MARCANTONIO, or, to give him his full name, Marcantonio Raimondi, is celebrated as the chief Italian master of the art of engraving in the age of the Renaissance. The date of his birth is uncertain, nor is there any good authority for assigning it, as is commonly done, approximately to the year 1488. He was probably born some years at least earlier than this, inasmuch as he is mentioned by a contemporary writer, Acbillini, as being an artist of repute in 1504. His earliest dated plate, illustrating the story of Pyramus and Thisbe, belongs to the following year, 1505. Marcantonio received his training in the workshop of the famous goldsmith and painter of Bologna, Francesco Raibolini, usually called Francia. “Having more aptitude in design,” says Vasari, “than his master, and managing the graver with facility and grace, he made waist-buckles and many other things in niello, such being then greatly in fashion, and made them most beautifully, as being in truth most excellent in that craft.” The real fame, however, of Marcantonio was destined to be founded on his attainments, not in the goldsmith’s art generally, but in that particular development of it which consists of engraving designs on metal plates for the purpose of reproduction by the printing press. This art was not new in Italy in the days of Marcantonio’s apprenticeship. It had been practised, in a more or less elementary form, for not less than forty or fifty years in the workshops of both Tuscany and Lombardy. A school of engravers had formed itself at Florence under the inspiration, as it appears, chiefly of Sandro Botticelli; in Lombardy the prevailing influence upon the nascent art had been that of Andrea Mantegna. But hitherto neither the engravers of Florence nor those of the Lombard cities had ...produced anything comparable for richness of effect and technical accomplishment to the work done during the same period on the other side of the Alps. The aim of the Italian engravers had not hitherto been directed, like that of Schongauer or Dürer, towards securing such freedom and precision in the use of the burin as should impart to the impressions taken from their engraved plates both a striking decorative effect and a power of suggesting to the eye a complex variety of natural objects and surfaces in light and shade. The Italian masters had been satisfied with a much more primitive order of effects. They had been content to omit all accessories and details except the simplest. They had merely drawn with the needle, or dry-point, upon the copper, in just the same way as they were accustomed to draw on paper with the pen or silver point,—taking great pains to get the outlines true and pure, and indicating shadows only by means of straight lines rapidly drawn in, or very simple hatchings.
By the beginning of the 16th century, however, when Marcantonio began to work at engraving along with the other pupils of Francia, a desire for a more complicated kind of effects was already arising among the followers of the art in Italy. Both backgrounds and passages of foreground detail were often imitated, inartificially enough, from the works of the northern masters. Marcantonio himself was among the foremost in carrying out this movement. There exist about eighty engravings which can be referred to the first five or six years of his career (1505-11). Their subjects are very various, including many of pagan mythology, and some of obscure allegory, along with those of Christian devotion. The types of figures and drapery, and the general character of the compositions, bespeak for the most part the inspiration, and sometimes the direct authorship, of that artist as graceful as he was grave, Francia. But the influence of German example is very perceptible also in the work of the young Marcantonio, particularly in the landscape backgrounds, and in the endeavour shown by him to express form by means of light and shadow with greater freedom than had been hitherto the practice of the southern schools. In a few subjects also the figures themselves correspond to a coarse Teutonic, instead of to the refined Italian, ideal. But so far we find Marcantonio only indirectly leaning on the north for the sake of self-improvement. It must have been for the sake of commercial profit that he by and by produced a series of direct counterfeits of northern work. We allude to the celebrated facsimiles engraved by Marcantonio on copper from Albert Dürer’s woodcuts. These facsimiles are sixty-nine in number, including seventeen of Dürer’s Life of the Virgin, thirty-seven of his Little Passion on wood, and a number of single pieces. According to Vasari, Dürer’s indignation over those counterfeits was the cause of his journey to Venice, where he is said to have lodged a complaint against Marcantonio, and induced the signoria to prohibit the counterfeiting of his monogram, at any rate, upon any future imitations of the kind. Vasari’s account must certainly be mistaken, inasmuch as Dürer’s journey to Venice took place in 1506, and neither of the two series of woodcuts imitated by Marcantonio was published