DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0412
390
MARATTI — MARCH.
his subject, and painted it in such a manner as to secure the favor
of Alexander VII. He became the most popular artist of Rome, and
has been called the “ Last of the Romans.” In 1689 Ciro Ferri,
who was his principal rival, died, and from this time, he was rapidly
advanced. He was made inspector of the stanze in the Vatican, bv
Innocent XI. Innocent XII. continued the appointment and made
him superintendent of all the paintings of the Vatican, and Clement
XI. entrusted to him the complete restoration of the frescoes of Ra-
phael, and gave him the insignia of the “ Order of Christ,” for his
labor upon them. He was President of the Acad, of S. Luke at the
time of his death. His works are numerous in both public and private
galleries. There are many of them in England. Bartsch mentions
fourteen etchings by Maratti. These are well executed, and are
partly from his own designs.
Marc Antonio. See Raimondi.
Marcellis (Marsceus, Masseus, or Snuffel^er), Otho. This ar-
tist was known by all the above names. Born in Amsterdam (1613-
16 73). A painter of reptiles, insects, and curious plants. His works
are in the best collections of Holland.
March, Esteban, born at Valencia; died 1660. A pupil of Or-
rente, and a man of singular genius and violent tempers. His life
and manner of painting were Quixotic, not to say disorderly. He
succeeded best in battle scenes. He kept his atelier hung with pikes,
cuirasses, javelins, etc., and would arm himself, and rave about in a
manner most severe on the surroundings, and frightful to his scholars.
When thus lashed up to the point, he dashed off wonderful Pharaohs,
and fiery Christians fighting for the cross against the armies of the
Crescent. He painted religious subjects also, but not with the en-
joyment or success which attended his other efforts. He was often
idle, worked only from necessity, and but poorly provided for his
family. His wife complained of him to her confessor, and begged his
advice. He told her to try what patience and tenderness would
effect, but they seemed of little use, and the result was sometimes
amusing. He came home late one night, with the determination that
a few fish, which he brought, should be instantly cooked. There was
no oil in the house, and when he sent his pupil, Conchillos, to buy
some, the shops were all closed. March then declared that linseed-
oil should be used. This was done, and when they began to eat, it
operated as an emetic on all the party, “for indeed,” quaintly re-
flects Palomino, “ linseed-oil, at all times of a villainous flavor, when
hot, is the very devil.” March then seized fish and frying-pan, and
threw them out of the window. Conchillos. sent the charcoal and
chafing dish to keep them company. This so pleased March that he
embraced him, and lifted the youth in such a manner that he feared
that he too was to be thrown out with the rest. The poor wife
quietly went supperless to bed, and March followed in surprisingly
MARATTI — MARCH.
his subject, and painted it in such a manner as to secure the favor
of Alexander VII. He became the most popular artist of Rome, and
has been called the “ Last of the Romans.” In 1689 Ciro Ferri,
who was his principal rival, died, and from this time, he was rapidly
advanced. He was made inspector of the stanze in the Vatican, bv
Innocent XI. Innocent XII. continued the appointment and made
him superintendent of all the paintings of the Vatican, and Clement
XI. entrusted to him the complete restoration of the frescoes of Ra-
phael, and gave him the insignia of the “ Order of Christ,” for his
labor upon them. He was President of the Acad, of S. Luke at the
time of his death. His works are numerous in both public and private
galleries. There are many of them in England. Bartsch mentions
fourteen etchings by Maratti. These are well executed, and are
partly from his own designs.
Marc Antonio. See Raimondi.
Marcellis (Marsceus, Masseus, or Snuffel^er), Otho. This ar-
tist was known by all the above names. Born in Amsterdam (1613-
16 73). A painter of reptiles, insects, and curious plants. His works
are in the best collections of Holland.
March, Esteban, born at Valencia; died 1660. A pupil of Or-
rente, and a man of singular genius and violent tempers. His life
and manner of painting were Quixotic, not to say disorderly. He
succeeded best in battle scenes. He kept his atelier hung with pikes,
cuirasses, javelins, etc., and would arm himself, and rave about in a
manner most severe on the surroundings, and frightful to his scholars.
When thus lashed up to the point, he dashed off wonderful Pharaohs,
and fiery Christians fighting for the cross against the armies of the
Crescent. He painted religious subjects also, but not with the en-
joyment or success which attended his other efforts. He was often
idle, worked only from necessity, and but poorly provided for his
family. His wife complained of him to her confessor, and begged his
advice. He told her to try what patience and tenderness would
effect, but they seemed of little use, and the result was sometimes
amusing. He came home late one night, with the determination that
a few fish, which he brought, should be instantly cooked. There was
no oil in the house, and when he sent his pupil, Conchillos, to buy
some, the shops were all closed. March then declared that linseed-
oil should be used. This was done, and when they began to eat, it
operated as an emetic on all the party, “for indeed,” quaintly re-
flects Palomino, “ linseed-oil, at all times of a villainous flavor, when
hot, is the very devil.” March then seized fish and frying-pan, and
threw them out of the window. Conchillos. sent the charcoal and
chafing dish to keep them company. This so pleased March that he
embraced him, and lifted the youth in such a manner that he feared
that he too was to be thrown out with the rest. The poor wife
quietly went supperless to bed, and March followed in surprisingly