MARCHIS— MARIA. 97 several of his works at Perugia. (Lanzi.) MARCILLA, GuGUOELMO, da, b, 1475, eL 1537. His name is, correctly, MarciUat. He was a native of St. Micbiel, department of the Meuse, in France. MarciUat distinguished him- self hy several works at Arezzo, espe- cially his heautiful painting on glass, an art then not so well understood in Italy as in France. He first visited Rome about 1508, and was engaged at Arezzo in 1519, where he painted three windows for the cathedral, for each of which he was paid 180 ducats. Mar- ciUat was the first good glass-painter that had appeared in Italy; his win- dows are enamel paintings : there are two in the church of Santa Maria del Popolo, Rome, containing twelve com- positions from the lives of Christ and the Virgin, executed about 1509. Gug- lielmo painted, also, in fresco at Arez- zo. In style he was an imitator of Michelangelo, hut in colour his frescoes were very inferior to his glass paintings. {Vasari, Gaye,) MARCONI, Rocco, of Trevigi; painted in 1505. Venetian School. He was originally of the school of the Bellini, and he seems to have afterwards adopted the enlarged style of Giorgione. Zanetti gives a high character to the works of Marconi, and states that, were it not for his occasion- ally hard outline, he might have been coijapared with any of the dnquecento masters : he praises the expression of his heads, his general drawing of the figure, his draperies, and his brilliant colour. In some instances he was accused of adhering too closely to or- dinary nature. He signed himself Rochu8 Marchonus, The Dead Christ between the two Marys, now in the Academy, is one of Marconi's principal works, showing all his powers to advan- tage. W&rks. Santi Giovanni e Paolo, Christ between the two Apostles, Peter and Andrew. Manfrini Gallery, the Woman taken in Adultery. Academy, Christ between two Apostles ; the Dead Christ, or Deposition from the Cross ; the Woman taken in Adultery; and another picture of the Saviour. MARGARITONE, h, at Arezzo, 1236, d. 1313. Tuscan School. Mar- garitone was an older painter than Cimabue, though he survived him some years. He was instructed by Greek artists, and lived to see the art tho- roughly revolutionised by Giotto. He in general represented images of the Virgin and Crucifixes, after the Greek type, and with its symbolism : his works, accordingly, have much more stiffiiess, and rigidity than those by Cimabue; the best are those with small figures. They are in tempera^ with the gold ground, and sometimes on canvas glued on wood ; as the pic- ture of the Virgin and Child, with Angels, &c., and St. Margaret, St. John the Evangelist, and other saints ; formerly in the church of the Nuns of Santa Margherita, at Florence, and recently in a private collection there, that of the Signori Lombardi and Ugo Baldi. It is signed Margarit. de Aritio, me fecit, Margaritone is said to have painted St. Francis from the life, and there are still presers'ed several pictures of that saint by him. In the church of San Francesco at Ganghereto (a small town above the Terra Nuova, in Valdamo), a rude Greek figure, representing St. Francis, is still preserved, though it has been retouched : there is another similar to it in the Gallery of the Academy of Siena, signed with Margaritone's name. He was also a sculptor and an archi- tect. {Vasari.) MARIA, Cav. Ebgole de, called, also, Ebcouno di Guido, d. about 1640. Bolognese School. He was a pupil of Guide, and copied the pictures
