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-Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
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-Title: Memlinc
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     MASTERPIECES
     IN COLOUR
@@ -1196,361 +1161,4 @@ The text at the BALLANTYNE PRESS, Edinburgh
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 42876 ***
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-Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Memlinc
-
-Author: W. H. James Weale
-        J. Cyril Weale
-
-Editor: T. Leman Hare
-
-Release Date: June 4, 2013 [EBook #42876]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK MEMLINC ***
-
-
-
-
-Produced by sp1nd, Matthew Wheaton and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY - -
-    T. LEMAN HARE
-
-    HANS MEMLINC
-    (?) 1425-1494
-
-
-    IN THE SAME SERIES
-
-       ARTIST.                     AUTHOR.
-    VELAZQUEZ.                S. L. BENSUSAN.
-    REYNOLDS.                 S. L. BENSUSAN.
-    TURNER.                   C. LEWIS HIND.
-    ROMNEY.                   C. LEWIS HIND.
-    GREUZE.                   ALYS EYRE MACKLIN.
-    BOTTICELLI.               HENRY B. BINNS.
-    ROSSETTI.                 LUCIEN PISSARRO.
-    BELLINI.                  GEORGE HAY.
-    FRA ANGELICO.             JAMES MASON.
-    REMBRANDT.                JOSEF ISRAELS.
-    LEIGHTON.                 A. LYS BALDRY.
-    RAPHAEL.                  PAUL G. KONODY.
-    HOLMAN HUNT.              MARY E. COLERIDGE.
-    TITIAN.                   S. L. BENSUSAN.
-    MILLAIS.                  A. LYS BALDRY.
-    CARLO DOLCI.              GEORGE HAY.
-    GAINSBOROUGH.             MAX ROTHSCHILD.
-    TINTORETTO.               S. L. BENSUSAN.
-    LUINI.                    JAMES MASON.
-    FRANZ HALS.               EDGCUMBE STALEY.
-    VAN DYCK.                 PERCY M. TURNER.
-    LEONARDO DA VINCI.        M. W. BROCKWELL.
-    RUBENS.                   S. L. BENSUSAN.
-    WHISTLER.                 T. MARTIN WOOD.
-    HOLBEIN.                  S. L. BENSUSAN.
-    BURNE-JONES.              A. LYS BALDRY.
-    VIGÉE LE BRUN.            C. HALDANE MACFALL.
-    CHARDIN.                  PAUL G. KONODY.
-    FRAGONARD.                C. HALDANE MACFALL.
-    MEMLINC.                  W. H. J. & J. C. WEALE.
-    CONSTABLE.                C. LEWIS HIND.
-
-
-           _In Preparation_
-
-    J. F. MILLET.             PERCY M. TURNER.
-    ALBERT DÜRER.             HERBERT FURST.
-    RAEBURN.                  JAMES L. CAW.
-    BOUCHER.                  C. HALDANE MACFALL.
-    WATTEAU.                  C. LEWIS HIND.
-    MURILLO.                  S. L. BENSUSAN.
-    JOHN S. SARGENT, R.A.     T. MARTIN WOOD.
-
-               AND OTHERS.
-
-
-    [Illustration: PLATE I.--OUR LADY AND CHILD.
-
-              (Frontispiece)
-
-    Right panel of a diptych, painted in 1487 for Martin van
-    Nieuwenhove. It is now in Saint John's Hospital, Bruges.]
-
-
-
-
-    MEMLINC
-
-    BY W. H. J. & J. C. WEALE
-
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    LONDON: T. C. & E. C. JACK
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-    CONTENTS
-
-
-    Chap.                                            Page
-
-       I. Hans Memlinc                                 11
-      II. Early Days and Training                      19
-     III. Earliest Works                               25
-      IV. Characteristics of His Early Works           31
-       V. The Maturity of His Art                      36
-      VI. Masterpieces and Death                       53
-     VII. Effacement and Vindication of His Types      66
-
-
-
-
-    LIST OF ILLUSTRATIONS
-
-
-    Plate                                                  Page
-
-       I. Our Lady and Child, 1487                 Frontispiece
-             (Saint John's Hospital, Bruges)
-
-      II. Adoration of the Magi, 1479                        14
-             (Saint John's Hospital, Bruges)
-
-     III. Saints Christopher, Maurus, and Giles, 1484        24
-             (Town Museum, Bruges)
-
-      IV. Portrait of Nicholas di Forzore Spinelli,
-          holding a medal                                    34
-             (Antwerp Museum)
-
-       V. Portrait of Martin van Nieuwenhove, 1487
-         (companion to I.)                                   40
-             (Saint John's Hospital, Bruges)
-
-      VI. One Panel of the Shrine of Saint Ursula, 1489      50
-             (Saint John's Hospital, Bruges)
-
-     VII. Portrait of an Old Lady                            60
-             (Louvre, Paris)
-
-    VIII. The Blessed Virgin and Child, with Saint
-          George and the Donor                               70
-             (National Gallery, London, No. 686)
-
-
-
-
-MEMLINC
-
-
-
-
-I
-
-HANS MEMLINC
-
-
-Already, before the advent of the House of Burgundy, Bruges had
-attained the height of her prosperity. From a small military outpost
-of civilisation, built to stay the advance of the ravaging Northmen,
-she had developed through four short centuries of a strenuous
-existence into one of the three leading cities of northern Europe.
-Born to battle, fighting had been her abiding lot with but scant
-intervals of peace, and as it had been under the rule of her long line
-of Flemish counts, so it continued with increased vehemence during the
-century of French domination that followed, the incessant warring of
-suzerain and vassal being further complicated and embittered by
-internecine strife with the rival town of Ghent. But she emerged from
-the ordeal with her vitality unsapped, her industrial capabilities
-unabated, her commercial supremacy unshaken. Her population had
-reached the high total of a hundred and fifty thousand; she overlorded
-an outport with a further thirty thousand inhabitants, a seaport, and
-a number of subordinate townships. The staple of wool was established
-at her centre, and she was the chief emporium of the cities of the
-Hanseatic League. Vessels from all quarters of the globe crowded her
-harbours, her basins, and canals, as many as one hundred and fifty
-being entered inwards in the twenty-four hours. Factories of merchants
-from seventeen kingdoms were settled there as agents, and twenty
-foreign consuls had palatial residences within her walls. Her
-industrial life was a marvel of organisation, where fifty-four
-incorporated associations or guilds with a membership of many
-thousands found constant employment.
-
-The artistic temperament of the people had necessarily developed on
-the ruder lines, in the architectural embellishment of the city, the
-beautifying of its squares and streets, its churches and chapels, its
-municipal buildings and guild halls, its markets and canal
-embankments. "The squares," we are told, "were adorned with fountains,
-its bridges with statues in bronze, the public buildings and many of
-the private houses with statuary and carved work, the beauty of which
-was heightened and brought out by polychrome and gilding; the windows
-were rich with storied glass, and the walls of the interiors adorned
-with paintings in distemper, or hung with gorgeous tapestry." But of
-the highest forms of Art--of literature, of music, and of
-painting--there was slender token. The atmosphere in which the
-Flemings had pursued their destinies was little calculated to develop
-any other than the harder and more matter-of-fact side of their
-nature. True, here as elsewhere, and from the earliest period of her
-history the great monastic institutions which dotted the country had
-done much for the cultivation of Art, as the remains of wood
-sculpture, mural paintings, and numerous illuminated manuscripts amply
-testify. But no great school of painting had arisen or was even
-possible, so true is it that the development of the artistic instincts
-of the community require the contemplative repose and fostering
-inspiration of peace. In the truest sense of the term the Flemings
-were not a cultured artistic race: they had certainly a high standard
-of taste, but their artistic sense was appreciative rather than
-creative--even so, a notable advance for a nation of warriors and
-merchants.
-
-    [Illustration: PLATE II.--ADORATION OF THE MAGI.
-
-    This, one of the master's finest works, was painted in 1479 for
-    Brother John Floreins, Master of Saint John's Hospital, Bruges,
-    where it may be seen.]
-
-With the succession of the House of Burgundy to the French domination
-an entirely new era was ushered in. If the ambition of this new line
-of princes was unbounded, equally so was the success which attended
-its pursuit; their authority increased by leaps and bounds, and soon
-their court had become the wealthiest and most powerful in Europe. The
-high notions they entertained of their own dignity brooked no compeer
-in the pomp and glitter of their state. The display the guild and
-merchant princes and foreign representatives were capable of they
-should outdo: the splendour of their sovereignty should blur the
-brilliancy of mere civic ostentation. But while they revelled in the
-outward show of their supremacy, they viewed with jealous eye the
-great wealth and large measure of liberties enjoyed by their subjects.
-Their needs were great, the resources of the people commensurate; and
-in the alternate confiscation and resale of these liberties they found
-a remunerative source of revenue. But if the dukes were arrogant and
-unscrupulous, their subjects were no cravens, and civic shrewdness
-often proved more than a match for ducal craft. A fine sense of
-humour, however, suggested the policy of keeping these lusty burghers
-fully diverted the while they were not being bled or chastened: hence
-the constant recurrence of pacifications and triumphal entries, of
-regal processions and gorgeous tournaments, of public banquets and
-bewildering revels. It was an era of pomp and pageantry unparalleled
-in history, the success of which required the services of the highest
-talents of the day--the foremost artists to enhance its magnificence,
-the leading writers to chronicle its marvels.
-
-It was Duke Philip III. who requisitioned the services of John van
-Eyck and showered on him bounty and patronage, and if his reign had
-proved as uneventful as it was the reverse, Philip's name would still
-survive in the reflected glory of this prince of painting. The
-declining days of the great duke, stricken with imbecility, certainly
-offered no inducement to foreign artists on the lookout for court
-patronage. But with his death, on the 15th of June 1467, the entire
-prospect was changed. Charles the Bold now succeeded to the dukedom:
-his solemn entry into the Flemish capital took place on Palm Sunday of
-the year following--an occasion marked by brilliant jousts and
-tournaments--and his home-coming with his bride, Margaret of York,
-some three months later. These events, the marriage festivities
-notably, called for a great array of talent, and among the leading
-artists engaged in planning and executing the magnificent decorations
-indulged in we find Peter Coustain and John Hennequart, the ducal
-painters; James Daret and Philip Truffin of Tournay; Francis Stoc and
-Livin van Lathem of Brussels; Daniel De Rycke and Hugo Van der Goes of
-Ghent; Govart of Antwerp; and John Du Château of Ypres. And here Hans
-Memlinc enters on the scene, already then a master-painter and
-accomplished artist, but of whom no previous record, of whose lifework
-no earlier trace, has been discovered.
