Assumption and Coronation. In these subjects the artists followed closely the details in the "Golden Legend." We must not confound the Coronation with the Assumption; the latter event was followed by the former. In many pictures of these subjects, St. Thomas is introduced, holding the girdle which the Virgin, to remove the apostle's doubts of her ascension, let down to him from heaven. The subject of these pictures is styled La Madonna della Cintola. The "Seven Joys" of the Virgin Mary were-1. The Annunciation; 2. The Visitation; 3. The Nativity; 4. The Adoration of the Magi; 5. The Presentation in the Temple; 6. Christ found by his Mother in the Temple; 7. The Assumption and Coronation of the Virgin. The "Seven Sorrows" were-1. The Prophecy of Simeon; 2. The Flight into Egypt; 3. Christ, while disputing with the Doctors in the Temple, missed by his Mother; 4. Christ betrayed; 5. The Crucifixion; 6. The Deposition from the Cross; 7. The Ascension; the Virgin left on earth.

MENADES. (Lat.) Priestesses of Bacchus, who rendered themselves conspicuous by a mad enthusiasm, as if possessed of a super-human frenzy.*

MAGDALEN, MARY. This saint figures in many scenes in the life of Christ-the Supper with Simon the Pharisee, the raising of Lazarus, the Crucifixion, the Descent from the Cross, the Marys at the Sepulchre, the Meeting in the Garden after the Resurrection ; in some of these subjects she is one of the principal figures. As a patron saint, she is represented young and beautiful, with a profusion of hair, and the box of ointment as an attribute; and, as a penitent, in a sequestered place, reading before a cross or skull.

MAGI. A sect of ancient Persian philosophers who studied occult and natural science, and who preserved their mystic knowledge scrupulously in their own tribe. MAGIC LANTHORN. An instrument

See BACCHANTES.

used to magnify paintings on glass, and throw their images upon a white screen in a darkened chamber. This is effected by placing the painted glass slides in an inverted position between double-convex lenses, and before a strong light, which passes through them and the picture, and reflects it highly magnified, and in a proper position, on the wall or screen.

MAGNASE BLACK. A colour which dries rapidly when mixed with oil, and is of intense body.

MAHL-STICK. REST-STICK. A round staff, three or four feet long, tapering towards one end, to which is fastened a small ball, covered with cotton-wool and soft leather, in order that the canvas may not be injured by its resting upon it. The stick is held in the left hand, near the large extremity, and serves as a rest to the right hand while painting. (See cut, p. 162.)

MAIL. A term applied to armour formed of rings or chains of metal; it is derived from the French word maille, also signifying the meshes of a net.

MAJOLICA. (Known also as Faïence, Fynlina, and Raffaelle ware). A term for soft enamelled pottery, first introduced into Italy from Majorca about the twelfth century, and which was the work of the Moors. The distinguishing points of the so-called Majolica are coarseness of ware, intricacy of pattern, and occasionally prismatic glaze. A large class, ascribed, although possibly on insufficient grounds, to Valentia, is characterised by elaborate conformity of pattern, flushed with metallic lustre, on a greyishwhite ground.

Of the positively Italian wares, though they were so greatly in request that most of the cities of the Romagna instituted manufacturies of them, but little can be ascertained prior to the sixteenth century.

The towns most celebrated after A.D. 1500 for their artistic productions are Pesaro, Gubio, Asciano, Bologna, Citacastellana, Ferrara, Forli, Fynlina, Pisa, Perugia, Rimini, Sienna, and Spello; and

the first is considered the earliest site of a manufactory in Italy, notwithstanding the

attempts of the ingenious Eugene Piot in favour of Deruta. So early as 1509 Guidobaldo della Rovere, duke of Urbino, granted a patent to Jacques Lanfranco, of Pesaro, for "the application of gold to the Italian faïence," by which is probably intended, that lustre of a golden colour which so brilliantly sheds its prismatic

ennoblement. At Gubio also, George's son, Vincent, is said to have laboured in the same department.

