his cross, and left, St. Peter. This picture is conventional in arrangement, and is only valuable for its colouring. It was restored in 1826. It recalls a work of the same subject now in the Luxemburg. Formerly in the Sacristy of Santa Maria Nuova. Canvas: 6 ft. 1 in. by 4 ft. 11⁄2 in.

"The rich and judiciously gradated colour of this work atones to some extent for the skill-less execution and clumsy arrangement of the draperies, which are surcharged with dark and heavy shadows." (Eastlake.)

"Les têtes ont beaucoup de caractère et de noblesse, les draperies sont plissées dans un grand goût, et le groupe fermement coloré, se détache sur un petit ciel floconné de nuages montonneux. (Gautier, p. 218.)

Maratta (Carlo) school of. Roman; 1625-1713.

The Repose in Egypt. Canvas: I ft 8 in. by 1 ft. 6 in. Marescalco. See Buonconsigli.

Marieschi (Jacopo). Venetian; 1711-1794.

45I. An Interior. Presented by Molin. Canvas: 1 ft. 9 in. by 1 ft. 10 in.

Martino da Udine. See Pellegrino.

76. Marziale (Marco). * The Supper at Emmaus. This supper only requiring three figures (Cleophas and the unnamed apostle, probably St. Luke), was often substituted for the "Last Supper," when lack of space prevented the latter being depicted. In the Venetian School it was represented, like other subjects of the kind, with magnificence, but without religious feeling. This picture is painted something in the manner of Carpaccio, and the colour resembles Bellini's. Its chief interest lies in the costumes, which are very picturesque and carefully painted. Dated 1506. On wood: 3 ft. 10 in. by 4 ft. 8 in.

"The pilgrims on the extreme left are quite German, and recall to our mind certain creations of Cranach." (C. & C.)

"The head of Christ is hard-featured and expressionless, but his two companions-one old, and the other a man of middle age, are full of character and impulsive action." (Woltmann & Woermann.)

Meldolla. See Schiavone.

Melone (Altobello). See under Boccaccino.

189. Memling (Hans). Copy of. The Crucifixion. Mary Magdalene kneels at the foot of the Cross. On one side, St. John Evangelist sustains the fainting Virgin, on the other stands a saint clad in scarlet. In front is an ecclesiastic kneeling, while another stands behind him. On the extreme right and left are two figures likewise kneeling, probably the donors. It was formerly attributed to Cornelius Engelbrechtsen. The original of this picture is in the Museo Civico at Vicenza. Presented by Molin. Canvas: 2 ft. 10 in. by 3 ft. 8 in.

"It is an interesting example of early Flemish Art." (Eastlake.)

536. Mera (Pietro). Flemish; fl. 1603. The Supper at Emmaus. (For explanation of the subject see under Marziale,) Formerly in the Monastery of Santa Giustiana, Padua. On wood: 1 ft. 9 in. by 2 ft. 3 in.

Messina (Antonello da) See Antonello.

Meyer (Felice). German; 1653-1713. A Landscape; Moses striking the Rock. Formerly in the Duges' Palace. Canvas: 4 ft. 7 in. by 5 ft. 1 in.

- Landscape; Joshua staying the Sun. Formerly in the Doges' Palace. Canvas: 5 ft. 10 in. by 4 ft. 9 in.

195. Metsu. A Woman sleeping. Presented by Molin. Panel

10 in. by 1 ft. 6 in.

373. The Betrayal of Christ.

Panel

2 ft. 10 in. by 2 ft.

Presented by Molin.

Michiele di Matteo. See Lambertini.

Michiele (Andrea). See Vicentino.

376. Mierevelt (Michael Jansze). Dutch; 1567-1641. Portrait of Prince Frederic Henry of Orange, Nassau, son of William the Silent, by his fourth wife, Louisa de Coligny. Born in 1584, this prince was Stadtholder of the Republic in her best days; he died in 1647. Acquired from Parisi. Canvas: 4 ft. in. by 3 ft. 7in.