-
-
-
-
-II
-
-EARLY DAYS AND TRAINING
-
-
-As to where and when Memlinc was born, where he served his
-apprenticeship, and with whom he worked as a journeyman no documentary
-evidence has yet been discovered, and no one can confidently assert;
-but there exists a sufficiency of presumptive evidence to warrant
-certain conclusions with the help of which to construct a working
-biography. It appears probable that the family came from Memelynck,
-near Alkmaar, in north Holland, and settled at Deutichem, in
-Guelderland; and, on the strength of an entry copied from the diary
-kept by an ecclesiastical notary and clerk of the Chapter of Saint
-Donatian at Bruges during the years 1491 to 1498, that they
-subsequently removed to the ecclesiastical principality of Mainz. The
-subject of this monograph is likely to have been born, at some date
-between 1425 and 1435, either at some place within that principality,
-or at Deutichem previous to his parents' removal. From our knowledge
-of the guild system which obtained in the middle ages throughout the
-north of Europe with but slight variation in the conditions of
-training and apprenticeship, and taking into consideration besides the
-typical characteristics of Memlinc's work, it appears probable that he
-served his apprenticeship at Mainz, and afterwards worked at Cöln as a
-journeyman, and this opinion is confirmed by the outstanding fact that
-in all the wealth of architectural embellishment in which his pictures
-abound the only town outside Bruges whose buildings are faithfully
-reproduced is this noted centre of art. That he should have travelled
-thither for the especial purpose of securing an accurate background
-for the first, fifth, and sixth panels of the Shrine of Saint Ursula,
-and not have cared to obtain as faithful settings for the incidents of
-the second and fourth panels ascribed to Basel, or for that of the
-third panel located at Rome, will scarcely stand the test of
-criticism. A study of these panels evidences an intimate acquaintance
-with the architectural beauties of Cöln, a knowledge obviously
-acquired at first hand during a period of his life devoted to Art.
-The master under whom he worked was in all probability the Suabian,
-Stephen Löthener, of Mersburg, near Constance, who had settled in Cöln
-before 1442, and died there in 1452. It is presumable that Memlinc may
-not have completed his studies at the time of that painter's death. In
-the circumstances one can but conjecture as to where he completed the
-necessary training before attaining to the rank of a master-painter.
-Vasari and Guicciardini both assert that Memlinc was at some time or
-other a pupil of Roger De la Pasture (Van der Weyden), and, as this
-master returned from Italy in 1450, he may have come across Memlinc at
-Cöln and engaged him as an assistant. It is, however, quite possible
-that Memlinc stayed on at Cöln until Löthener's death in 1452 and then
-went to Brussels, doubtless passing by Louvain and possibly working
-for a time under Dirk Bouts. Certain it is, judging from the many
-points of similarity in their work, that Memlinc came under Roger's
-influence for a space sufficiently long to leave a strong impress of
-that master's methods on his art. Memlinc's contemporary, Rumwold De
-Doppere, has left it on record that he was "then considered to be the
-most skilful and excellent painter in the whole of Christendom"; and
-if Memlinc had left nothing to perpetuate his fame but such gems as
-the Shrine of Saint Ursula, at Bruges, the "Passion of Our Lord," in
-the Royal Museum at Turin, that remarkable altarpiece, "Christ the
-Light of the World," in the Royal Gallery at Munich, or even, as
-Fromentin suggests, only those two figures of Saint Barbara and Saint
-Katherine in the large altarpiece at Bruges, he would need nothing of
-the reflected glory of his alleged master to enhance his renown.
-Always assuming Memlinc to have stood in this relation to De la
-Pasture, Sir Martin Conway came to a happy conclusion when he wrote
-that Roger's greatest glory is that he produced such a pupil--"that
-Memlinc the artist was Roger's greatest work."
-
-    [Illustration: PLATE III.--SAINTS CHRISTOPHER, MAURUS, AND
-    GILES.
-
-    This, the central panel of an altarpiece, painted in 1484 for
-    William Moreel, Burgomaster of Bruges, is now in the Town
-    Gallery at Bruges.]
-
-
-
-
-III
-
-EARLIEST WORKS
-
-
-The first painting to bespeak his industry is now supposed to have
-been the famous triptych of the Last Judgment in the Church of Saint
-Mary at Danzig, commenced after 1465 and finished in 1472 or early in
-1473.
-
-Few pictures have evoked more controversy or been coupled with the
-names of more artists than the Danzig triptych. The entry in a local
-church register of 1616 which asserts that it was painted in Brabant
-by John and George van Eichen, an ascription varied at a subsequent
-period by substituting the name of James for John, carries no more
-weight than usually attaches to popular traditions, and was generally
-disregarded by the connoisseurs and experts who have debated the
-question for more than a hundred years. The names of Albert van
-Ouwater, Michael Wohlgemuth, Hugh Van der Goes, Hubert and John van
-Eyck, Roger De la Pasture, and Dirk Bouts have all been canvassed with
-more or less assurance. Memlinc's name was first associated with the
-work in 1843, by Hotho, whose opinion met with wide acceptance, a
-notable convert to his view being Dr. Waagen, who in 1860 declared the
-triptych to be "not only the most important work by Memlinc that has
-come down to our time, but also one of the masterpieces of the whole
-school, being far richer and better composed than the picture of the
-same subject by Roger De la Pasture at Beaune, though that master's
-influence is still perceptible," though two years later he recognised
-in the figures the influence of Dirk Bouts; and in 1899 Kämmerer as
-emphatically declared that "no one who is acquainted with Memlinc's
-authentic works can possibly doubt that this picture is the work of
-his hand." In the absence of contemporary documentary evidence, and
-with the donors of the picture still unidentified, confronted moreover
-with the fact that in its composition the Danzig triptych differs
-altogether from Memlinc's authenticated paintings, many experienced
-judges still hesitated to admit the claim put forward in his behalf.
-But the recent discoveries made by Dr. A. Warburg leave little room
-for doubt. In the fifteenth century there was a considerable Italian
-colony at Bruges, and the powerful Florentine firm of the Medici,
-whose ramifications extended over all Europe, had a branch
-establishment there in the name of Piero and Giovanni de' Medici, the
-acting manager of which from 1455 to 1466 was Angelo di Jacopo Tani,
-who, after serving as bookkeeper of the firm's agency in London, had
-been transferred to Bruges in 1450. Tani may have taken Memlinc into
-his household with a view to the production of the triptych under his
-own eye. The absence of Memlinc's name from the guild registers of the
-period lends probability to the theory that he was employed by Charles
-the Bold, for ducal service exempted painters settling in Bruges from
-the obligation of purchasing the right of citizenship, and of becoming
-members of the local guild. It is presumed that Tani engaged Memlinc's
-services at some date after 1465 to paint or, if the work had been
-commenced by some other painter, to complete this picture. While the
-dexter shutter, representing the reception of the elect by Saint Peter
-at the gate of Heaven, can only have been designed by a pupil of
-Löthener, it is equally certain that the upper portion of the central
-panel must have been designed by some one who had worked under Bouts
-or De la Pasture. In 1466 Tani visited Florence, and there married
-Katherine, daughter of William Tanagli. As their portraits and arms
-are on the exterior of the shutters, these cannot have been commenced
-before they were both in Bruges, some time in 1467, the date inscribed
-on the slab covering a tomb on which a woman is seated. The technique
-and colouring of the entire work are Netherlandish, and in the opinion
-of the most trustworthy critics are certainly the work of Memlinc. The
-painting completed, it was, at the commencement of 1473, despatched by
-sea to Florence, but the vessel bearing it was captured by
-freebooters, and the picture as part of the prize carried off to
-Danzig.
-
-The patronage of the agent of the Medici was of course of incalculable
-advantage to a rising artist, and doubtless it served to secure for
-Memlinc the interest of Spinelli of Arezzo--whose portrait, now in the
-van Ertborn collection at the Antwerp Museum, he painted in the
-latter half of 1467 or the beginning of 1468, when this Italian
-medallist was in the service of Charles the Bold as seal engraver--and
-to bring his growing reputation to the notice of the ducal court. The
-negotiations for the hand of Margaret of York, begun in December 1466,
-and unduly protracted owing no doubt to the mental incapacity of Duke
-Philip III., were of course resumed at the expiration of the period of
-court mourning after his death on 15th June 1467. Following the
-example of his father, Charles may have commissioned Memlinc to
-accompany his ambassadors to the English court for the purpose of
-securing an up-to-date portrait of his intended consort. In the
-circumstances Memlinc would certainly have made the acquaintance of
-Sir John Donne, for the Donnes were ardent Yorkists high in the royal
-favour, and moreover the brother of Sir John's wife, William, first
-Lord Hastings, filled the office of Lord Chamberlain to the king. But
-the triptych in the Chatsworth collection, though the outcome of this
-meeting, could not have been executed at the time, as the period of
-Memlinc's visit would have been restricted to carrying out the ducal
-instructions. An opportunity for the necessary sittings was afforded
-later, when Sir John Donne, accompanied by his wife and daughter,
-journeyed to Bruges in the suite of the princess to assist at the
-wedding celebrations in July 1468. The omission of the sons from the
-family group in the triptych is sufficiently accounted for by the fact
-that they were in Wales at the time.
-
-
-
-
-IV
-
-CHARACTERISTICS OF HIS EARLY WORKS
-
-
-To the art student these earliest of Memlinc's paintings--the Donne
-triptych in particular--are replete with interest. In the first place,
-they attest the powers then already at the painter's command as an
-exponent of his art, and they further serve as a standard of
-comparison by which to judge his afterwork. Memlinc was pre-eminently
-a religious artist, deeply imbued with Scriptural lore and well versed
-in hagiography, a fund of knowledge sublimated in the beautiful
-mysticism of the school of Cöln which had early subjugated his poetic
-temperament. His conception of the Madonna, based on a fervent
-appreciation of the purity, the tenderness, and the majesty of her
-nature was deeply rooted, and it led him to evolve the definite type
-which he presents to us in the Chatsworth picture, to which he
-faithfully adheres henceforth, at times enhancing its beauty--as
-witness the triptych in the Louvre and the altarpiece of Saint John's
-Hospital at Bruges--until his ideal culminates in that marvellous
-embodiment of her supreme attributes preserved to us in the Van
-Nieuwenhove diptych. The Divine Infant, it is true, may not appeal to
-one in the same way as do the charming pictures of infant life in
-which the southern artists excelled. Whatever may be said of the fine
-men and intellectual women of the race, the northern type of babyhood
-cannot by any stretch of courtesy, apart from a mother's loving
-weakness, be described as graceful. Still Memlinc's conceptions of the
-Infant Saviour rank high in point of intellectuality, of
-expressiveness of eye, of grace of movement and charm of expression.
