- ard, England; Legend of Count of Toulouse,
Scawby, Lincolnshire; Four Marys returning from Tomb of Christ, Righteous Judges, Antwerp Museum. After 1512 his style changed, and he painted mythological and allegorical subjects and introduced nude figures into his pictures. In his second manner are: Neptune and Amphitrite (1516), Madonna (2), Girl weighing Gold Pieces, Berlin Museum; Madonna (1527), Danaë (1527), Old Pinakothek, Munich; Ecce Homo, Antwerp Museum; Children of Christian II., Adam and Eve, Hampton Court (replica in Berlin Museum); Jesus at Simon the Pharisee's, Brussels Museum; Adoration of Magi, Dresden Gallery; St. Luke painting the Virgin, Prague Cathedral; Portrait of Jean Carondelet (1517), Madonna (1517), Louvre; Madonna, Madrid Museum; Christ in the Prætorium (1527), Madonna (2), Historical Society, New York. Other works in public galleries: Madonna, Portrait of Margaret of Austria, Young Lady's Portrait, Antwerp Museum; Ecce Homo, Ghent Museum; Altarpiece with Trinity, Prophets, Saints, etc., Cassel Gallery; Madonna, Fürstenberg Gallery, Donaueschingen; Portrait of Mother and Child (Marchioness van Vere?), Dresden Gallery; Adoration of the Magi, Königsberg Museum; Madonna in Landscape with Flight into Egypt, Germanic Museum, Nuremberg; Madonna at a Window, Oldenburg Gallery; Madonna, St. Luke painting the Virgin, Circumcision, Vienna Museum; Madonna, Wiesbaden Gallery; do. (2), Bergamo Gallery; Male Portraits (2), National Gallery, London.—Allgem. d. Biogr., ix. 404; Biog. nat. de Belgique, viii. 124; Ch. Blanc, École flamande; Engerth, Belved. Gal., ii. 251; Fétis, Cat. du Mus. roy., 119; Gaz. des B. Arts (1861), xi. 34; Immerzeel, ii. 193; Kramm, iv. 1034; Kugler (Crowe), i. 118, 232; Kunst-Chronik, xx. 485; Law, Hist. Cat. Hampton Court, 137, 198; Michiels, iv. 425; v. 7, 466; Riegel, Beiträge, i. 5; Rooses (Reber), 63; Scharf, Archæologia, xxxix. 245; Van den Branden, 95; Woltmann, Aus vier Jahrhund, 28; W. & W., ii. 517; Zeitschr. f. b. K., xix. 304.
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MACALLUM, HAMILTON, born in Argyllshire in 1843. Marine and genre painter, pupil of Royal Academy, London. Subjects mostly drawn from the Highlands of Scotland and the north coast. Works in oil: Bracken Boat (1870); Slack the Main-*sheet (1873); Saithe Fishing in the Kyles of Bute (1874); Eight Bells, Setting the Storm Jib (1875); Shearing Wraick on the Sound of Harris (1876); Caught by the Tide, Beetling (1877); Waiting for the Ebb, Shrimping (1878); Nutting, Water Frolic, Rocked in the Cradle of the Deep (1880); Prawning (1881); Music o'er the Waters (1882); Fledglings (1885); Kiss from the Sea (1886). Works in water-colour: Cutting Peats (1872); Catching Sprats (1875); Burning Kelp (1876); Yo! Heave Yo! (1877).—Art Journal (1880), 149.
MACBETH, BANQUET SCENE IN,
Daniel Maclise, Frederick W. Cosens, Esq.
A vaulted hall with tables spread with barbaric
splendour; the guests, nearly seventy,
startled at the apparition of Banquo, whose
figure is indicated in shadow on a chair in
foreground; near it, Macbeth, seated, starts
back in terror, while his wife, standing, tries
to calm the guests with an affectation of
bold assurance. Painted in 1840 for Earl
of Chesterfield, from whom passed to present
owner. Small replica, T. Williams, St.
John's Wood. Engraved by C. W. Sharpe.—Art
Journal (1879), 36.
MACBETH AND THE WITCHES, Sir
Joshua Reynolds, Lord Leconfield, Petworth
House. The witches dancing around the
cauldron, as Macbeth approaches.—Waagen,
Treasures, iii. 37.
MACBETH, NORMAN, born at Port Glasgow,
Scotland; contemporary. Portrait and
figure painter in Glasgow many years. Went
to Edinburgh in 1860; elected R.S.A. in
1880. Exhibits frequently at the Royal