Módena (Tommaso da). See under Unknown.

63. Mola (Pietro Francesco). Eclectic; Bologna; 16121668. A sacrifice to Diana, Presented by Molin. Panel: I ft. 1 in. by 1 ft.

194. Molyn (Peter), the Elder. Dutch; c. 1600-1661. Skaters. Dated 1656. Presented by Molin. Panel: 10 in.

by I ft. 6 in.

372. Molyn (Peter) the Younger, called Il Tempesta. Dutch; 1632-1701. Christ with his Disciples on the Mount of Olives. Formerly in the Convent of San Giorgio Maggiore. Canvas: 4 ft. 6 in. by 3 ft. 7 in.

353. Momper (Jodocus or Joos de). Flemish; 1564-1634 (?) Landscape with Hills, a Castle and a Wood. Acquired from Parisi. Canvas: 2ft. in. by 2 ft. 5 in.

352. Landscape with Hills and Castles. Acquired from Parisi. Canvas same size as above.

80. Montagna (Bartolommeo). Madonna enthroned between SS. Jerome and Sebastian. This picture shows several traces of the old methods and usages, especially several details picked out in gold, although when it was painted that custom had entirely gone out. The drawing is particularly bad in St. Sebastian. The Virgin's dress is injured, and the signature is retouched. Formerly in the Church of San Rocco, Vicenza. On wood: 3 ft. 9 in. by 5 ft. 4 in.

"Correct anatomy, carefully modelled draperies, forcible chiaroscuro, and a conscientious rendering of details, give dignity rather than soul to this composition." (Eastlake.)

78. Christ between SS. Roch and Sebastian. This is probably a votive picture, invoking the aid of these saints

against the plague. Originally in the same church as the above. On wood: 6 ft. by 4 ft. 1 in.

"The nude figures in this group are admirably modelled, and distinguished by the rich warm flesh tones which are characteristic of Montagna's work." (Eastlake.)

520. Montemezzano (Francesco). Veronese-Venetian ; c. 1560-1600. Venus crowned by Cupids. Presented by Molin. Canvas: 3 ft. 6 in. by 3 ft. 1 in.

11. Moranzone (Jacopo). Venetian; c. 1441. Altar-piece in five compartments. Centre, Assumption of the Virgin; on the left, St. John the Baptist and St. Helen; on the right, St. Benedict and St. Elizabeth.

"Moranzone painted numerous pictures in Venice, and many other cities of Lombardy, but as he pursued the old manner, and made all his figures standing on the points of their feet, I will say nothing more of him, except that there is a picture with numerous saints in it, by his hand, on the Altar of the Assumption in the Church of Sant' Elena." (Vasari, ii.)

It was formerly in Sant' Elena, in Isola. Panel: 4 ft. 5 in. by 6 ft. 3 in.

471. Moretti (Giuseppe). Bolognese ; 1659-1738. Architecture. Canvas: 4 ft. 3 in. by 1 ft. 10 in.

331. Moretto da Brescia (Alessandro Bonvicino). *St. Peter. An early careful picture, beautiful in expression. Together with its companion piece, was formerly in the Manfrini Palace, at Venice. Each on wood : 3 ft. 11 in. by I ft. 8 in.

"His head is finely conceived with a careful respect for traditional types." (Eastlake.)

"There are certain elements of excellence in this work, but it is, on the whole, unsatisfactory. The Baptist's features are finely modelled, but the expression which they wear is stern rather than impressive." (Eastlake.)

Moro (Battista d' Angelo del). Venetian; f. 16th. cent. Officers enlisting Marines for the service of the State, under the patronage of St. Mark. Formerly in the Magistrato dell' Armar, Doges' Palace. Canvas: 16 ft. 23 in. by 5 ft. in.

198. Portrait of a lady. remind one of Tintoretto.

Certain technical qualities