-The Donne triptych besides, from the point of view from which we are
-now considering it, is a valuable asset for the study of the
-impersonations of saints whom we find constantly recurring in his
-paintings: to wit, Saint Katherine and Saint Barbara--(Fromentin's
-enthusiastic appreciation of these figures in the large altarpiece at
-Bruges has already been quoted)--Saint John the Baptist and Saint John
-the Evangelist, and Saint Christopher. The same may be said of his
-angels. Taken from another standpoint, these early paintings of
-Memlinc are invaluable testimony of his rare gift for portraiture. It
-was a gift which may almost be taken as the specific appanage of the
-fifteenth century painters of the Netherlandish school. Some, like
-John van Eyck, used it with scrupulous exactitude, scorning to veil
-the palpable truth that at the moment and usually obtruded itself on
-his painstaking eye; others, and Memlinc prominently of their number,
-loved rather to seize on the fitful manifestation of the inner man and
-to idealise him. Both artists, taking them as types, were honest and
-true to their art, notwithstanding that the resulting truth in each
-case is deceiving, except we have very particular information
-regarding the individual portrayed. In any event, the Tani and
-Spinelli portraits are fine examples of the class, though perhaps Sir
-John Donne's appeals to us more because of the fuller knowledge we
-have of the man. And finally, both the Antwerp and the Chatsworth
-paintings afford us beautiful examples of Memlinc's art as a landscape
-painter, and in this respect certainly it may be safely asserted that
-he never produced better work.
-
-    [Illustration: PLATE IV.--NICHOLAS SPINELLI OF AREZZO.
-
-    Nicholas Spinelli, born 1430, was in 1467-68 in Flanders, in the
-    service of Charles the Bold as seal engraver. He died in 1499 at
-    Lyons, where this portrait was acquired by Denon. He is depicted
-    holding a medal, showing a profile head of the Emperor Nero,
-    with the inscription "NERO CLAVDius CÆSAR AVGustus GERManicus
-    TRibunicia Potestati IMPERator." It was bought from the heirs of
-    Denon by M. van Ertborn, who bequeathed it to the Museum at
-    Antwerp.]
-
-
-
-
-V
-
-THE MATURITY OF HIS ART
-
-
-From the consideration of these three works executed in the sixties we
-pass on to a decade of more notable achievement. The public rejoicings
-which had inaugurated the new reign were already dimmed to
-recollection in the disquieting civil and national complications that
-ensued, culminating in the disastrous battle of Nancy on 5th January
-1477, in which the ducal troops were put to rout and Charles himself
-lost his life. He was succeeded by his only daughter, Mary, who on
-19th August of the same year by her marriage to Maximilian, son of the
-Emperor Frederick IV., brought Flanders under the rule of the House of
-Austria, and thus involved the Flemish burghers in that lamentable
-struggle which, after many alternations of fortune, was one of the
-chief causes that led to the downfall of Bruges. Memlinc, as a
-newcomer without rooted interests or strong political bent, wholly
-wrapt in his art, naturally steered clear of political entanglements,
-though ready enough on occasion to take his share of the public burden
-which the fortune of war imposed, as witness his contribution to the
-loan raised to cover the expenses of the military operations against
-France. But his placid disposition shrank from the heat and ferment of
-public life, though his sympathies no doubt were all with the burghers
-and guildmen with whom he associated, among whom he found the most
-liberal supporters of his art to the exclusion of court patronage, and
-from whose womankind he selected a helpmate. Memlinc married later in
-life than was the custom of his day, when it was usual for craftsmen
-to take unto themselves a wife at the expiration of their
-journeymanship, after they had established their competence, paid the
-indispensable guild fees, and taken the no less essential vows to bear
-themselves honestly and to labour their work as in the sight of God;
-for it was only at some date between 1470 and 1480, when already a man
-of middle age, that he led Anne, daughter of Louis De Valkenaere, to
-the altar. It is impossible to determine the year, but on the 10th of
-December 1495 we find the guardians of the three children of the
-marriage acting on their behalf in the local courts in the winding-up
-of their father's estate, which at any rate proves that the eldest at
-that time must have been still a minor, or under the age of
-five-and-twenty. Apart from his wife's dowry, of which we have no
-knowledge, Memlinc's circumstances were then already much above the
-ordinary, for in 1480 out of the 247 wealthiest citizens only 140 were
-taxed at higher rates, and it is on record that in the same year he
-purchased a large stone house and two smaller adjacent ones on the
-east side of the main street that leads from the Flemish Bridge to the
-ramparts, in a quarter of the town much affected by artists, and
-within the Parish of Saint Giles, beneath the spreading trees of whose
-peaceful God's acre he was to find an abiding resting-place some
-fourteen years later, by the side of his old friend the miniaturist
-William Vrelant, who predeceased him by some thirteen years, to be
-joined there in after years by many another eminent artist, such as
-John Prévost, Lancelot Blondeel, Peter Pourbus, and Antony Claeissens.
-
-That he was a busy man the record of works that have come down to us
-from this decade alone amply testifies. The "Saint John the
-Baptist," in the Royal Gallery at Munich (1470); the exquisite little
-diptych "The Blessed Virgin and Child," in the Louvre, painted (_c._
-1475) for John Du Celier, a member of the Guild of Merchant Grocers,
-whose father was a member of the Council of Flanders; the panel in the
-National Gallery, which we reproduce; the magnificent altarpiece in
-the Royal Museum at Turin painted for William Vrelant (1478); the
-famous triptych executed for the high altar of the church attached to
-the Hospital of Saint John at Bruges (1479); and the triptych "The
-Adoration of the Magi" presented to the Hospital by Brother John
-Floreins (1479), all belong to this period: while with the year 1480
-are associated the portraits of William Moreel and his wife, in the
-Royal Gallery at Brussels; that of one of their daughters as the Sibyl
-Sambetha, in Saint John's Hospital; the marvellous composition in the
-Royal Gallery at Munich, "Christ the Light of the World," painted to
-the order of Peter Bultinc, a wealthy citizen of Bruges and a member
-of the Guild of Tanners; and the triptych "The Dead Christ mourned by
-His Mother," in Saint John's Hospital--let alone the numerous other
-works attributed to him but not authenticated or which have been lost.
-The bare record, however, conveys but a feeble idea of the immensity
-of the labour this output involved.
-
-    [Illustration: PLATE V.--MARTIN VAN NIEUWENHOVE.
-
-    The companion of the painting reproduced in Plate I., and is in
-    the Hospital of Saint John.]
-
-The panel in the National Gallery, which may be ascribed to 1475,
-arrests our attention for the moment. It presents to us the Blessed
-Virgin and Child in attitudes closely corresponding to those in the
-earlier Donne triptych, but both are more pleasing figures in respect
-of pose, the attitude of the Madonna in particular being less
-constrained and the expression happier and more natural. The figure of
-the angel too has gained in gracefulness. The donor under the
-patronage of Saint George appeals to one as a living personality. Of
-these two figures a lady critic complains that they are
-"characteristic examples of Memlinc's inability to depict a really
-manly man"; and she endeavours to give greater point to this criticism
-by contrasting the painter's methods with those of John van Eyck,
-wholly of course to the disadvantage of the former. In the present
-case the identity of the donor remains a mystery: he may not have been
-the really manly man the idealist would require, and also he may have
-been the man of reverent and sweet disposition revealed to us in this
-portrait. It is for the softening and idealisation of the face from
-the reality, however, that fault is commonly found with Memlinc as a
-portrait-painter. But, after all, what is this idealisation of the
-subject but the highest aim and truest concept of art? It is no
-difficult matter for the competent painter to produce a counterpart of
-the outward flesh with all its peculiarities, even to the last wrinkle
-and the least significant blemish, and be awarded the palm for "stern
-realism"; but to conceive the inner soul of the man, to seize and fix
-that conception on panel or canvas, surely that is the higher art? It
-is true that in the men whom Memlinc portrayed there is a marked
-similarity of expression, arising obviously from the fact that they
-are usually pictured in an attitude of devotion, and that in the frame
-of mind this attitude imposed they suffered some loss of workaday
-individuality. But surely it is not to Memlinc's discredit that his
-clients were of the devotional order? Nor is the criticism of the
-Saint George as mild and effeminate any more to the point; for when
-the appeal is from Memlinc to Van Eyck one is forcibly reminded of the
-votive picture of the Virgin and Child by that master in the Town
-Gallery at Bruges, in which we have the donor under the patronage of a
-Saint George whom for sheer inanity of expression and utter
-awkwardness of demeanour it would be hard to beat. And yet in neither
-instance, we may safely assume, was the figure the type the artist
-would have created for the valiant knight of the legend. Apart from
-this, a careful study of Memlinc's many works will reveal to the most
-exacting a sufficiency of evidence that his art was equal to any
-demands that might have been made of it; of his preference for the
-milder and more religious type of man, however, there can be no doubt.
-
-It were idle to speculate as to the length of time Memlinc devoted to
-the production of his pictures, seeing the meagreness of the data
-afforded us for the purpose. His peculiar technique, however, which
-avoided the accentuation of light and shade, and thereby simplified
-the scheme of colouring, lent itself to rapid execution. Even so,
-paintings like the altarpiece in the Royal Museum at Turin and that in
-the Royal Gallery at Munich must have made heavy calls on his time
-through a number of years. As examples of the powers and wealth of
-resource of the artist these masterpieces stand almost alone. The
-architectural setting of the former, a wholly imaginary Jerusalem, is
-so contrived as to assist in the most natural manner the precession of
-the Gospel story from the triumphal entry into the Holy City to the
-Resurrection and the manifestation of Christ to Mary Magdalene. As
-without conscious effort the eye is guided along the line of route
-followed by the Redeemer, one treads in imagination in the Divine
-footsteps through the hosannahing multitude in the extreme background
-on the right, and turning to the left arrives at the Temple steps in
-time to witness the casting out of the buyers and sellers; descending
-thence and bearing gradually towards the right a turn of the street
-leads one to the scene of the Last Supper, which Judas has already
-left to confer with the priests under a neighbouring portico as to the
-betrayal of his Master; and eventually one arrives at the Garden of
-Olives, to be confronted in rapid succession with the Agony and the
-picture of the sleeping disciples, the rush of armed men, Judas'
-traitorous kiss and Peter in the act of striking at Malchus. Following
-the multitude for some little distance one reaches the heart of the
-city, where the successive incidents of the Passion are grouped each
-under a separate portico showing on to a spacious courtyard in the
-very centre of the panel--Christ before Pilate and his expostulating
-wife, the Flagellation, the Crowning with thorns and mocking of Our
-Lord, Christ before Herod and the Ecce Homo, with the preparations for
-the Crucifixion going on the while in the open courtyard. These
-completed, the mournful procession passes under a palace gateway into
-the forefront of the picture, bears to the left and issues through the
-city gate, where the Mother of Christ, the beloved disciple, and the
-holy women have gathered together, into the open country, where at the
-foot of the hilly way that skirts the city walls Simon of Cyrene comes
-forward to relieve the fallen Saviour in the burden of the Cross;
-presently the procession is lost to view at a bend of the road only to
-reappear on the slopes of Calvary, which is triplicated here for the
-purpose of re-enacting the three scenes associated with it--of the
-Nailing to the Cross, of the Death of Our Lord, and of the Descent
-from the Cross. Lower down on the left we assist at the Entombment and
-at the Deliverance of the Just from Limbo, and further away we
-witness the Resurrection and, in the far background, the manifestation
-of Our Lord to Mary Magdalene. Viewed as a whole it is a marvel of
-composition enhanced by a brilliancy of colouring, and every scene in
-it a delicately finished miniature. Apart from the architectural
-setting, the three Calvaries, and the duplication of the Holy
-Sepulchre imposed by the necessity of representing both the Entombment
-and the Resurrection, the most captious can discover nothing to abate
-the enthusiastic admiration which this altarpiece excites, or one's
-wonder at the masterful manner in which Memlinc has succeeded in
-developing the story of the Passion in some twenty scenes
-necessitating the introduction of considerably over two hundred
-figures, apart from the animal and bird life that supplements them,
-within the narrow compass of a panel only fifty-five centimetres high
-by ninety centimetres in breadth! The extreme corners of the
-foreground are filled in with exquisite portraits of the donors, the
-miniaturist William Vrelant and his wife, for whom one feels that
-Memlinc has tried to excel himself in this masterwork.