until 1511. The greater part of the designs for the Life of the Virgin had, it is true, been made and engraved seven years earlier than the date of their publication; and it is to be remarked that, whereas Marcantonio’s copies of the Little Passion leave out the monogram of Dürer, it is inserted in his copies of the Life of the Virgin ; whence it would after all seem possible that he had seen and counterfeited a set of impressions of this series at the time when they were originally executed, and before their publication. But the real nature of the transaction, if transaction there was, which took place between Dürer and Marcantonio, we cannot now hope to recover. Enough that the Bolognese engraver evidently profited, both in money and in education of the hand, by his work in imitating in a finer material the energetic characters of these northern woodcuts. He was soon to come under a totally different influence, and to turn the experience he had-gained to account in interpreting the work of a master of a quite other stamp. Up till the year 1510 Marcantonio had lived entirely at Bologna, with the exception, it would appear, of a visit or visits to Venice. Very soon afterwards he was attracted for good and all into the circle which surrounded Raphael at Rome. Where or when he had first made Raphael’s acquaintance is uncertain. His passage to Rome by way of Florence has been supposed to be marked by an engraving, dated 1510, and known as the Climbers, Les Grimpeurs (Bartsch 487), in which he has reproduced a portion of the design of Michelangelo’s cartoon of the Battle of Anghiari, and has added behind the figures a landscape imitated from the then young Dutch engraver Lucas of Leyden. The piece in which he is recorded to have first tried his hand after Raphael himself is the Lucretia (Bartsch 192). From that time until he disappears in the catastrophe of 1527, Marcantonio was almost exclusively engaged in reproducing, by means of engraving, the designs of Raphael or of his immediate pupils. Raphael, the story goes, was so delighted with the print of the Lucretia that he personally trained and helped Marcantonio afterwards, adding, as some think, a touch of his own here and there to the engraver’s work. A printing establishment was set up under the charge of Raphael’s colour grinder, Il Baviera, and the profits, in the early stage of the business, were shared between the engraver and the printer. The sale soon became very great; pupils gathered round about Marcantonio, of whom the two most distinguished were Marco Dente, known as Marco da Ravenna, and Agostino de’ Musi, known as Agostino Veneziano; and he and they, during the last ten years of Raphael’s life, and for several years following his death, gave forth a great profusion of engravings after the master’s work,—not copying, in most instances, his finished paintings, but working up, with the addition of simple backgrounds and accessories, his first sketches and trials, which often give the composition in a different form from the finished work, and are all the more interesting on that account.
The best of these engravings produced in the workshop of Marcantonio—those, namely, done by his own hand, and especially those done during the first few years after he had attached himself to Raphael—justly count among the most prized and coveted examples of the art. In them he enters into the genius of his master, the genius of choice, of balance, of rhythmical purity and charm; he loses little of the chastened science and subtle grace of Raphael’s contours, or of the inspired and winning sentiment of his faces; while in the parts where he is left to himself—the rounding and shading, the background and landscape—he manages his burin with all the skill and freedom which he had gained by the imitation of northern models, but puts away the northern emphasis and redundance of detail. His work, however, does not long remain at the height marked by pieces like the Lucretia, the Dido, the Judgment of Paris, the Poetry, the Philosophy, or the first Massacre of the Innocents. Marcantonio’s engravings after the works of Raphael’s later years are cold, ostentatious, and soulless by comparison. Still more so, as is natural, were those which he and his pupils produced after the designs of the degenerate scholars of Raphael and Michelangelo, of a Giulio Romano, a Polidoro, or a Bandinelli. Marcantonio’s association with Giulio Romano was the cause of his first great disaster in life. He engraved a series of obscene designs by that painter in illustration of the Sonnetti lussuriosi of Pietro Aretino, and thereby incurred the anger of Pope Clement VIΓ., at whose order he was thrown into prison. Marcantonio’s ruin was completed by the calamities attendant on the sack of Rome in 1527. He had to pay a heavy ransom in order to escape from the hands of the Spaniards, and fled from Rome, in the w.ords of Vasari, “all but a beggar.” It is said that he took refuge in his native city, Bologna; but he never again emerges from obscurity, and all we know with certainty is that in 1534 he was dead. (s. c.)
