and the fellow-pupil of Francesco Morone, when Francesco was the partner of his father. Vasari thinks that had he lived he would have acquired great celebrity. While his pictures show the influence of the Moroni, they have an individual stamp; and he may justly claim to have infused new life into the Veronese school, especially by his novel system of colouring. His latest altar-*piece, the Madonna in Glory with Saints, dated 1522, is in the Verona Gallery, where are also his Christ bearing his Cross, St. Thomas, and St. Roch. His Madonna, in the National Gallery, London, painted about 1520, recalls the madonnas of Raphael.—C. & C., N. Italy, i. 498; Vasari, ed. Le Mon., ix. 171, 199; Bernasconi, Studii, 274; Lübke, Gesch. ital. Mal., ii. 580.
MORAZZONE, IL, Cavaliere, born at
Morazzone in 1571, died at Piacenza in
1626. Lombard school; real name Pier-*francesco
Mazzuchelli; after spending several
years in Rome, studied works of the masters
in Venice and greatly improved his
style. Executed important works in Milan,
especially in S. Antonio Abate; was engaged
in painting cupola of cathedral in
Piacenza when he died. Works: His own
Portrait, Uffizi, Florence; Christ and the
Woman of Samaria, Brera, Milan; Death of
Virginia, Tullia fainting on the Dead Body
of her Father, Turin Gallery; Death of Lucretia,
Madrid Museum; Madonna, Hermitage,
St. Petersburg.—Lanzi, ii. 518; Ch.
Blanc, École milanaise.
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MOREAU, ADRIEN, born at Troyes
(Aube), April 18, 1843. Genre painter, pupil
of Pils. Paints spirited and humorous
subjects with taste and skill. Medal, 2d
class, 1876. Works: "Then shall this
Prophet go" (1868, Kings xiii.); Walk, End
of Masked Ball (1874); Jolly Crew (1875);
Wedding in Middle Ages, Repose at Farm
(1876); Gypsies, Under Shrubbery (1877);
Gypsies of Granada, Minuet (1878); Playing
the Tragedy of Mirame before Richelieu,
Silver Wedding (1879), Reichard, New York;
Halt, Centennial (1880); Gypsies, March
Past (1881); Returning from Festival (1882);
Lords running at the Ring (1883); Evening,
The Ferry (1884); Mowers (1885);
Duchesse de Longueville at Dieppe instigating
the Population against royal Authority,
In the Spring (1886).—La Ilustracion
(1879), ii. 211; (1880), i. 27; ii. 66; Zeitschr.
f. b. K., xix. 259.
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MOREAU, GUSTAVE, born in Paris,
April 6, 1826. History
painter, pupil of Picot.
At first endeavoured to
follow the style of Delacroix
and Chassériau,
then went to Rome,
where he studied the
old masters, and became
a skilful painter
of antique subjects.
Medals: 1864, 1865,
and 1869; 2d class, 1878; L. of Honour,
1875. Works: Flight of Darius after Battle
of Arbela (1853); Scene from Song of
Solomon (1853), Dijon Museum; Minotaur
in Labyrinth of Crete (1855); Œdipus and
the Sphinx (1864); Jason and Medea, Young
Man in the Presence of Death (1865); Diomed
eaten by his Horses (1866); Orpheus
(1867), Luxembourg Museum; Prometheus,
Jupiter, and Europa (1869); Hercules and
the Lernian Hydra, Salomé (1876)· The
Swimming-Lesson; Jacob and the Angel;
David; Exposure of Moses; Phaëton; Galatea,
Helen (1880).—L'Art (1878), ii. 288,
319; Gaz. des B. Arts (1869), i. 493; Ch.
Blanc, Artistes d. m. T., 468; Claretie,
Peintres (1874), 113; Les Lettres et les
Arts, i. 58; Meyer, Gesch., 607; Zeitschr.
f. b. K., ii. 40.
MOREAU DE TOURS, GEORGES, born
at Ivry-sur-Seine, contemporary. Figure
painter, pupil of Cabanel. Medal, 2d class,
1879. Works: Potiphar's Wife (1873);
Death of Cleopatra (1874); Dido in Hell
(1876); Son of Civilis killing Roman Prisoners,
Fête at the Regent's (1877); Pelias
