MAKTIM) obliterated frescos, executed in 1397, in the style of Taddeo Bartoli. These works, which are minutely described by Bonaiui (Not. Mod., 51!), are third rate in quality, as are his pictures in the Academy and in S. Domenico, Pisa. C. & C., Italy, ii. 172 ; Vasari, ed. Le Mon., ii. 81 ; xi. 175. MARTINO DA UDINE. Sec J'l-lkgniiu da San Daniele. MARTYR, BURIAL OF A, Edward Ar- i)ti/<i</t private gallery, London ; canvas, H. 12 ft. G in. x 9 ft, 7 in. The body of a young Christian, slain in the arena, at Koine, is being lowered into the Catacombs, where it is received by the sorrowing rela- tions ; in the background, upon a staging, stands a workman, ready to put it into its last resting-place, one of the oven-like recep- tacles in the wall. Royal Academy, 1885. MARTYR, CHRISTIAN, Paul Delaroche, private gallery ; canvas, H. 4 ft. 9 in. x 5 ft. 10 in. Martyr in time of Diocletian. The body of a young girl, the hands bound, float- ing down the Tiber by night, the aureola which lights her face reflected in the water; in background, the prow of a galley, and two figures watching from the bank. Sub- ject said to have been suggested by a dream. Painted in 1S55. Exhibited in 1857, after his death. Engraved by Rousseaux. At Delaroche sale, to Goupil, 30,000 francs. At same sale, a smaller sketch, 2,400 francs. Replica, in small (face and hands by Dela- roche, remainder by C. F. Jalabert), W. T. Walters, Baltimore. MARTYR'S TRIUMPH (Triomphe du Martyr), Adolpho William Bouguereau, Lux- embourg Museum ; canvas, H. 11 ft. 3 in. x 13 ft. 2 in. The body of St. Cecilia, crowned and decked with the palms of martyrdom, is borne to rest in the Catacombs. Bougue- reau's fame dates from the exhibition of this picture. Salon, 1855. MARTYRS, CHRISTIAN, Francois Leon Benouvillc. Scene in the arena of the amphitheatre at Rome, with an immense audience gathered to witness the death of Christian martyrs by wild beasts. The bar- riers have just been opened and the vic- tims are coming forward, brutally pushed by the slaves of the circus and by sol- diers. Exposition universelle, 1855. Orig- inal sketch in water-colours, Salon of 1852, Luxembourg Museum. Larousse, x. 1290. By Gustave Dore, Dore Gallery, London. Scene at night in the Coliseum, the long ranges of seats deserted by the crowd which has lately witnessed a festival of slaughter ; in the arena lions and tigers are feeding on the mangled corpses of the Christian mar- tyrs, while from the star-lit heavens a troop of white-robed angels are descending. Sa- lon, 1874. Claretie (1884), 124. By Jean Leon G'n-i'nne, W. T. Walters, Baltimore ; canvas, H. 2 ft. 10 in. x4 ft. 11 in. Scene in the Circus Maximus, Rome, with Christians exposed to wild beasts, which are represented as just coming into the arena from their dark dens and paus- ing in astonishment at the light and the great mass of people surrounding them ; in the middle distance are prisoners fastened to crosses and smeared with pitch, destined to be burned alive. MARY OF EGYPT, ST., Tintoretto, Scu- ola di S. Rocco, Venice ; canvas. Similar in plan to its companion piece, the Magda- len, opposite, except that St. Mary has her back turned to the spectator and the tree by the brook is a palm instead of a laurel. Ruskin, Stones of Venice, iii. 331. MARY STUART AND ELIZABETH, Wilhelm von Kaulbacli, private gallery, Ber- lin ; canvas. Scene from Schiller's " Mary Stuart " (Act iii., Scene 4). A stormy in- terview between the two queens; Elizabeth, at right, with clinched lists, is gazing fixed- ly at Mary, who, restrained by an attendant, is talking angrily, with one hand raised ; be- hind Elizabeth are two courtiers, with sor- rowful faces and downcast eyes, the unwill- ing witnesses of the scene. MARY STUART LISTENING TO HER DEATH-WARRANT, Karl von Piloty, pri- vate gallery. Mary sits at right, with down- cast eyes, her rosary and breviary on the
