Friedrich Bernard Christian Maassen
United Sees of Macerata and Tolentino
Vicariate Apostolic of Mackenzie
Marie-Edmé-Patrice-Maurice de MacMahon
Joseph-Anna-Marie de Moyria de Mailla
François-Pierre-Gonthier Maine de Biran
Françoise, Marquise de Maintenon
Joseph-Marie, Comte de Maistre
Marcellinus of Civezza, O.F.M.
Margaret of the Blessed Sacrament
Prefecture Apostolic of Mariana Islands
Congregation of the Missionaries of Mariannhill
Sts. Maris, Martha, Audifax, and Abachum
Lucius Perpetuus Aurelianus Marius Maximus
Vicariate Apostolic of Marquesas Islands
Moral and Canonical Aspect of Marriage
Diocese of Marseilles (Massilia)
Vicariate Apostolic of the Marshall Islands
Diocese of Marsico Nuovo and Potenza
Luigi Ferdinando, Count de Marsigli
Missionaries of the Company of Mary
Servants of Mary (Order of Servites)
Society of Mary (Marist Fathers)
St. Mary Frances of the Five Wounds of Jesus
Richard Angelus a S. Francisco Mason
Devises and Bequests for Masses (United States)
Feast of the Maternity of the Blessed Virgin Mary
Marcus Aurelius Valerius Maximianus
Caius Julius Verus Maximinus Thrax
Prefecture Apostolic of Mayotte, Nossi-Bé, and Comoro
Charles Joseph Eugene de Mazenod
Abbey and Congregation of Melk
Vicariate Apostolic of Méndez and Gualaquiza
Francisco Sarmiento de Mendoza
Corporal and Spiritual Works of Mercy
Sisters of Mercy of St. Borromeo
Frédéric-François-Xavier Ghislain de Mérode
Delegation Apostolic of Mesopotamia, Kurdistan, and Armenia
Metal-Work in the Service of the Church
Prince Klemens Lothar Wenzel von Metternich
Francis, Joseph, and Paul Mezger
Military Orders of St. Michael
Giovanni Francesco Pico della Mirandola
Congregation of the Sisters of Misericorde
Prefecture Apostolic of Misocco and Calanca
Congregation of Priests of the Mission
Congregation of Missionaries of St. Charles Borromeo
Missionaries of St. Francis de Sales of Annecy
Missionary Society of St. Paul the Apostle
Mission Indians (of California)
Catholic Indian Missions of Canada
Catholic Indian Missions of the United States
François-Napoléon-Marie Moigno
Diocese of Molfetta, Terlizzi, and Giovinazzo
Jean-Baptiste Poquelin Molière
Principality and Diocese of Monaco
Canonical Erection of a Monastery
Monophysites and Monophysitism
Monothelitism and Monothelites
Montagnais Indians (Chippewayans)
Charles-Forbes-René, Comte de Montalembert
Marquis de Louis-Joseph Montcalm-Gozon
Diocese of Monterey and Los Angeles
Charles-Louis de Secondat, Baron de Montesquieu
Anne, First Duke of Montmorency
Alexis-François Artaud de Montor
Antoine-Jean-Baptiste-Robert Auget, Baron de Montyon
Dioceses of Mostar and Markana-Trebinje
Feast of the Most Pure Heart of Mary
Toribio de Benavente Motolinia
Congregations of Mount Calvary
Feast of Our Lady of Mount Carmel
Karl Ernst, Freiherr von Moy de Sons
Johann Chrysostomus Wolfgang Amadeus Mozart
St. Clair Augustine Mulholland
Baron Eligius Franz Joseph von Münch-Bellinghausen
Archdiocese of Munich-Freising
Spanish painter, b. at Badajoz in Estremadura about 1509; d. at Badajoz, 1586. His life was spent in painting devotional subjects for churches and oratories. Painting was for him not merely a means of charming the sense of vision: he strove by his brush to express the religious enthusiasm which characterized his age. Critics have detected two styles in the long artistic career of Morales. In his earlier style, the influence of the Florentine school is more marked: he executed various studies and exercises after works of Michelangelo; notably, he copied at Evora a picture representing Christ on the Cross, with the Blessed Virgin and St. John. To this, not easily definable, period is referred a "Circumcision", now in the Prado Museum at Madrid, and six panels for the high altar of the church of La Higuera of Fregenal. In his second style Morales lessens the number of figures in his compositions, which seldom contain more than two or three, often in bust or in half-length. His favourite themes, frequently reproduced without any change, are "Ecce Homo", "Christ at the Column", and "The Blessed Virgin holding the Dead Christ". The drawing is clean and firm, the anatomy correct, the figures, which recall primitive German and Flemish work by their slenderness, are not wanting in grace, and at times are characterized by a certain air of melancholy. The colouring is delicate and as brilliant as enamel. Morales excels in the faculty of making his modelling stand out by the skilfully graduated employment of half-tones; like the early Northern painters, he exercises minute care in the reproduction of the beard and hair, and makes a point of rendering faithfully the drops of blood falling from the thorn-crowned brow of Christ, and the tears flowing from the eyes of the afflicted Mother.
No artist of his time knew better than he how to appeal to the ardent faith of his countrymen, because no one else in that day knew so well how to impart to his sacred characters so intense and infectious emotion. As an example of this we may take the "Christ at the Column" in the Church of San Isidro el Real at Madrid; here the painter pathetically places the disciple who has denied Him face to face with the Divine Master at the flagellation. The resignation of Jesus, His loving look directed towards Peter and fraught with forgiveness, the deep penitence of the apostle, are so vividly rendered that one shares the enthusiasm of Morales's countrymen, and can understand why they called him El Divino. Naturally, his reputation spread rapidly through Spain; Philip II, however, whose preference was for the Italian painters, does not seem to have shared the general enthusiasm: he gave Morales but one commission, for the "Christ going up to Calvary", which he presented to the Jeronymite church at Madrid. The king afterwards, in 1581, granted a pension to the artist, who had become destitute in his old age. Many imitators of Morales exaggerated his style into mannerism and caricature. His son Cristobal accomplished little beyond mediocre reproductions of his works, but one of his pupils, Juan Labrador, became distinguished as a painter of still life. To the works of Morales already mentioned we may add: at Badajoz (Church of the Conception), "Virgin and Child playing with a bird", "Christ carrying the Cross", "St. Joachim and St. Anne"; at Madrid, "Ecce Homo", "Our Lady of Sorrows", "Mary caressing the Divine Child", "The Presentation in the Temple", a "Head of Christ" (Prado Museum), "Ecce Homo" (Church of San Felipe), "Virgin with the Dead Christ" (Academy of San Fernando); at Seville (in the chalice-room of the cathedral), "Ecce Homo", with the "Blessed Virgin and St. John" on the panels; at Toledo (in the Provincial Museum), a "Head of Christ", "Our Lady of Solitude"; at Basle (in the Museum), "Christ carrying the Cross", "Our Lady and St. John"; at Dresden (in the Museum), "Christ carrying the Cross", "Ecce Homo"; at Dublin (in the National Gallery), "St. Jerome in the Desert ", at New York (in the Historical Society), "Ecce Homo"; at Paris (in the Louvre), "Christ carrying the Cross"; at St. Petersburg (in the Hermitage), "Our Lady of Sorrows"; at Stuttgart (in the Museum), "Ecce Homo".
STIRLING, Annals of the Artists of Spain, (London, 1868), 224; BLANC, Hist. des peintres de toutes les Ecoles (Paris, 1865): Ecole espagnole; LEFORT, La peinture espagnole, (Paris, 1893), 74-6.
GASTON SORTAIS