By Paolo Veronese, Madrid Museum; canvas, H. 4 ft. 2 in. × 6 ft. 6 in. A semi-*circular table spread in a sumptuous room opening into a garden, at which sit ten persons, two of whom, Jesus and the Virgin, occupy the middle; eight servants attend. Bought for Philip IV. from collection of Charles I. of England.—Cat. Museo del Prado.
MARRIAGE Á LA MODE, Hogarth, National
Gallery, London; six pictures, canvas,
each H. 2 ft. 3 in. × 2 ft. 11 in. A series
representing profligacy in high life, or the
effects of a marriage in which rank and
wealth are the sources of attraction. The
peer is neglectful and profligate, the lady
faithless; the husband is killed in a duel by
her paramour, who is hanged for the murder,
and the suicide of the lady by poison
closes the tragedy. 1. The Marriage Contract.
Engraved originally by G. Scotin
(1745); also by Earlom; J. Garner. 2. Shortly
after Marriage. Engraved originally by
B. Baron; also by Earlom; T. E. Nicholson;
and others. 3. Visit to the Quack Doctor.
Engraved originally by B. Baron; also by
Earlom; C. Mottram; and others. 4. The
Countess' Dressing-Room. Engraved originally
by S. F. Ravenet; also by Earlom;
Armstrong; and others. 5. The Duel and
Death of the Earl. Engraved originally by
S. F. Ravenet; also by Earlom; T. E. Nicholson;
and others. 6. Death of the Countess.
Engraved originally by G. Scotin;
also by Earlom; J. Mansell; and others.
The paintings were finished in 1744; sold
by auction, June 6, 1750, to Mr. Lane, of
Hillingdon, for 110 guineas; passed by bequest
to Colonel Cawthorne, who sold them
(1797) for £1,381 to Mr. Angerstein, with
whose collection they were purchased for
the National Gallery in 1824.—Cat. Nat.
Gal. (1882); F. de Conches, 115; Ch. Blanc,
École anglaise; Nichols, Anecdotes; Ireland,
Hogarth.
MARRIAGE, SPANISH (Le mariage espagnol
or La Vicaria), Mariano Fortuny,
Mme. de Cassin, Paris. Sometimes called
Mariage dans la vicaria de Madrid, although
it does not represent the vicaria of Madrid
nor any existing sacristy, the painter having
chosen the material for his background from
several churches, especially from the Cathedral
of Granada and from a church in Rome.
Represents a wedding party gathered to
sign the marriage contract in a large sacristy,
the walls of which are hung with
Cordovan leather, and which is separated
from the church by an open grille in the
rococo style. Lamps are suspended from
the ceiling, and pictures and Venetian mirrors
adorn the walls, against which stand
heavy oaken benches and a book-case filled
with missals and antiphonaries. The groom
is about to affix his signature to the contract
in the place pointed out by the scrivener.
A priest stands beside the table, and
two others are seated, writing. The two
principal women, the bride and her mother,
are portraits of Mlle. Isabel de Madrazo, the
painter's sister, and of Mme. Fortuny. Another
of the ladies is said to be a portrait of
the Duchess Colonna; Meissonier is said to
have posed for the officer with the sabre,
and Henri Regnault for another of the attendant
gentlemen. Begun in Rome, finished
in Paris in 1869. Exhibited in 1870
by Goupil, who purchased it and sold it to
Mme. Cassin.—Davillier, Fortuny, 55; Gaz.
des B. Arts (1875), xi. 276; L'Art (1875), i.
370.
MARS, Velasquez, Madrid Museum; canvas,
H. 5 ft. 10 in. × 3 ft. A nude figure,
seated, with blue drapery covering middle,
a helmet on his head, and armour at his
feet. Probably painted after the artist's
second journey to Italy (1651). Drawing
in Royal Institution, Gijon. Engraved by
G. R. Le Villain.—Curtis, 19; Gal. Esp.;
Madrazo, 635.
MARS AND RHEA SYLVIA, Nicolas
Poussin, Louvre; canvas, H. 2 ft. 6 in. × 4
ft. 9 in. Sylvia, daughter of Numitor, reclining
asleep against a hillock, holding the
vase with which she has come to draw water
from the Tiber; behind her, a cupid asleep,
