MARRIAGE By P.aolo Veronese, Madrid Museum ; canvas, H. 4 ft. 2 in. x G ft. G in. A semi- circular table spread in a sumptuous room opening into a garden, at which sit ten per- sons, 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 A LA MODE, Hogarth, Na- tional Gallery, London ; six pictures, can- vas, each H. 2 ft. 3 in. x 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 mur- der, and the suicide of the lady by poison closes the tragedy. 1. The Marriage Con- tract. Engraved originally by G. Scotin (1745); also by Earlom; J. Garner. 2. Short- ly after Marriage. Engraved originally by I!. 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 orig- inally by S. F. Raveuet ; also by Earlom ; Armstrong ; and others. 5. The Duel and Death of the Earl. Engraved originally by ! S. E. Ravenet ; also by Earlom ; T. E. Nich- olson ; and others, (i. Death of the Count- ess. Engraved originally by G. Scotin ; also by Earlom ; J. Mansell ; and others. The paintings were finished in 1744 ; sold by auction, June C, 1750, to Mr. Lane, of Hillingdon, for 110 guineas ; passed by be- quest to Colonel Cawthorne, who sold them (1797) for 1,381 to Mr. Angerstein, with whose collection they were purchased for (.lie National Gallery in 1824. Cat. Nat. Gal. (1882); F. do Couches, 115 ; Ch. Blanc, Ecole anglaise ; Nichols, Anecdotes ; Ire- land, Hogarth. MARRIAGE, SPANISH (Le mariage es- pagnol or La Vicaria), Mariano Fort any, Mine, de Cassiu, 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 Cathe- dral of Granada and from a church in Rome. Represents a wedding party gathered to sign the marriage contract in a large sac- risty, 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 mir- rors 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 con- tract in the place pointed out by the scriv- ener. A priest stands beside the table, and two others are seated, writing. The two principal women, the bride and her mother, are portraits of Mile. Isabel de Madrazo, the painter's sister, and of Mme. Fortuuy. An- other of the ladies is said to be a portrait of the Duchess Coloima ; Meissouier is said to have posed for the officer with the sabre, and Henri Reguault for another of the at- tendant gentlemen. Begun in Rome, fin- ished in Paris in 18G9. Exhibited in 1870 by Goupil, who purchased it and sold it to Mme. Cassin. Davillier, Fortuny, 55 ; Gaz. des B. Arts (1875), xi. 27G ; L'Art (1875), i. 370. MARS, Velasquez, Madrid Museum ; can- vas, H. 5 ft. 10 in. x 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 Pousnin, Louvre; canvas, H. 2 ft. 6 in. x4 ft. 9 in. Sylvia, daughter of Numitor, re- clining asleep against a hillock, holding the vase with which she has come to draw water from the Tiber ; behind her, a cupid asleep,