-
-Scarcely less surprising as a composition is the story in bright
-luminous colours told in the Munich altarpiece, a work of considerably
-larger dimensions (80 by 180 centimetres), commonly described as "The
-Seven Joys of Mary," but for which the more appropriate title has been
-suggested of "Christ the Light of the World." It is the story of the
-manifestation of Our Lord to the Gentile world in the persons of the
-Wise Men from the East, closely correspondent, as was Memlinc's wont,
-to the Gospel narrative and Christian tradition, except perhaps in
-this one respect, that the artist's innate love of moving water has
-suggested to him the original conceit of depicting the departing Magi
-as setting sail for their distant homes across the boundless waters.
-This portion of the background and the greater wealth of surrounding
-landscape greatly relieves the architectural setting, which is not so
-overpowering as in the Turin altarpiece. The composition too, as
-becomes the subject, is teeming with the joy of life in varying
-aspects. Here we have the gay cavalcade with streaming banners
-galloping along the road to Bethlehem, there the shepherds peacefully
-tending their flocks on the grassy slope, their watch beguiled by the
-strains of a bagpipe; here the scene at the Manger, all love and
-devotion, and the running stream nigh by at which the horses are being
-watered the while the Magi are making their act of adoration, there
-the kings with their retinues triumphantly riding away over the rocky
-heights; anon we have the sequence of miracles that attended the
-Flight of the Holy Family into Egypt--the wheat that grew and ripened
-in a day, the date-palm bending to offer its fruit to the Virgin
-Mother resting beneath its shade while the unsaddled ass grazes as it
-lists and Joseph fetches water from a neighbouring spring; elsewhere
-the risen Christ appearing to the fishing apostles, and far beyond
-across the waters in the background the setting of the sun in all its
-glory. Every scene that lends itself to the treatment has its beauty
-enhanced by the beauties of Nature. The one sorrowful incident in the
-whole story, the Massacre of the Innocents, is a mere suggestion of
-this cruel episode. Memlinc's nature shrank from the interpretation of
-evil, and in this particular instance has admirably succeeded in
-commemorating the incident of the massacre without involving it in any
-of its horror. A pleasing innovation may also be noticed in the
-treatment of his portraits of donors, Peter Bultinc and his son being
-introduced as devout spectators of the scene presented in the stable
-at Bethlehem, which they humbly contemplate through an opening in the
-wall. "The more one examines this picture, the greater one's
-astonishment at the amount of work which Memlinc has lavished on it,
-at the exquisite beauty of the various scenes, the marvellous
-ingenuity displayed in separating them one from another, and the skill
-with which they balance and are brought into one harmonious whole."
-
-    [Illustration: PLATE VI.--MARTYRDOM OF SAINT URSULA.
-
-    This forms the eighth panel of the famous shrine, completed in
-    1489 for the Hospital of Saint John at Bruges, where it may be
-    seen. The archer is a portrait of the celebrated Dschem, brother
-    of the Sultan Bajazet, taken prisoner at Rhodes in 1482, copied
-    from a portrait in the possession of Charles the Bold.]
-
-The Turin altarpiece was completed not later than 1478, in which year
-William Vrelant gave it to the Guild of Saint Luke and Saint John
-(Stationers); the Munich one at any rate some time before Easter 1480,
-at which date the donor presented it to the Guild of Tanners. But
-already then Memlinc had undertaken the triptych in the Hospital of
-Saint John painted to the order of its spiritual master, Brother John
-Floreins, acknowledged to be technically the most perfect work he
-completed before the end of 1480; and also the larger triptych for the
-high altar of the Hospital church.
-
-
-
-
-VI
-
-MASTERPIECES AND DEATH
-
-
-Meanwhile the contest in which the burghers of Bruges had become
-involved through the disputes between the States of Flanders and
-Maximilian over the guardianship of his son, was precipitating the
-decay of the town which the relentless forces of Nature had long since
-decreed. As early as 1410 the navigation of the great haven of the
-Zwijn had become impeded, and so rapidly had the silting up advanced
-that before the close of the century no vessel of any considerable
-draught was able to enter the port of Damme. Entirely engrossed in the
-safeguarding of the remnant of their privileges, no serious effort was
-made to combat the mischief, and in the end Bruges found herself
-absolutely cut off from the sea. On the other hand, in the enjoyment
-of peace and the greater security it engendered, Antwerp was slowly
-asserting herself and gradually attracting to her quays the merchant
-princes from the littoral of the Zwijn; and as commerce imperceptibly
-gravitated towards the city by the Scheldt the foreign consuls one by
-one forsook the doomed emporium of the Hanseatic League. Memlinc,
-pursuing the even tenor of his life, continued to produce with
-unabated ardour and undiminished skill, and with this period--the last
-fourteen years of his life--is associated the most celebrated of all
-his works, the marvellous Shrine of Saint Ursula, the gem of the
-priceless collection preserved to this day in the old chapter-room of
-Saint John's Hospital. When this masterpiece was first undertaken we
-are not in a position to say, but it was completed in 1489, and on the
-21st day of October in that year the relics for whose safe keeping it
-had been designed were deposited within it. But to the eighties belong
-other memorable productions. In 1484 was finished the interior of the
-altarpiece for the Moreel chantry in the Church of Saint James, now
-housed in the Town Gallery at Bruges; in 1487 was painted the portrait
-of a man preserved in the Gallery of the Offices at Florence, and also
-was completed the wonderful diptych for Martin van Nieuwenhove, whose
-portrait we reproduce as the finest example of Memlinc's work in that
-particular department of art; and in 1490 the finishing touches were
-put to the picture in the Louvre of the Madonna and Child, to whom
-saintly patrons are presenting the family of James Floreins, a younger
-brother of the donor of the triptych picturing the Adoration of the
-Magi which, as we have seen, was completed in 1479.
-
-But work, which always spelt happiness to Memlinc, meant something
-more to him in this decade of his career. Death in 1487 robbed him of
-his wife. One pictures to oneself the bereaved artist seeking solace
-from the grief of his widowed home in intensified application to his
-art. The refining discipline of sorrow was exercising its softening
-influence on a nature of whose religious fervour and deep piety his
-life-work is an abiding testimony. Absorbed in the production of the
-Shrine of Saint Ursula, does not the instinct of human sympathy
-suggest to us the artist spending himself in this inimitable work for
-a monument of his love worthy of the memory of the helpmate who had
-devoted her life to enhance the happiness of his own, herein seeking
-and finding surcease of the sorrow that now overshadowed his life, the
-burden of work balancing the burden of grief? And what a monument! So
-familiar is the legend and the unique interpretation of it he has left
-us, one feels it would be a work of supererogation to dwell on the
-story. But the treatment, viewed by the light of Memlinc's
-bereavement, discloses fresh beauties in every panel. Critics have
-dwelt on the unreality of the death scenes in this shrine. Memlinc, as
-we have had sufficient occasion to observe, shrank from the painful
-expounding of evil. But for him death had no terrors: it was but the
-passing over to the ineffable reward of a well-spent life, and this
-innate feeling he conveys to us in the placid acceptance of death by
-Saint Ursula and her virgin band as but a stepping across the
-threshold to everlasting bliss. These critics, on the contrary, look
-for the betrayal of fear and anguish, for the manifestation of human
-suffering: but, like the martyrs of the early Church, we find these
-victims of the ruthless Huns not alone meeting their death in a spirit
-of resignation, but welcoming it with abounding peace and a joyful
-self-surrender, strong in the hope and faith of the hereafter: as the
-artist himself was wistfully looking forward to the day and the hour
-that would reunite him there to the one he had loved best on earth.
-
-Turning to the other works of this period which we have mentioned, the
-Moreel altarpiece arrests our attention. Apart from the particular
-friendship which linked him with William Vrelant and the brothers
-Floreins, few men were more likely to attract him than the donor of
-this painting. The great-grandson of a Savoyard, Morelli, who had
-settled in Bruges in 1336, William Moreel, a member of the Corporation
-of Grocers, after filling various civic offices, was elected
-burgomaster of Bruges in 1478, and again in the troublous days of
-1483. His standing is sufficiently attested by the record that in 1491
-only ten of his fellow-citizens were taxed at a higher rate. Able and
-strong-willed, a capable financier and ardent politician, he was ever
-foremost in defending the rights and liberties of his country, and to
-such purpose that Maximilian, who had imprisoned him in 1481, refused
-when he made his peace with the States of Flanders, on 28th June 1485,
-to include him in the general amnesty. He retired to Nieuport, but
-returned to Bruges in 1488 and was chosen as treasurer of the town,
-and in July 1489 was presented by the magistrates with the sum of £100
-in recognition of services rendered. Reference has been made to the
-independent portraits of Moreel, his wife, and one of his daughters.
-In the triptych under notice the whole family are gathered together,
-the father and his five sons, his wife Barbara van Vlaenderberch and
-their eleven daughters. The donor's head is probably a copy of the
-Brussels panel, assuming that at the time it was painted, Moreel was
-still in prison; while that of his wife, more careworn and aged, bears
-testimony to the anxiety occasioned her by her husband's confinement.