It was, however, during a period extending from 1520 to 1560 that these wares attained perfection. The classical designs of Raffaelle, of Julio Romano, and of Mare Antonio, were adopted and correctly developed; the most graceful figure-compositions, selected from the Grecian and Roman mythologies, were surrounded by borders of imaginative arabesques. The colours less brilliant than before, were now more harmoniously combined, while the glaze became more transparent and more evenly applied than ever. Plates, dishes, vases, cisterns, fountains, now came into being in full magnificence, while goblets, salt-cellars, and other appendages to the table, received the same careful ornamentation with works of greater pretension but less utility. We engrave, as an example, a salt cellar, of pure Italian form,

hues on the fictile performances of this period. The next in antiquity is Gubio, which boasted in Giorgio Andreoli of one of the most famous masters in his art. In 1511, and subsequently, he, improving on the invention of Lanfranco, gave to his wares a ruby splendour, restricted to his works alone; for the artist and his secret died together. His works are usually inscribed at the back Mo. Go. (Maestro Giorgio), which title he assumed on his

from the Duke of Buckingham's collection at Stowe; it is a work of the middle of the sixteenth century; the prevailing colours are blue and yellowish browns, the wings being brilliantly coloured.

At Pesaro, in 1542, flourished Geronimo, and in 1550, Mathieu, when large dishes were first made, having a profusion of

ornaments executed in relief. With these artists successfully competed Terenzio, son of Mathieu; Batista Franco, a skilful designer, entrusted with the direction of the works; Taddeo Zuccaro and the two Raffaelles-one Ciarla, the other dell Colle-both for a long time confounded with the immortal Sanzio. There, too, worked the brothers Flaminio, and Orrazio Fontana, of Urbino, on the dinnerservice which Guidobaido caused to be made for Charles V. and Philip II. Orazzio also worked at Castel Durante and Florence, as did the Chevalier Piccolpesso, a talented painter, and the author of a work on pottery. Rivalling also the above, in fame, were Guido Selvaggio of Faenza, Francisco Xante de Rovigio, who was a support of the manufactory at Urbino, Frederico Brandini, and Guido Durantino. The works of Luca della Robbia gave much celebrity to the ware, owing to the brilliancy of his colours, the modelled relief of his designs, and the hardness of his enamel. The Dukes of Urbino patronized the Art for nearly two hundred years; and the productions they issued are generally known as Raffaelle ware. (See that word). MAJESTY. MAESTA. 1. A representation of the Saviour seated in glory on a throne, and giving his benediction, encompassed with the nimbus called Vesica Pisces, and surrounded by cherubim and the four evangelistic symbols, with the A and 2. 2. A canopy of state. 3. A canopy up over a hearse.

set

MALLET. The wooden hammer of a sculptor; its form may be seen in the cut illustrating PANEL-PICTURE.

MALACHITE, MOUNTAIN GREEN. A native carbonate of copper, of a beautiful geen colour, very useful in oil and watercolour painting. It is permanent, and mixes well with other pigments. In its natural state, it is sliced and used for articles of jewellery and ornament.

MAMELIERE, (Fr.) or PLASTRON-DEFER. A plate of steel, secured to the hauberk, beneath the cyclas, for additional protection. Also the circular plates placed

a long sleeve, reaching to the wrist, and is copied from an Etruscan vase. Fig. 2, is that worn by the gladiators. Fig. 3, that used as a protection to the arm of a bowman, and is copied from a bas-relief on the Trajan column.

MANIPLE. A short species of stole, worn depending from the left hand; it was originally a napkin, of plain white linen, for the use of the officiating priest at the altar. Like the stole, the Maniple soon became a mere decorative enrichment of the costume,* and was fastened to the wrist, having sometimes a row of small bells appended to its edges. It was constructed of richest materials, as cloth of gold, &c.; and the ends were terminated by broad squares, upon which crosses were embroidered in needlework.

MANNER. The word MANNER has, in Art, two quite different significations. In one, it signifies a peculiarity of habit, and implies a kind of reproach against a painter; in the other, it affords us the means of knowing the artist's work, and the school to which it belongs in the former sense, it is that mode of treatment in design, or peculiar mode of using the brush in painting, by which the works of an artist are detected by a connoisseur, and which is sometimes the only mode of judging the authorship of an antique picture. In the latter sense, the manner of a master is nothing but his peculiar way of choosing, imagining, and representing, the subjects of his pictures. It includes what are called his style and handling; that is, the ideal part, and the mechanical part, which give their character to his work in the eyes of those who have bestowed upon them sufficient attention to become fa

* The engraving represents the stole held in the hand of Stigand, Archbishop of Canterbury, as he is delineated in the Bayeux tapestry (twelfth century).