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MARCASITE. Modern mineralogists, following Haidinger, have restricted this name to those forms of native bisulphide of iron which crystallize in the orthorhombic system, and are sometimes known as “prismatic iron-pyrites.” By the older mineralogists the word was used with less definite meaning, being applied to all crystallized and radiated pyrites, whether rhombic or cubic. In the last century both minerals were extensively used as ornamental stones. The marcasites were generally of small size, faceted like rose diamonds, and brilliantly polished, in which form they were mounted in pins, brooches, shoebuckles, watch-cases, and other ornamental objects. The lustre of the polished surface was so brilliant that the stone, although opaque, formed a rough substitute for diamond; and this lustre was not readily impaired by atmospheric influences. Much of the old marcasite jewellery is of so pale a colour as almost to resemble burnished steel; such kinds generally belong to the true modern marcasite, sometimes called “white pyrites ”; while the specimens which possess a brassy yellow colour are mostly referable to the cubic species, which is distinctively termed pyrite. Some of the finest pyrites suitable for the jeweller is found in Elba and in Brazil; but the mineral enjoys ä very wide geographical distribution, and is common in England, especially in Cornwall, where it is known to the miners as “mundic.” By the ancient Peruvians the mineral was extensively used for amulets, while the larger pieces were polished as mirrors; hence marcasite is sometimes called pierre des Incas. The word marcasite, variously written marchasite, marchesite, marque site, &c., appears to have been introduced from Spain, and is supposed to be of Arabic origin. It is notable that the ...word was applied by early writers on chemistry to the metal now called bismuth.
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MARCELLINUS, St, according to the Liberian catalogue, became bishop of Rome on June 30, 296; his predecessor was Caius or Gaius. Of his pontificate virtually nothing is known. In the Concilia of Mansi and Hardouin there is an account of a synod alleged to have been held in 303 at Sinuessa (between Rome and Capua), at which Marcellinus was accused by three of his priests and two of his deacons of having accompanied Diocletian into the temple of Vesta and Isis, and there burnt incense. The narrative goes on to say that ultimately he confessed his guilt in the presence of the three hundred assembled bishops, but that his condemnation was left to himself, for “prima sedes non judicatur a quoquam.” It is further stated in the same account that he and many of the other bishops were put to death by Diocletian on August 23, 303. The story of the synod of Sinuessa was current at an early date, but was condemned by Augustine and Theodoret as a mere invention of the Donatists. Its fabulous character is maintained by Döllinger {Papstfabeln} and by Hefele {Conciliengesclιichtef even against the weighty authority of the Breviary, where it constitutes a lesson in one of the nocturns for April 26, the commemoration day of Marcellinus. Marcellinus died, according to the Liberian catalogue, in 304, after a pontificate of eight years three months and twenty-five days; after a considerable interval he was succeeded by Marcellus, who has sometimes been identified with him.
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MARCELLUS, Marcus Claudius, Roman warrior, was born about 268 b,c., and served first in Sicily against Hamilcar. In his first consulship (222) he was engaged in the war against the Insubres, and won the spolia opima by slaying their chief Viridomarus. In 216 he was to have gone as praetor to Sicily with a fleet, but was detained on the news of the defeat at Cannae. He went to Canusium and took command of the fragments of the army. He tried without success to prevent Capua going over to Hannibal, but saved Nola. In 214 he was in Sicily as consul at the time of the revolt of Syracuse; he stormed Leontini and besieged Syracuse, but the engineering skill of Archimedes repelled his attacks and compelled him to content himself with a blockade. Himilco landed with a Carthaginian army, and Marcellus failed to prevent their occupying Agrigentum. Taking the opportunity of a feast of Artemis, Marcellus stormed Epipolae; but the old town and the island remained untaken, as also the fort of Euryalus, which was, however, cut off and soon fell. Meanwhile pestilence raged among the Carthaginian army encamped outside. After several months, during which disorder reigned in the town, he gained a lodgment by the aid of a Spanish officer, and Syracuse was surrendered (212). Marcellus spared the lives of the Syracusans, but carried off their art treasures to Rome. Consul again in 210, he took Salapia by help of the Roman party there, and put to death the Numidian garrison. Proconsul in 209, he attacked Hannibal near Venusia, and after a desperate battle retired to that town; he was accused of bad generalship, and had to leave the army to defend himself in Rome. In his last consulship (208), while both consuls were reconnoitring near Venusia, they were unexpectedly attacked, and Marcellus was ...killed. His successes have probably been exaggerated, but he was a brave soldier, and the name often given to him, the “sword of Rome,” was well deserved. Though plebeians, the Marcelli henceforth took a high position; they were hereditary patrons of Sicily.
