- ence, Borghese Gallery, Rome, and Liechtenstein
Gallery, Vienna.—Engerth, Belved. Gal., ii. 264; Förster, Denkmale, iii. 25; xi. 17; Kugler (Crowe), i. 224; Kunst-Chronik, x. 74; xix. 112; xxi. 365; W. & W., ii. 494; Zeitschr. f. b. K., xviii. 30, 46, 61; xxi. 83, 145.
MASTER OF FRANKFORT, flourished
between 1500 and 1520. German school;
his works have been erroneously attributed
to Konrad Fyol. Works: Adoration of
Magi, Antwerp Museum; Crucifixion, Städel
Gallery, Frankfort; Holy Family, Frankfort
Museum; Triptych with Madonna and
St. Ann, Berlin Museum.—Meyer, Museen,
273; W. & W., ii. 499.
MASTER OF LIESBORN, flourished
about middle of 15th century. German
school; he is known only through a great
altarpiece, painted about 1465 and representing
the life and passion of Christ; formerly
at the Abbey of Liesborn, near Münster.
In the two fragments now at the
National Gallery, London, the heads are
peaceful in expression and devout in feeling.
The colouring is clear and agreeable,
but as regards truth to nature these pictures
are very inferior to those of contemporary
Netherlandish painters. Works:
Half-length Figures of Six Saints, Annunciation,
Presentation, National Gallery, London.—Förster,
Denkmale, i. 5; Kugler
(Crowe), i. 133; Lübke, Kunst in Westfalen,
345; Schnaase, viii. 362; W. & W.,
ii. 98.
MASTER OF LYVERSBERG PASSION,
second half of 15th century. German school;
this artist, named after his masterpiece once
in possession of Mr. Lyversberg, of Cologne,
whose works were formerly attributed to the
engraver Israel van Meckenen, was the first
to bring into prominence the graft of Flemish
realism upon the idealism of the old
school of Cologne. Works: Eight Scenes
from Life of Mary, Twelve Apostles, Three
do. (2), Old Pinakothek, Munich; Five
Scenes in Life of Mary, Germanic Museum,
Nuremberg; Lyversberg Passion, Cologne
Museum; Madonna with Saints, Berlin
Museum.—Kugler (Crowe), i. 131; do., kl.
Schriften, ii. 302; Schnaase, viii. 355; W.
& W., ii. 95.
MASTER OF SIGMARINGEN, first half
of 16th century. German school; contemporary
of Martin Schaffner, and much his
inferior. Works: Altarpiece with Scenes
from Life of Mary, Hohenzollern Museum,
Sigmaringen; other works in Carlsruhe and
Stuttgart.—W. & W., ii. 454.
MASTER OF THOMAS ALTAR, flourished
in Cologne, end of 15th and beginning
of 16th century. German school;
though influenced by the contemporaneous
art of Upper Germany, this master, formerly
identified with Lucas van Leyden, and
later with Christoph, an earlier painter at
Cologne, was an artist of strong individuality.
Despite the meagre forms and awkward
motions of his mannered figures, they
are not devoid of a certain grace and expression.
Works: Bartholomew Altar, Old
Pinakothek, Munich; Thomas Altar (1501),
Crucifixion, Cologne Museum; Two Altar
Wings with Saints, Mentz Gallery; do.,
National Gallery, London; Descent from
the Cross, Louvre (attributed to Quinten
Massys, and formerly to Lucas van Leyden).—Förster,
Denkmale, XII. iii. 1; Kugler
(Crowe), i. 227; Rep. f. K., vii. 1; W.
& W., ii. 488; Zeitschr. f. bild. Kunst, xvi.
83.
MASURE, JULES, born at Braine (Aisne);
contemporary. Marine painter, pupil of
Corot. Medals: 1866; 2d class, 1881.
Works: Environs of Antibes; Sea at Fréjus
(1866); Bay of San Raphael; Cape of Antibes,
Gulf of Juan (1868); Sunset at Granville,
Solitude among Rocks at Granville
(1874); Morning at Antibes, Gust of Wind
at Granville (1879); Environs of Nice, Cliff
in Normandy (1880); November Morning
at Granville, Low Tide (1881); Fishing
Boats at Granville, The Undertows (1882);
Evening, Rough Sea (1883); Autumn Afternoon
(1884).—Du Camp, Beaux Arts, 231;
Meyer, Gesch., 753.
