- ron's "Corsair"); Greek Corsairs on Sea-*shore;
Madonna with Seraphs, Royal Chapel, Castiglione; Neophyte in the Catacombs; Cæsar Borgia at Siege of Capua; The Iconoclasts; Episode during Sicilian Vespers; Queen Ginevra; Page and Lady; Christ Embalmed; Christ Derided; Loves of the Angels; Assumption, Royal Chapel, Naples; Sailing of Fugitives from Aquileja; Tasso reading to Eleonora d'Este; Morning in Florence; Evening in Venice; Christ walking on the Waters; Mater Dolorosa; Madonna Consolatrix; Temptation of St. Anthony; Assumption; Christian Martyrs; Pompeian Bath (1867); Odalisque after Bath; Love of Angels; Daughter of Jairus; Prayer in Desert; Mary's Walk to Golgotha; Singing Monk; Glad Tidings of Christ (1884).—Art Journal (1880), 262; (1885), 345, 357; Gaz. des B. Arts (1867), xxiii. 224; Illustr. Zeitg. (1881), i. 291, 296; Müller, 377.
MORENO-CARBONERO, Don JOSÉ,
born in Malaga; contemporary. Medals:
Madrid, 3d class, 1875; 2d class, 1878, 1881;
1st class, 1884. Works: Doña Juana la
Loca; Don Carlos de Viana (1881); Gladiators
in the Arena (1883); Conversion of
Duke of Candia (1884).—La Ilustracion
(1882), i. 83; (1884), i. 382; ii. 153; Zeitschr.
f. b. K., xvii. 281.
MORERA, Don JAIME; contemporary.
Landscape painter. Works: Ruins of Pæstum
(1880); Laguna de Abcoude (1881);
Road in Brittany (1884).—La Ilustracion
(1880), i. 291; (1881), i. 59, 382; (1884), i.
337; Illustr. Zeitg. (1881), i. 30.
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MORETTO, IL, born at Brescia about
1498, died there in 1555. Venetian school;
real name Alessandro Bonvicino, but commonly
called Moretto or Moretto da Brescia.
Said to have been a pupil of Titian's, but
probably only a diligent student of his
works, as his earlier creations show a dependence
on his master Fioravante Ferramola
and Romanino. Later he made a very
successful approach to the highest performances
of the Venetian school; and still later
his colour foreshadowed the coming of Paolo
Veronese. He aided Ferramola in 1518
in painting an organ
screen for the old
cathedral, Brescia,
and Romanino in
1521 in the decorations
in S. Giovanni
Evangelista, Brescia.
In later years
he painted much for
this church, one of
his best efforts being
the Massacre of the Innocents, a canvas tempera.
Many other churches in Brescia possess
one or more of his pictures, the more
noteworthy of them being the Coronation
of the Virgin and the Christ in Glory in S.
Nazzaro e Celso, the Virgin and Child in S.
Clemente, the Majesty of St. Margaret in
S. Francesco, the Virgin and St. Nicholas
in S. Maria de' Miracoli, and the Glory of
St. Anthony in S. M. delle Grazie. His
Supper at Emmaus is in the Tosi Collection.
In 1544 he painted his celebrated
Feast in the House of Simon, in S. M. della
Pietà, Venice, the model of the style elaborated
by Paolo Veronese. The Marriage
at Cana in S. Fermo, Lonigo, is of about
the same date. Other important works by
Moretto are: The Death of Adonis, Uffizi,
Florence; Death of Peter Martyr, Ambrosiana,
Milan; Virgin in Glory, SS. Clara and
Catherine, St. Jerome and an Apostle, and
Assumption, Brera, Milan; Faith, Judith
and Holofernes, Allegory of Faith, Hermitage,
St. Petersburg; Madonna (ascribed to
Giorgione), Leuchtenberg Gallery, ib.; Adoration
of the Shepherds, Madonna in Glory
(1541), Berlin Museum; The Virgin, Dresden
Museum; Madonna, Four Roman Fathers
at the Church, Städel Gallery, Frankfort;
St. Justina, Vienna Museum; SS.
Bernardino and Louis, and SS. Bonaventura
and Anthony of Padua, Louvre; Portrait
of a Nobleman (1526), St. Bernardino
of Siena, National Gallery, London.—C.
& C., N. Italy, ii. 396; Ch. Blanc, École
