To enumerate all that has been written on Mary would fill a vohmic. Among the chief works are S. Jebb, De Vita et Rthus Gestis 3f a/ice Scotoimm R'f/ince (Lond. 1725, 2 vols, fol.) ; J. Anderson, Collections 7-elatirig to the Histoiy of Mary, Queen of Scotland (Lond. 1727-28, 4 vols. 4to) ; Burton, Hist, of Scotland, vol. iv ; Bishop Keith, Hist, of the Affah'S of Chin-ch and State in Scot- land (Edinb. 1734, fol. ; 1844-50, 3 vols. 8vo) ; W. Good- all, Exundnation of the Letters said to he icritten by Mary, Queen of Scots, to James, Earl of Bothwell (Edinb. 1754, 2 vols. 8vo) ; Robertson, Hist, of Scotland ; W. Ty tier. Inquiry into the Evidence against Mary, Queen of Scots (Edinb. 1759, 8vo ; Lond. 1790, 2 vols. 8vo) ; Laing, Hist, of Scotland ; Chalmers, Life of Mary, Queen of Scots (Lond. 1818, 2 vols. 4to ; 1822, 3 vols. 8vo) ; Schlitz, Lehen Maria Stuarts (1839) ; P. F. Ty tier, IHst. of Scot- land; Prince Labanoff, Recueil des Lettres de Marie Stu- art (Lond. 1844, 7 vols. 8vo) ; David Laing, edition of Ji)hn Knox's Hist, of the Reformation (Edinb. 1846-48, 2 vols. 8vo) ; M. Teulet, Papiers d'Etat relatifs a VHis- toire de VEcosse (Par. 1851-60, 3 vols. 4to ; 1862, 5 vols. 8vo) ; Miss Agnes Strickland, lAves of the Queens of Scotland (Edinb. 1850-59, 8 vols. 8vo) ; M. Mignet, His- toire de Marie Stuart (Par. 1852, 2 vols. 8vo) ; A. de Tilontaiglon, ia//« Themes of Mary Stuart (Lond. 1855, 8vo) ; Prince Labanoif, Notice sur la Collection des Por- traits de Marie Stuart (St. Petersb. 1856) ; M. Cheruel, Marie Stuai-t et Catherine de Medicis (Par. 1858, 8vo) ; I\L Teulet, Lettres de Marie Stuart (Par. 1859, 8vo); Joseph Robertson, Catalogues of the Jewels, Dresses, Fur- niture, Books, and Paintings of Mary, Queen of Scots (Edinb. 1863, 4to) ; Hosack, Mai-y, Queen of Scots and her Accusers -{^A ed. Lond. 1870, 2 vols. 8vo) ; Meline, Mary, Queen of Scots, and her latest English Historian (N. Y. 1872, 8vo), a polemic against Froude, assails the Englisli historian very bitterly, and shows him to be in- accurate in some minor details; but Meluie's own "in-
tense partisanship unfits him for the office of a critic, and he entirely fails in his narrative." (J. H.W.)
Masaccio, called Maso da San Giovanni, one of the earliest and the most celebrated of the Italian paint- ers of the second or middle age of modern painting, the miquestioned founder of the Florentine school, was born at San Giovanni, in Val d'Arno, in the year 1401. He was a disciple of Masolino da Panicale, to whom he proved as much superior as his master was to all his con- temporaries. He had great readiness of invention, with unusual truth and elegance of design. He made nature his constant study ; and he gave in his works exam- ples of that beauty which arises from a judicious and pleasing choice of attitudes, accompanied with spirit, boldness, and relief. He was the first who studied to give more dignity to his draperies, by designing them with greater breadth and fuhiess, and omitting the multitude of small folds. He was also the first who endeavored to adapt the color of his draperies to the tints of his car- nations, so that they might harmonize with each other. Masaccio was remarkably well skilled in perspective, which he was taught by Brunelleschi. His works pro- cured him great reputation, but excited the envy of his competitors. He is supposed to have been poisoned, and died about 1443. Fuseli says of him : " Masaccio was a genius, and the head of an epoch in the art. He may be considered as the precursor of Raphael, who im- itated his principles, and sometimes transcribed his fig- ures." His most perfect works are the frescoes of St. Pietro del Carmine at Florence, " where vigor of concep- tion, truth and vivacity of expression, correctness of design, and breadth of manner are supported by a most surprising harmony of color ;" and the picture of Christ curing the iJoemoniacs. The " Arundel Society" has lately published these frescoes in a series of superior chromo-lithographs. See Vasari, Lives of the Painteis ; Mrs. Jameson, Memoirs of Early Halian Painters.
Masada (MaadSa), a very strong fortress not far south of Engedi (Josephus, War; Ant. i, 12, 1), on the west of the Dead Sea (Pliny, v, 17), in a volcanic region (Strabo, xvi,p. 764), minutely described by Josephus in various places, especially in the account of its final trag- edy ( War, vii, 8). It was built by Jonathan Macca- bajus on an almost inaccessible rock, and was probably one of his "strongholds in Judrea" (1 Mace, xii, 35), as it had possibly been in earlier times a refuge of David (1 Sam. xxiii, 14, 29 ; comp. 2 Sam. v, 17). It was much enlarged and strengthened by Herod the Great, who placed Mariamne here for safety when he was driven from Jerusalem by Antigonus (Josephus, War, i, 13, 7). It resisted, at that time, the attack by the Parthians (ib. 15, 3), but was afterwards taken from the Romans through treachery by Judas the Galitean {ib. 17, 2). It was the last stronghold of the Jews in the final struggle with the Romans mider Flavins Silva, who took it by assault, the garrison, in their desperation, having immo- lated themselves (ut sup.). The site was conjectured by Dr. Eli Smith to be that of the modern Sebbeh (Robin- son, i?fsea?-o^es, ii, 24) ; which has been abundantly con- firmed by later travellers, who have attested the pro- digious strength of the place, and its exact agreement with the description of Josephus (TiaiWs Josephus, ii, 109 sq. ; Biblioth. Sacra, 1843, p. 62 sq. ; Van de Velde, Nar- rative, ii, 97 sq.; Tristram, Land of Israel, p. 293 sq.).