MARCELLUS, Μ. Claudius, was curule aedile in 56 b.c. with P. Clodius. In 52 he spoke on behalf of Milo at his trial. In 51 he was consul with Ser. Sulpicius. During his consulship he proposed to remove Caesar from his army from March 49. The decision was, however, delayed by Pompeius’s irresolution till February 50, and then the tribune C. Curio insisted that Pompeius also should vacate his command; and the senate voted this by a large majority. But at last C. Marcellus, cousin of Marcus, and then consul, went to Pompeius with the two consuls elect, and offered h ; m the command of the army against Caesar. In January 49 Μ. Marcellus tried to put off declaring war till an army could be got ready; but when Pompeius left Italy Marcus and his brother Caius followed, while his cousin withdrew tα Liternum. After Pharsalus Μ. Marcellus retired to Mytilene. He long made no attempt to return, till in 46 the senate appealed to Caesar. Marcellus accepted this favour reluctantly. Pressed by Cicero, he left Mytilene for Italy, but was murdered in May by Magius Cilo in the Piraeus. Marcellus was a thorough aristocrat, but free from the violence which disgraced many of his party.
MARCELLUS, Μ. Claudius, son of C. Marcellus and Octavia, sister to Octavianus, was born about 43 b.c. Octavianus adopted him and made him pontifex and senator with praetorian rank. In 25 he married Julia, daughter of Octavianus, and was looked on as his future successor. Yet in a dangerous illness Augustus gave his signet to Agrippa. Differences arising, Agrippa was made proconsul of Syria to separate the rivals. In 23 Marcellus, while curule aedile, fell ill and died at Baiae. Livia was suspected of having poisoned him to get the empire for her sou Tiberius. Great hopes had been built on the youth, and he was celebrated by many writers, especially by Virgil, in a famous passage in Aen. vi.
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MARCELLUS I., pope, succeeded Marcellinus, after a considerable interval, most probably in May 307; under Maxentius he was banished from Rome in 309 on account of the tumult caused by the severity of the penances be had imposed on Christians who had lapsed under the recent persecution. He died the same year, being succeeded by Eusebius.
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MARCELLUS II., Marcellus Cervini, cardinal of Santa Croce, a native of the Mark of Ancona, was elected pope iu the room of Julius III. on April 9, 1555, but his feeble constitution succumbed to the fatigues of the conclave, the exhausting ceremonies connected with his accession, and the anxieties arising from his high office, on the twenty-first day after his election. He had a high reputation for integrity, tact, and ability. His successor was Paul IV.
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MARCH, the third month of our modern year, contains thirty-one days. As in the Roman year so in the English ecclesiastical calendar used till 1752 this was the first month, and the legal year commenced on the 25th of March. The Romans called this month Martius, from the god Mars; and it received the name Illyd Monath, i.e., loud or stormy month, from the Anglo-Saxons. In France March was also generally reckoned the first month of the year until 1564, when, by an edict of Charles IX., January was decreed to be thenceforth the first month. Scotland followed the example of France in 1599; but in England the change did not take place before 1752. There is an old saying, common to both England and Scotland, which represents March as borrowing three days from April; thus the last three days of March are called the “borrowing” or the “borrowed days.” In the Complaynt of Scotland we find “the borial blastis of the thre borouing dais of Marche bed chaisset the fragrant Anreise of evyrie fruit-tree far athourt the feildis.” An ancient popular rhyme says
“March borrowit from Averill Three days, aud they were ill;” anl then there is another rhyme which graphically characterizes those three “ill” days in detail :—
“The first, it sail be wind and weet, The next, it sail be snaw and sleet; The third, it sail be sic a freeze, Sall gar the birds stick to the trees.”
There is an old proverb, “A bushel of March dust is worth a king’s ransom.” Dry weather in March is generally favourable to the production of grain on clay lands; and hence a “dusty March” portended a plenteous season; while, on the contrary, a “wet March” frequently proved destructive of both wheat and rye....
The principal fixed days now observed and noted in the course of this month are the following :—March 1st, St David; March 12th, St Gregory; March 17th, St Patrick; and March 25th, Lady Day, one of the established quarter-days in England.
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MARCHE, a former province of central France, was bounded on the N. by Berri, on the N. E. by Bourbonnais, on the E. by Auvergne, on the S. by Limousin, and on the W. by Angoumois aud Poitou, embracing the greater part of the modern department of Creuse, a considerable portion of Haute-Vienne, and fragments of Charente and Indre. It derived its name from the circumstance of its being the “mark” or boundary between Poitou and Berri; it is sometimes referred to as Marche Limousine. It is first mentioned in history as a separate fief about the middle of the 10th century, when the countship of Marche was committed by Duke William III. of Aquitania to Boso I., count of Limoges and Charroux.
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