Joseph; in front, the three Kings (one a negro in a turban) with attendants; in foreground, at left, a horse and a dog; in background, a camel's head and a horse's head. The man in armour is Veronese himself.—Gal. de Vienne, i. Pl. 43.
By Leonardo da Vinci, Uffizi, Florence; wood, 7 ft. 9 in. sq. The Madonna, seated in foreground, with Jesus in her arms, and the Magi and their attendants grouped around; more than 30 figures. Painted (1480-83) in brown; unfinished. Probably the picture for which Leonardo received a commission in 1481 from the monks of S. Donato al Scopeto, near Florence. Engraved in outline in Rosini's "Storia della pittura italiana."—Vasari, ed. Mil., iv. 27; Richter, Leonardo, 9; Clément, 341; Gaz. des Beaux Arts (1867), xxiii. 531; Burckhardt, 627; Ch. Blanc, École florentine.
Subject treated also by Cristofano Allori, Uffizi, Florence; Guido Aspertini, Bologna Gallery; Jacopo Bassano, Vienna Museum; Leandro Bassano, Louvre, Paris, and Madrid Museum; Bonifazio, Venice Academy; Sandro Botticelli, Uffizi; Brusasorchi, S. Stefano, Verona; Luca Cambiaso, Parma and Turin Museums; Benedetto Castiglione, SS. Annunziata, Genoa; Giuseppe Chiari, Dresden Gallery; Belisario Corenzio, Naples Museum; Lorenzo di Credi, Berlin Museum; Giovanni Antonio Fassolo, Dresden Museum; Gaudenzio Ferrari, Milan Gallery; Francesco Francia, Dresden Gallery; Garofalo, Berlin Museum; Gentile da Fabriano, Trinità, Florence; Domenico Ghirlandajo, Pitti and Uffizi; Fra Angelico, National Gallery, London; Filippo Lippi, Uffizi; Bernardino Luini, Cathedral of Como; Mantegna, Uffizi; Matteo di San Giovanni, S. Domenico, Siena; Girolamo Mazzola, Louvre; Lorenzo Monaco, Uffizi; Battista Naldini, Dresden Museum; Marco Palmezzano, ib.; Camillo Procaccini, Modena Museum; Luca Signorelli, Louvre; Sodoma, S. Agostino, Siena; Titian, Vienna Museum; Paolo Veronese, Madrid, Vienna, and Dresden Museums; Leonardo da Vinci, Uffizi; Antonio Vivarini, Berlin Museum; Velasquez, Madrid Museum; Jerome Bosch, ib.; Lucas Cranach, elder, Vienna Museum; Albrecht Dürer, Uffizi; Jan van Eyck, Brussels Museum; Hans Holbein, Munich Museum; Gerard Seghers, Notre Dame, Bruges; Martin de Vos, Dijon Museum; Rubens, St. John, Mechlin, Brussels Museum; Jean Jouvenet, Church of La Fosse; Nicolas Poussin, Dulwich Gallery; Richard Tassel, Dijon Museum; Heinrich Lehmann (1855), Rheims Museum.
MAGNIFICAT, Jean Jouvenet, Notre
Dame, Paris. The Visitation. Jouvenet's
last work, and one of his best. Painted in
1715, after he had lost the use of his right
hand from paralysis.
MAGNIFICAT OF ART. See Triumph
of Religion in Arts.
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MAGNUS, EDUARD, born in Berlin,
Jan. 7, 1799, died
there, Aug. 8, 1872.
Genre and portrait
painter, pupil of Berlin
Academy; visited
France and Italy in
1826-29, Italy again
and England in 1831-35,
France and Spain
in 1850-53; became
member of Berlin
Academy in 1837, and professor in 1844;
excelled in female portraits. Medal, 2d class,
Paris, 1855; Order of Red Eagle; Order of
St. Michael. Works: Drama with the Golden
Chain, Return of the Pirate, Pirate's Farewell,
Two Girls in Sunshine, Children playing with
Flowers, Country Girl, Fisher-Boy of Nice,
Return of Greek Fisherman, Female Head,
Portrait of Jenny Lind (last three in National
Gallery, Berlin); Portraits of members
of Royal Family of Prussia, Field Marshal
Wrangel, Prince Radziwill, Countesses
Arnim and Rossi, Mendelssohn, Thorwaldsen,
Curschmann, Adolf Menzel, Henriette
Sontag, of himself, and of his mother, etc.;
Countess Wanda Raczynski (1837), Raczynski
Gallery, Berlin.—Allgem. d, Biogr.