-This painting, too, will afford the critics who love to find fault
-with the Flemish school for its alleged inability to do justice to the
-winsomeness of child life an opportunity of reconsidering their
-judgment by the light of the Infant Jesus whom Saint Christopher is
-bearing across the ferry, and once more we are met in every portion of
-the picture with brilliant exemplifications of the artist's special
-aptitude for interpreting the beauties of Nature.
-
-Scarcely less attractive, and in some respects even more interesting,
-is the celebrated diptych associated with the name of Martin van
-Nieuwenhove. Here we have a departure from Memlinc's usual
-practice, which was to present the Blessed Virgin and Child in an open
-portico, the artist picturing them in a room amply lighted by windows,
-the upper portions of which are adorned with pictures in stained
-glass, while the lower halves, mostly thrown open, reveal inimitable
-scenes of country life; moreover, a convex mirror at the back of Our
-Lady reflects the depicted scene of the interior. The donor belonged
-to a noble family long settled in Bruges, evidently a man of great
-promise, for after being elected a member of the Town Council in 1492,
-he was chosen burgomaster in 1497 at the early age of thirty-three.
-Unfortunately he passed away in the prime of life a short three years
-later. The painting dates from 1487, and the portrait is Memlinc's
-masterpiece in that branch of art.
-
-    [Illustration: PLATE VII.--AN OLD LADY.
-
-    This fine portrait, with its companion, was formerly in the
-    Meazza collection at Milan, dispersed in 1884. It was exhibited
-    at Bruges in 1902 (No. 71), since when it has been purchased by
-    the Louvre, where it is now to be seen. The companion portrait
-    is in the Berlin Museum.]
-
-The panel in the Louvre ranks equally with this production, its chief
-feature being the marvellous grouping of the donors and their family.
-James Floreins, younger brother of John, the spiritual master of Saint
-John's Hospital, belonged to one of the wealthiest of the Bruges
-guilds, the Corporation of Master Grocers, among whose members (John
-Du Celier and William Moreel to wit) Memlinc found such generous
-patrons of his art. He had married a lady of the Spanish Quintanaduena
-family, who bore him nineteen children: the eldest son, a priest, is
-represented in furred cassock and cambric surplice, and the second
-daughter in the habit of a Dominican nun. This picture is another but
-wholly different departure from the setting usually affected by the
-artist in his presentment of the Virgin and Child. The throne here is
-erected in the middle of the nave of a round-arched church, a
-rood-screen of five bays shutting off the choir. The north transept
-porch, is adorned with statues of the Prophets, the south portal with
-others of the Apostles. The difficulty of grouping so large a family
-in the circumscribed space about the throne is obviated with
-consummate skill, the father and two eldest sons on the one side, and
-the mother and two eldest daughters on the other, being placed well in
-the foreground, while the younger members of either sex are disposed
-in the aisles, the upstanding figures of Saint James the Great and
-Saint Dominic beside the throne filling the void on either side which
-this arrangement entailed. Even here, with the limited opportunities
-the architectural setting affords, Memlinc will not be denied his
-predilection for landscape ornamentation, two delightful glimpses of
-country life enchanting the eye as it wanders down the transepts and
-out on to their porches.
-
-If in these pages attention has perhaps been somewhat too exclusively
-devoted to the portraits of men left us by Memlinc, obviously enough
-because of the greater interest they excite by the stories known of
-their careers, it must not be supposed that he proved himself less
-skilful as a portrayer of women. As a rule the wives of the donors in
-his pictures are of the homely type, but they appeal to us none the
-less as typical examples of the womankind of a burgher community in
-which the virtues of the home were cherished and sedulously
-cultivated. Two exceptionally fine specimens of male and female
-portraiture, which most likely belong to this period, are the bust of
-an old man in the Royal Museum at Berlin and that of an aged lady,
-recently acquired by the Louvre for the very substantial sum of
-200,000 francs. If, as has been suggested, these are portraits of
-husband and wife, it is regrettable that they should have strayed so
-far apart, but the latter we have selected for illustration as
-perhaps the best available example to demonstrate Memlinc's aptitude
-for the interpretation of the dignity of old age in woman.
-
-More amazing perhaps than the magnitude of the work Memlinc achieved
-is the dearth of information concerning him that has been vouchsafed
-to us. Until 1860 nothing whatever was known of the story of his life,
-and what has been since discovered is almost entirely due to the
-painstaking researches of one or two individuals. These revealed the
-fact of Memlinc's marriage, the name of the woman he chose for his
-wife and that of her father, the fact that she bore him three
-sons--John, Cornelius, and Nicolas--the year of his wife's death, the
-record of house property bought by him, the date of his own death and
-his place of burial, and this is the sum total of the material at our
-disposal, apart from his paintings, with which to build up his
-biography. The Shrine that is his masterpiece once completed, the only
-other dated work of which we have any knowledge is the polyptych
-altarpiece which hangs in the Greverade chantry of the Cathedral at
-Lubeck. This bears on its frame the date 1491; but the execution of
-the painting is very unequal, and it appears probable that the
-greater part is the work of pupils. Perhaps Memlinc felt that he had
-lived his life, and was content to lay aside palette and brush in the
-consciousness that he had given the world of his best. May-be, too, as
-the years began to tell, there grew a yearning for the privacy of home
-life in more intimate communion with the motherless children from whom
-he himself was soon to be parted. All too speedily the end came, for
-he passed away on the 11th of August 1494, at a ripe old age
-considering the average length of days meted out to man in his time.
-
-
-
-
-VII
-
-EFFACEMENT AND VINDICATION OF HIS TYPES
-
-
-Bruges, the scene of his stupendous lifework and his home for nearly
-the last thirty years of his life, was fast settling down to utter
-stagnation and the general poverty it superinduced. One needs to
-realise the measure of her decay to understand the possibility of such
-a personality as Memlinc's fading from the public memory. True, he had
-founded no school to perpetuate his art and cherish his name and
-reputation. Twice we find mention of apprentices in the register of
-the Guild of Painters--a John Verhanneman, inscribed on 8th May 1480,
-and a Passchier Van der Meersch, in 1483. Neither attained the rank of
-master-painter. Nor is it known that any of the three sons inherited
-their father's talent or followed his profession. However, we remember
-that Rumwold De Doppere, writing of his death in the year it
-occurred, asserted that he was "then considered to be the most skilful
-and excellent painter in the whole of Christendom," while Van
-Vaernewyck, as late as 1562, tells of the houses of Bruges being still
-filled with paintings by Memlinc among other great artists. And yet so
-completely was he forgotten within a century of his death that Van
-Mander, when preparing his biographies of Netherlandish painters
-(published in 1604), could only learn that he was in his day "a
-celebrated master who flourished before the time of Peter
-Pourbus"--that is, before 1540! Neglect and disdain followed speedily
-on forgetfulness, and the scattering of his priceless works commenced.
-The magnificent picture of the Passion of Christ in the Turin Museum,
-which adorned the altar of the chapel of the Guild of Saint John and
-Saint Luke in the Church of Saint Bartholomew until 1619, was then
-removed to a side wall, and five years later sold to make room for an
-organ! The no less famous painting "Christ the Light of the World,"
-which graced the altar of the chapel of the Guild of Tanners in the
-Church of Our Lady until 1764, was then removed to the house of the
-dean, who a few years later sold it to a picture-dealer at Antwerp
-for 20 _l._! And so these masterpieces were made the sport and spoil
-of picture-dealers and traffickers in curiosities. Under Spanish rule
-further toll was levied on the art treasures of Bruges, and of what
-escaped the vulgar vandalism of the Calvinists, whose utter inability
-to create was only equalled by their senseless capacity for
-destruction, the French revolutionaries, whose sense of the beautiful
-in art not all their irreligion had sufficed to stifle, claimed a
-considerable share. Fortunately the ultimate defeat of Napoleon made
-restitution in a measure possible, and so the Moreel triptych, seized
-on 23rd August 1794, and the Van Nieuwenhove diptych, carried off in
-the same month, were recovered in 1815. Still the fact remains that
-Bruges at this date possesses only seven of Memlinc's works. The
-remainder are dispersed among the galleries of the Continent--in
-Brussels and Antwerp; in Paris; in Madrid; in Rome, Florence, Turin,
-and Venice; in Vienna and Buda-Pesth; in Berlin, Frankfort, Munich,
-Danzig, Lubeck, Hermannstadt, and Woerlitz; and at the Hague; while
-England boasts of three pictures, two in the National Gallery and one
-at Chatsworth.
-
-Although Memlinc founded no school, the masters of his day and
-others who settled in Bruges in the sixteenth century were to a very
-appreciable extent influenced by his art. Gerard David, Albert
-Cornelis, Peter Pourbus, and the Claeissens all felt its impress, and
-if the traditions of the old school survived in Bruges to a later
-period than in other centres, and well into the seventeenth century,
-it was mainly through the instrumentality of these painters. In
-contrasting the lives of mediæval and modern artists one cannot escape
-a feeling of regret that the former should so utterly have neglected
-the literary side of their calling. What a revelation to us would have
-been the discovery of the personal recollections of but one of these
-great masters of the fifteenth and sixteenth centuries, and what a
-world of trouble they would have saved the art students of after
-generations! But seemingly the demand for this class of literature had
-not then arisen, while the craving for notoriety which would have
-compelled an effort of this description was altogether foreign to the
-single-minded nature of a school whose art was to its exponents
-something more than the realisation of worldly ambition or the
-satisfaction of a vulgar lust of gain. There could have been no
-hankering after either in the type of man revealed to us by the
-lifework of Memlinc. And so it was that with the reawakened interest
-in mediæval painting which made itself manifest in the nineteenth
-century the services of the archæologist had to be requisitioned.
-Difficult indeed would it be to exaggerate the immensity of the task
-imposed upon him. The sifting from the mass of popular fiction which
-had gathered round Memlinc's name the few grains of truth embedded in
-it, the ceaseless delving among municipal and ecclesiastical archives
-for a chance record of some incident in his career, the slow process
-of authenticating the genuine from the ruck of doubtful and spurious
-works associated with his name, half a century of unswerving devotion
-to the task has not yet brought us within measurable reach of its
-accomplishment. Every day, so to speak, brings to light some new fact,
-often compelling a revision of conclusions which in its absence were
-sufficiently justified.
-
-    [Illustration: PLATE VIII.--OUR LADY AND CHILD, SAINT GEORGE AND
-    THE DONOR.
-
-    This painting, formerly in the Gierling collection, was
-    purchased by Mr J. P. Weyer of Cöln for 450 thalers, and at the
-    sale of his pictures in 1862, by Mr O. Mündler for 4600 thalers
-    for the National Gallery.]