miliar with them;* the mechanical part especially becomes, in painting, just as in writing, the most certain means of recognising the author, and the least liable to error. For, although both may vary at pleasure the nature of their subjects, the one cannot in like manner alter his style, his orthography, and especially his handwriting; nor can the other change his colouring, his impasto, and his touch. In either case these are the result of habit, of which they could not divest themselves if they would. The MANNER of certain masters has been so closely imitated by their pupils, that the works of the latter have frequently been taken for those the former. Still there is always a certain something which pertains to the peculiar genius of every master, which is always missed in the works of his imitators; for the mental constitution is incommunicable. It must not be supposed that every master had but one and the same manner; for, not to speak of the varieties of manner, which many of them have adopted in the course of their career, from taste or caprice, or for their advantage, it is evident that all of them have necessarily had a beginning, and an advanced stage of improve ment; and many of them who have lived long enough, have had their decline also.

MANNERED. Exibiting the peculiar style of an artist; more particularly in its objectionable form. The term expresses an affectation, an over-refined delicacy, grace, or elegance in the character, forms, and arrangements of the objects of a composition. It is equally applicable to painting, sculpture, and architecture, and is more insupportable in the productions of the latter than in the preceding. It is necessary to distinguish between MANNER and

*Just as the choice of the matter, the fashion of the language, the turn of the phrases, and even the orthography and the formation of the letters, give such a peculiarity of character to a writer, that, if any production of his, in his own handwriting, although unsigned, should fall into the hands of any one who had seen many others of his performances, the author would stand disclosed to such a person at once, without the necessity of having him named.

MANNERISM. The peculiar mode of treatment adopted by a painter carried to excess, which thus from being a style becomes a defect. It may be seen in the works of Fuseli, whose "anatomical coats and trowsers are mannerisms peculiarly his own.

MANNERIST. One who practises a marked peculiarity of style adopted improperly for all subjects, and by which his works are known at a glance.

MANTLE. The long outer garment, worn as a complete external covering, and originating with the pallium of the Greeks.

MANTLING (in Heraldry) is generally understood to represent the lambrequin of the knight. It always falls at the back of the shield of arms, and is secured to the top of the helmet by the orle. It sometimes takes the form of leaves or scrollwork.*

MAP. A delineation on a plane surface of the world in general, or of a city or river, giving its general form or geographical peculiarity. Maps were known to the ancients; but in the middle ages the science of map-making was little better than guess-work; it was not until the spread of commerce and the arts of navigation, in the fifteenth century, that true maps were formed. It is said that they were introduced to England in 1489, by Bartholomew, the brother of Christopher Columbus.

MARBLE. A compact limestone, susceptible of a fine polished surface, of various colours, of which the most useful to the sculptor is the white. It is found in various parts of the world. The finest white marble used by modern statuaries is obtained from Carrara; which place possesses natural advantages, of no ordinary kind, for its transit to other countries, as well as mountains of the material of the finest kind, without any tendency to turn

* See cut to HERALDIC CREST.

quity possessed. The Carrara quarries were known to the ancients as well as to the moderns, and worked by them since the time of Julius Cæsar: the Parian was, however, the favourite, and was obtained from the Greek island of Paros, its mellow tint being valued; Mount Penteles, near Athens, also furnished a similar kind, hence termed Pentelic marble. White marble was procured from Mount Hymettus, Luini, on the coast of Tuscany, and Carrara. The ancients used a red marble, and black also for statuary; but its use was chiefly restricted to the Egyptians in the infancy of the art. Ornamented marbles of various tints, variegated or plain, were also extensively employed for panels, columns, and decorative works in general: the moderns obtain coloured marbles for the same purposes at home and abroad; but it is still to Italy and Greece that they look for the finest kind for the use of the statuary.

MARBLES. A generic term for a collection of sculpture and statuary, as the Arundel marbles, the Pomfret marbles, &c.

MARGARET, ST. This saint, the chosen type of female innocence and meekness, is usually represented as a young woman of great beauty, bearing the palm and crown as martyr, and with the dragon as an attribute, from which, according to the legend, she was delivered, and in allusion to which, she was chosen as patron saint against the pains of childbirth. She has enjoyed great popularity from a very early period, and in this country 238 churches have been dedicated to her honour. She is generally represented conquering a dragon-the devil in that form having tormented her-but she ultimately conquered him by the sign of the cross: she is sometimes delineated issuing from the dragon's mouth, for the legend declares that it swallowed the saint, who freed herself by this means.

In

MARK, ST., THE EVANGELIST. Christian Art this saint is usually represented in the prime of life, sometimes