-
-Thus it happened that the identification of the donors of the "Last
-Judgment" at Danzig, in 1902, led to the recognition of this earliest
-example of Memlinc's art. And so no doubt will it happen again, each
-fresh discovery amplifying the knowledge necessary to remove doubt as
-to the authenticity of attributed works. But even so, what an advance
-from half a century since, when the personality of the painter was but
-the sport of idle legend, and loomed vaguely on the horizon in the
-distorted outlines of a loathsome caricature! If dearth of information
-is a powerful incentive to the imagination, then the evolution of the
-Memlinc legend goes far to establish its potency. An obscure
-seventeenth-century tradition had it that Memlinc painted a picture
-for the Hospital of Saint John in grateful recognition of services
-rendered to him by the Brethren of that charitable foundation: from
-which indeterminate report grew a tale of a dissolute soldier of
-fortune spared from the shambles of the field of Nancy dragging his
-wounded and diseased body to the Hospital gates, and beguiling the
-weary hours of a long convalescence there in the production of a
-masterpiece of painting in token of his gratitude. As an unconnected
-story for the amusement of simple-minded folk the fable is not without
-merit of a sort, but what a libel on the Christian artist who
-transcends all the painters of his age in the interpretation of deep
-religious feeling, and the shaping of whose whole life must have been
-a novitiate to this end! We have travelled a long road since the days
-when this preposterous legend was exploded. True, the exhumation of
-Memlinc's individuality from the burial-ground of lost memories has
-been a slow and arduous process; but the rich store of knowledge now
-at our command is an abundant testimony to the patience of the experts
-who have garnered it.
-
-It is not given to us to be all swayed in the same way or to the same
-extent by Art in any of its forms; but few who have been led to
-contemplate the masterpieces of the Netherlandish school will fail to
-pay the tribute of admiration these wonderworks evoke, and bear
-testimony to their educational value. For Hans Memlinc it is not
-claimed that he surpassed in each department of his art all the other
-painters who helped to build up the fame of the Netherlandish school:
-in some material respects his methods differed widely from theirs, and
-he elaborated a technique distinctly his own. It is not likely to be
-imputed that his sedulous avoidance of the marked contrasts of light
-and shade was a confession of inability to realise their treatment,
-though possibly he may be thought by some to have weakly followed the
-line of least resistance. Of course, Memlinc, like every other great
-artist of his age, had his limitations. His knowledge of anatomy
-naturally was not equal to the exact requirements of science, the pose
-of his figures not absolutely conformable to the ideals of the
-dilettante in respect of grace of carriage or correctness of
-deportment. Though critics contrast the simplicity of his art with the
-grandeur of style of Van Eyck, commonly with some predilection for the
-latter, yet it is possible for one to be subjugated by it and still
-feel to the full the fascination of the tender beauty inherent in the
-former. In his conceptions of the great mysteries of the Christian
-faith, in the characterisation of the many saints he portrayed, and
-above all in his varied presentation of womanhood he certainly
-excelled. In the "Last Judgment" at Danzig we have probably the least
-successful of his great efforts. The conception is not original,
-though admittedly one of the finest produced up to that time; also it
-is his earliest extant work, and in the style of a master from whose
-controlling influence he had not yet emancipated himself. But the
-fault lies rather with the subject. Many an artist has laboured at it,
-not always perhaps from choice; but the painter has yet to be born
-who will produce a convincing picture of that unrealised tragedy. Any
-attempt that falls short of conveying to the mind and soul of man the
-awe-full warning it should express necessarily bears the stamp of
-failure; and when, as too often is the case, it but provokes a smile
-by reason of its incongruity, the effort it cost stands unjustified.
-Not that Memlinc's conception errs conspicuously in this sense: but it
-lacks conviction, and not all the beautiful work it exhibits can close
-our eyes to the fact.
-
-To the up-to-date art critic of the weekly press, steeped in
-modernity, all this grand religious art of the middle ages is but as
-the dead ashes of a fire that once glowed but has now lost its warmth;
-or, to vary the simile, he contemptuously relegates it to the
-scrap-heap of antiquated material as the useless remains of a "dead
-language"; little bethinking himself of the great underlying truth he
-was unconsciously voicing. For just as all succeeding literatures
-found their spring and inspiration in the magnificent literatures
-enshrined in the great dead languages of Rome and Greece, so likewise
-has modern art, unconsciously if you will, but none the less
-assuredly, derived the essence of its loveliness from the mediæval
-art it affects to despise. Art of any kind to be great must have
-realised its greatness through the vivifying power of the art that had
-gone before. _Ex nihilo nihil fit._ The impellent craving after
-realism of the materialistic school of to-day is but a perverted form
-of the love of truth which was the keynote of all mediæval art, its
-cult of the sensuous but a depraved phase of a love of the beauty in
-virtue and godliness which characterised the latter: the great touch
-of faith is wholly wanting. In art as in all things human there is no
-finality; but the while Bruges subsists, though she were utterly
-bereft of all her picturesqueness and the wealth of architectural
-beauty that endears her to the artist mind, so long will that
-treasure-house of Memlinc's art, the small chapter-room in the
-Hospital of Saint John, continue to exercise its educating influence,
-and so long, because of it, will the old Flemish capital, though shorn
-of all its pristine glory, continue to be one of the most cherished
-shrines of the art pilgrims of the world.
-
-The plates are printed by BEMROSE & SONS, LTD., Derby and London
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-The text at the BALLANTYNE PRESS, Edinburgh
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@@ -234,48 +234,7 @@
 </head>
 
 <body>
-
-
-<pre>
-
-Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
-
-This eBook is for the use of anyone anywhere at no cost and with
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-with this eBook or online at www.gutenberg.org
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-Title: Memlinc
-
-Author: W. H. James Weale
-        J. Cyril Weale
-
-Editor: T. Leman Hare
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-Release Date: June 4, 2013 [EBook #42876]
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 42876 ***</div>
 
 <div class="figcenter">
 <img src="images/cover.jpg" width="400" height="567" alt="" />
@@ -1595,382 +1554,6 @@ shrines of the art pilgrims of the world.</p>
 <br />
 The text at the <span class="smcap">Ballantyne Press</span>, Edinburgh</p>
 
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
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+<div>*** END OF THE PROJECT GUTENBERG EBOOK 42876 ***</div>
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-Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Memlinc
-
-Author: W. H. James Weale
-        J. Cyril Weale
-
-Editor: T. Leman Hare
-
-Release Date: June 4, 2013 [EBook #42876]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK MEMLINC ***
-
-
-
-
-Produced by sp1nd, Matthew Wheaton and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY - -
-    T. LEMAN HARE
-
-    HANS MEMLINC
-    (?) 1425-1494
-
-
-    IN THE SAME SERIES
-
-       ARTIST.                     AUTHOR.
-    VELAZQUEZ.                S. L. BENSUSAN.
-    REYNOLDS.                 S. L. BENSUSAN.
-    TURNER.                   C. LEWIS HIND.
-    ROMNEY.                   C. LEWIS HIND.
-    GREUZE.                   ALYS EYRE MACKLIN.
-    BOTTICELLI.               HENRY B. BINNS.
-    ROSSETTI.                 LUCIEN PISSARRO.
-    BELLINI.                  GEORGE HAY.
-    FRA ANGELICO.             JAMES MASON.
-    REMBRANDT.                JOSEF ISRAELS.
-    LEIGHTON.                 A. LYS BALDRY.
-    RAPHAEL.                  PAUL G. KONODY.
-    HOLMAN HUNT.              MARY E. COLERIDGE.
-    TITIAN.                   S. L. BENSUSAN.
-    MILLAIS.                  A. LYS BALDRY.
-    CARLO DOLCI.              GEORGE HAY.
-    GAINSBOROUGH.             MAX ROTHSCHILD.
-    TINTORETTO.               S. L. BENSUSAN.
-    LUINI.                    JAMES MASON.
-    FRANZ HALS.               EDGCUMBE STALEY.
-    VAN DYCK.                 PERCY M. TURNER.
-    LEONARDO DA VINCI.        M. W. BROCKWELL.
-    RUBENS.                   S. L. BENSUSAN.
-    WHISTLER.                 T. MARTIN WOOD.
-    HOLBEIN.                  S. L. BENSUSAN.
-    BURNE-JONES.              A. LYS BALDRY.
-    VIGEE LE BRUN.            C. HALDANE MACFALL.
-    CHARDIN.                  PAUL G. KONODY.
-    FRAGONARD.                C. HALDANE MACFALL.
-    MEMLINC.                  W. H. J. & J. C. WEALE.
-    CONSTABLE.                C. LEWIS HIND.
-
-
-           _In Preparation_
-
-    J. F. MILLET.             PERCY M. TURNER.
-    ALBERT DUeRER.             HERBERT FURST.
-    RAEBURN.                  JAMES L. CAW.
-    BOUCHER.                  C. HALDANE MACFALL.
-    WATTEAU.                  C. LEWIS HIND.
-    MURILLO.                  S. L. BENSUSAN.
-    JOHN S. SARGENT, R.A.     T. MARTIN WOOD.
-
-               AND OTHERS.
-
-
-    [Illustration: PLATE I.--OUR LADY AND CHILD.
-
-              (Frontispiece)
-
-    Right panel of a diptych, painted in 1487 for Martin van
-    Nieuwenhove. It is now in Saint John's Hospital, Bruges.]
-
-
-
-
-    MEMLINC
-
-    BY W. H. J. & J. C. WEALE
-
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    LONDON: T. C. & E. C. JACK
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-    CONTENTS
-
-
-    Chap.                                            Page
-
-       I. Hans Memlinc                                 11
-      II. Early Days and Training                      19
-     III. Earliest Works                               25
-      IV. Characteristics of His Early Works           31
-       V. The Maturity of His Art                      36
-      VI. Masterpieces and Death                       53
-     VII. Effacement and Vindication of His Types      66
-
-
-
-
-    LIST OF ILLUSTRATIONS
-
-
-    Plate                                                  Page
-
-       I. Our Lady and Child, 1487                 Frontispiece
-             (Saint John's Hospital, Bruges)
-
-      II. Adoration of the Magi, 1479                        14
-             (Saint John's Hospital, Bruges)
-
-     III. Saints Christopher, Maurus, and Giles, 1484        24
-             (Town Museum, Bruges)
-
-      IV. Portrait of Nicholas di Forzore Spinelli,
-          holding a medal                                    34
-             (Antwerp Museum)
-
-       V. Portrait of Martin van Nieuwenhove, 1487
-         (companion to I.)                                   40
-             (Saint John's Hospital, Bruges)
-
-      VI. One Panel of the Shrine of Saint Ursula, 1489      50
-             (Saint John's Hospital, Bruges)
-
-     VII. Portrait of an Old Lady                            60
-             (Louvre, Paris)
-
-    VIII. The Blessed Virgin and Child, with Saint
-          George and the Donor                               70
-             (National Gallery, London, No. 686)
-
-
-
-
-MEMLINC
-
-
-
-
-I
-
-HANS MEMLINC
-
-
-Already, before the advent of the House of Burgundy, Bruges had
-attained the height of her prosperity. From a small military outpost
-of civilisation, built to stay the advance of the ravaging Northmen,
-she had developed through four short centuries of a strenuous
-existence into one of the three leading cities of northern Europe.
-Born to battle, fighting had been her abiding lot with but scant
-intervals of peace, and as it had been under the rule of her long line
-of Flemish counts, so it continued with increased vehemence during the
-century of French domination that followed, the incessant warring of
-suzerain and vassal being further complicated and embittered by
-internecine strife with the rival town of Ghent. But she emerged from
-the ordeal with her vitality unsapped, her industrial capabilities
-unabated, her commercial supremacy unshaken. Her population had
-reached the high total of a hundred and fifty thousand; she overlorded
-an outport with a further thirty thousand inhabitants, a seaport, and
-a number of subordinate townships. The staple of wool was established
-at her centre, and she was the chief emporium of the cities of the
-Hanseatic League. Vessels from all quarters of the globe crowded her
-harbours, her basins, and canals, as many as one hundred and fifty
-being entered inwards in the twenty-four hours. Factories of merchants
-from seventeen kingdoms were settled there as agents, and twenty
-foreign consuls had palatial residences within her walls. Her
-industrial life was a marvel of organisation, where fifty-four
-incorporated associations or guilds with a membership of many
-thousands found constant employment.
-
-The artistic temperament of the people had necessarily developed on
-the ruder lines, in the architectural embellishment of the city, the
-beautifying of its squares and streets, its churches and chapels, its
-municipal buildings and guild halls, its markets and canal
-embankments. "The squares," we are told, "were adorned with fountains,
-its bridges with statues in bronze, the public buildings and many of
-the private houses with statuary and carved work, the beauty of which
-was heightened and brought out by polychrome and gilding; the windows
-were rich with storied glass, and the walls of the interiors adorned
-with paintings in distemper, or hung with gorgeous tapestry." But of
-the highest forms of Art--of literature, of music, and of
-painting--there was slender token. The atmosphere in which the
-Flemings had pursued their destinies was little calculated to develop
-any other than the harder and more matter-of-fact side of their
-nature. True, here as elsewhere, and from the earliest period of her
-history the great monastic institutions which dotted the country had
-done much for the cultivation of Art, as the remains of wood
-sculpture, mural paintings, and numerous illuminated manuscripts amply
-testify. But no great school of painting had arisen or was even
-possible, so true is it that the development of the artistic instincts
-of the community require the contemplative repose and fostering
-inspiration of peace. In the truest sense of the term the Flemings
-were not a cultured artistic race: they had certainly a high standard
-of taste, but their artistic sense was appreciative rather than
-creative--even so, a notable advance for a nation of warriors and
-merchants.
-
-    [Illustration: PLATE II.--ADORATION OF THE MAGI.
-
-    This, one of the master's finest works, was painted in 1479 for
-    Brother John Floreins, Master of Saint John's Hospital, Bruges,
-    where it may be seen.]
-
-With the succession of the House of Burgundy to the French domination
-an entirely new era was ushered in. If the ambition of this new line
-of princes was unbounded, equally so was the success which attended
-its pursuit; their authority increased by leaps and bounds, and soon
-their court had become the wealthiest and most powerful in Europe. The
-high notions they entertained of their own dignity brooked no compeer
-in the pomp and glitter of their state. The display the guild and
-merchant princes and foreign representatives were capable of they
-should outdo: the splendour of their sovereignty should blur the
-brilliancy of mere civic ostentation. But while they revelled in the
-outward show of their supremacy, they viewed with jealous eye the
-great wealth and large measure of liberties enjoyed by their subjects.
-Their needs were great, the resources of the people commensurate; and
-in the alternate confiscation and resale of these liberties they found
-a remunerative source of revenue. But if the dukes were arrogant and
-unscrupulous, their subjects were no cravens, and civic shrewdness
-often proved more than a match for ducal craft. A fine sense of
-humour, however, suggested the policy of keeping these lusty burghers
-fully diverted the while they were not being bled or chastened: hence
-the constant recurrence of pacifications and triumphal entries, of
-regal processions and gorgeous tournaments, of public banquets and
-bewildering revels. It was an era of pomp and pageantry unparalleled
-in history, the success of which required the services of the highest
-talents of the day--the foremost artists to enhance its magnificence,
-the leading writers to chronicle its marvels.
-
-It was Duke Philip III. who requisitioned the services of John van
-Eyck and showered on him bounty and patronage, and if his reign had
-proved as uneventful as it was the reverse, Philip's name would still
-survive in the reflected glory of this prince of painting. The
-declining days of the great duke, stricken with imbecility, certainly
-offered no inducement to foreign artists on the lookout for court
-patronage. But with his death, on the 15th of June 1467, the entire
-prospect was changed. Charles the Bold now succeeded to the dukedom:
-his solemn entry into the Flemish capital took place on Palm Sunday of
-the year following--an occasion marked by brilliant jousts and
-tournaments--and his home-coming with his bride, Margaret of York,
-some three months later. These events, the marriage festivities
-notably, called for a great array of talent, and among the leading
-artists engaged in planning and executing the magnificent decorations
-indulged in we find Peter Coustain and John Hennequart, the ducal
-painters; James Daret and Philip Truffin of Tournay; Francis Stoc and
-Livin van Lathem of Brussels; Daniel De Rycke and Hugo Van der Goes of
-Ghent; Govart of Antwerp; and John Du Chateau of Ypres. And here Hans
-Memlinc enters on the scene, already then a master-painter and
-accomplished artist, but of whom no previous record, of whose lifework
-no earlier trace, has been discovered.
-
-
-
-
-II
-
-EARLY DAYS AND TRAINING
-
-
-As to where and when Memlinc was born, where he served his
-apprenticeship, and with whom he worked as a journeyman no documentary
-evidence has yet been discovered, and no one can confidently assert;
-but there exists a sufficiency of presumptive evidence to warrant
-certain conclusions with the help of which to construct a working
-biography. It appears probable that the family came from Memelynck,
-near Alkmaar, in north Holland, and settled at Deutichem, in
-Guelderland; and, on the strength of an entry copied from the diary
-kept by an ecclesiastical notary and clerk of the Chapter of Saint
-Donatian at Bruges during the years 1491 to 1498, that they
-subsequently removed to the ecclesiastical principality of Mainz. The
-subject of this monograph is likely to have been born, at some date
-between 1425 and 1435, either at some place within that principality,
-or at Deutichem previous to his parents' removal. From our knowledge
-of the guild system which obtained in the middle ages throughout the
-north of Europe with but slight variation in the conditions of
-training and apprenticeship, and taking into consideration besides the
-typical characteristics of Memlinc's work, it appears probable that he
-served his apprenticeship at Mainz, and afterwards worked at Coeln as a
-journeyman, and this opinion is confirmed by the outstanding fact that
-in all the wealth of architectural embellishment in which his pictures
-abound the only town outside Bruges whose buildings are faithfully
-reproduced is this noted centre of art. That he should have travelled
-thither for the especial purpose of securing an accurate background
-for the first, fifth, and sixth panels of the Shrine of Saint Ursula,
-and not have cared to obtain as faithful settings for the incidents of
-the second and fourth panels ascribed to Basel, or for that of the
-third panel located at Rome, will scarcely stand the test of
-criticism. A study of these panels evidences an intimate acquaintance
-with the architectural beauties of Coeln, a knowledge obviously
-acquired at first hand during a period of his life devoted to Art.
-The master under whom he worked was in all probability the Suabian,
-Stephen Loethener, of Mersburg, near Constance, who had settled in Coeln
-before 1442, and died there in 1452. It is presumable that Memlinc may
-not have completed his studies at the time of that painter's death. In
-the circumstances one can but conjecture as to where he completed the
-necessary training before attaining to the rank of a master-painter.
-Vasari and Guicciardini both assert that Memlinc was at some time or
-other a pupil of Roger De la Pasture (Van der Weyden), and, as this
-master returned from Italy in 1450, he may have come across Memlinc at
-Coeln and engaged him as an assistant. It is, however, quite possible
-that Memlinc stayed on at Coeln until Loethener's death in 1452 and then
-went to Brussels, doubtless passing by Louvain and possibly working
-for a time under Dirk Bouts. Certain it is, judging from the many
-points of similarity in their work, that Memlinc came under Roger's
-influence for a space sufficiently long to leave a strong impress of
-that master's methods on his art. Memlinc's contemporary, Rumwold De
-Doppere, has left it on record that he was "then considered to be the
-most skilful and excellent painter in the whole of Christendom"; and
-if Memlinc had left nothing to perpetuate his fame but such gems as
-the Shrine of Saint Ursula, at Bruges, the "Passion of Our Lord," in
-the Royal Museum at Turin, that remarkable altarpiece, "Christ the
-Light of the World," in the Royal Gallery at Munich, or even, as
-Fromentin suggests, only those two figures of Saint Barbara and Saint
-Katherine in the large altarpiece at Bruges, he would need nothing of
-the reflected glory of his alleged master to enhance his renown.
-Always assuming Memlinc to have stood in this relation to De la
-Pasture, Sir Martin Conway came to a happy conclusion when he wrote
-that Roger's greatest glory is that he produced such a pupil--"that
-Memlinc the artist was Roger's greatest work."
-
-    [Illustration: PLATE III.--SAINTS CHRISTOPHER, MAURUS, AND
-    GILES.
-
-    This, the central panel of an altarpiece, painted in 1484 for
-    William Moreel, Burgomaster of Bruges, is now in the Town
-    Gallery at Bruges.]
-
-
-
-
-III
-
-EARLIEST WORKS
-
-
-The first painting to bespeak his industry is now supposed to have
-been the famous triptych of the Last Judgment in the Church of Saint
-Mary at Danzig, commenced after 1465 and finished in 1472 or early in
-1473.
-
-Few pictures have evoked more controversy or been coupled with the
-names of more artists than the Danzig triptych. The entry in a local
-church register of 1616 which asserts that it was painted in Brabant
-by John and George van Eichen, an ascription varied at a subsequent
-period by substituting the name of James for John, carries no more
-weight than usually attaches to popular traditions, and was generally
-disregarded by the connoisseurs and experts who have debated the
-question for more than a hundred years. The names of Albert van
-Ouwater, Michael Wohlgemuth, Hugh Van der Goes, Hubert and John van
-Eyck, Roger De la Pasture, and Dirk Bouts have all been canvassed with
-more or less assurance. Memlinc's name was first associated with the
-work in 1843, by Hotho, whose opinion met with wide acceptance, a
-notable convert to his view being Dr. Waagen, who in 1860 declared the
-triptych to be "not only the most important work by Memlinc that has
-come down to our time, but also one of the masterpieces of the whole
-school, being far richer and better composed than the picture of the
-same subject by Roger De la Pasture at Beaune, though that master's
-influence is still perceptible," though two years later he recognised
-in the figures the influence of Dirk Bouts; and in 1899 Kaemmerer as
-emphatically declared that "no one who is acquainted with Memlinc's
-authentic works can possibly doubt that this picture is the work of
-his hand." In the absence of contemporary documentary evidence, and
-with the donors of the picture still unidentified, confronted moreover
-with the fact that in its composition the Danzig triptych differs
-altogether from Memlinc's authenticated paintings, many experienced
-judges still hesitated to admit the claim put forward in his behalf.
-But the recent discoveries made by Dr. A. Warburg leave little room
-for doubt. In the fifteenth century there was a considerable Italian
-colony at Bruges, and the powerful Florentine firm of the Medici,
-whose ramifications extended over all Europe, had a branch
-establishment there in the name of Piero and Giovanni de' Medici, the
-acting manager of which from 1455 to 1466 was Angelo di Jacopo Tani,
-who, after serving as bookkeeper of the firm's agency in London, had
-been transferred to Bruges in 1450. Tani may have taken Memlinc into
-his household with a view to the production of the triptych under his
-own eye. The absence of Memlinc's name from the guild registers of the
-period lends probability to the theory that he was employed by Charles
-the Bold, for ducal service exempted painters settling in Bruges from
-the obligation of purchasing the right of citizenship, and of becoming
-members of the local guild. It is presumed that Tani engaged Memlinc's
-services at some date after 1465 to paint or, if the work had been
-commenced by some other painter, to complete this picture. While the
-dexter shutter, representing the reception of the elect by Saint Peter
-at the gate of Heaven, can only have been designed by a pupil of
-Loethener, it is equally certain that the upper portion of the central
-panel must have been designed by some one who had worked under Bouts
-or De la Pasture. In 1466 Tani visited Florence, and there married
-Katherine, daughter of William Tanagli. As their portraits and arms
-are on the exterior of the shutters, these cannot have been commenced
-before they were both in Bruges, some time in 1467, the date inscribed
-on the slab covering a tomb on which a woman is seated. The technique
-and colouring of the entire work are Netherlandish, and in the opinion
-of the most trustworthy critics are certainly the work of Memlinc. The
-painting completed, it was, at the commencement of 1473, despatched by
-sea to Florence, but the vessel bearing it was captured by
-freebooters, and the picture as part of the prize carried off to
-Danzig.
-
-The patronage of the agent of the Medici was of course of incalculable
-advantage to a rising artist, and doubtless it served to secure for
-Memlinc the interest of Spinelli of Arezzo--whose portrait, now in the
-van Ertborn collection at the Antwerp Museum, he painted in the
-latter half of 1467 or the beginning of 1468, when this Italian
-medallist was in the service of Charles the Bold as seal engraver--and
-to bring his growing reputation to the notice of the ducal court. The
-negotiations for the hand of Margaret of York, begun in December 1466,
-and unduly protracted owing no doubt to the mental incapacity of Duke
-Philip III., were of course resumed at the expiration of the period of
-court mourning after his death on 15th June 1467. Following the
-example of his father, Charles may have commissioned Memlinc to
-accompany his ambassadors to the English court for the purpose of
-securing an up-to-date portrait of his intended consort. In the
-circumstances Memlinc would certainly have made the acquaintance of
-Sir John Donne, for the Donnes were ardent Yorkists high in the royal
-favour, and moreover the brother of Sir John's wife, William, first
-Lord Hastings, filled the office of Lord Chamberlain to the king. But
-the triptych in the Chatsworth collection, though the outcome of this
-meeting, could not have been executed at the time, as the period of
-Memlinc's visit would have been restricted to carrying out the ducal
-instructions. An opportunity for the necessary sittings was afforded
-later, when Sir John Donne, accompanied by his wife and daughter,
-journeyed to Bruges in the suite of the princess to assist at the
-wedding celebrations in July 1468. The omission of the sons from the
-family group in the triptych is sufficiently accounted for by the fact
-that they were in Wales at the time.
-
-
-
-
-IV
-
-CHARACTERISTICS OF HIS EARLY WORKS
-
-
-To the art student these earliest of Memlinc's paintings--the Donne
-triptych in particular--are replete with interest. In the first place,
-they attest the powers then already at the painter's command as an
-exponent of his art, and they further serve as a standard of
-comparison by which to judge his afterwork. Memlinc was pre-eminently
-a religious artist, deeply imbued with Scriptural lore and well versed
-in hagiography, a fund of knowledge sublimated in the beautiful
-mysticism of the school of Coeln which had early subjugated his poetic
-temperament. His conception of the Madonna, based on a fervent
-appreciation of the purity, the tenderness, and the majesty of her
-nature was deeply rooted, and it led him to evolve the definite type
-which he presents to us in the Chatsworth picture, to which he
-faithfully adheres henceforth, at times enhancing its beauty--as
-witness the triptych in the Louvre and the altarpiece of Saint John's
-Hospital at Bruges--until his ideal culminates in that marvellous
-embodiment of her supreme attributes preserved to us in the Van
-Nieuwenhove diptych. The Divine Infant, it is true, may not appeal to
-one in the same way as do the charming pictures of infant life in
-which the southern artists excelled. Whatever may be said of the fine
-men and intellectual women of the race, the northern type of babyhood
-cannot by any stretch of courtesy, apart from a mother's loving
-weakness, be described as graceful. Still Memlinc's conceptions of the
-Infant Saviour rank high in point of intellectuality, of
-expressiveness of eye, of grace of movement and charm of expression.
-The Donne triptych besides, from the point of view from which we are
-now considering it, is a valuable asset for the study of the
-impersonations of saints whom we find constantly recurring in his
-paintings: to wit, Saint Katherine and Saint Barbara--(Fromentin's
-enthusiastic appreciation of these figures in the large altarpiece at
-Bruges has already been quoted)--Saint John the Baptist and Saint John
-the Evangelist, and Saint Christopher. The same may be said of his
-angels. Taken from another standpoint, these early paintings of
-Memlinc are invaluable testimony of his rare gift for portraiture. It
-was a gift which may almost be taken as the specific appanage of the
-fifteenth century painters of the Netherlandish school. Some, like
-John van Eyck, used it with scrupulous exactitude, scorning to veil
-the palpable truth that at the moment and usually obtruded itself on
-his painstaking eye; others, and Memlinc prominently of their number,
-loved rather to seize on the fitful manifestation of the inner man and
-to idealise him. Both artists, taking them as types, were honest and
-true to their art, notwithstanding that the resulting truth in each
-case is deceiving, except we have very particular information
-regarding the individual portrayed. In any event, the Tani and
-Spinelli portraits are fine examples of the class, though perhaps Sir
-John Donne's appeals to us more because of the fuller knowledge we
-have of the man. And finally, both the Antwerp and the Chatsworth
-paintings afford us beautiful examples of Memlinc's art as a landscape
-painter, and in this respect certainly it may be safely asserted that
-he never produced better work.
-
-    [Illustration: PLATE IV.--NICHOLAS SPINELLI OF AREZZO.
-
-    Nicholas Spinelli, born 1430, was in 1467-68 in Flanders, in the
-    service of Charles the Bold as seal engraver. He died in 1499 at
-    Lyons, where this portrait was acquired by Denon. He is depicted
-    holding a medal, showing a profile head of the Emperor Nero,
-    with the inscription "NERO CLAVDius CAESAR AVGustus GERManicus
-    TRibunicia Potestati IMPERator." It was bought from the heirs of
-    Denon by M. van Ertborn, who bequeathed it to the Museum at
-    Antwerp.]
-
-
-
-
-V
-
-THE MATURITY OF HIS ART
-
-
-From the consideration of these three works executed in the sixties we
-pass on to a decade of more notable achievement. The public rejoicings
-which had inaugurated the new reign were already dimmed to
-recollection in the disquieting civil and national complications that
-ensued, culminating in the disastrous battle of Nancy on 5th January
-1477, in which the ducal troops were put to rout and Charles himself
-lost his life. He was succeeded by his only daughter, Mary, who on
-19th August of the same year by her marriage to Maximilian, son of the
-Emperor Frederick IV., brought Flanders under the rule of the House of
-Austria, and thus involved the Flemish burghers in that lamentable
-struggle which, after many alternations of fortune, was one of the
-chief causes that led to the downfall of Bruges. Memlinc, as a
-newcomer without rooted interests or strong political bent, wholly
-wrapt in his art, naturally steered clear of political entanglements,
-though ready enough on occasion to take his share of the public burden
-which the fortune of war imposed, as witness his contribution to the
-loan raised to cover the expenses of the military operations against
-France. But his placid disposition shrank from the heat and ferment of
-public life, though his sympathies no doubt were all with the burghers
-and guildmen with whom he associated, among whom he found the most
-liberal supporters of his art to the exclusion of court patronage, and
-from whose womankind he selected a helpmate. Memlinc married later in
-life than was the custom of his day, when it was usual for craftsmen
-to take unto themselves a wife at the expiration of their
-journeymanship, after they had established their competence, paid the
-indispensable guild fees, and taken the no less essential vows to bear
-themselves honestly and to labour their work as in the sight of God;
-for it was only at some date between 1470 and 1480, when already a man
-of middle age, that he led Anne, daughter of Louis De Valkenaere, to
-the altar. It is impossible to determine the year, but on the 10th of
-December 1495 we find the guardians of the three children of the
-marriage acting on their behalf in the local courts in the winding-up
-of their father's estate, which at any rate proves that the eldest at
-that time must have been still a minor, or under the age of
-five-and-twenty. Apart from his wife's dowry, of which we have no
-knowledge, Memlinc's circumstances were then already much above the
-ordinary, for in 1480 out of the 247 wealthiest citizens only 140 were
-taxed at higher rates, and it is on record that in the same year he
-purchased a large stone house and two smaller adjacent ones on the
-east side of the main street that leads from the Flemish Bridge to the
-ramparts, in a quarter of the town much affected by artists, and
-within the Parish of Saint Giles, beneath the spreading trees of whose
-peaceful God's acre he was to find an abiding resting-place some
-fourteen years later, by the side of his old friend the miniaturist
-William Vrelant, who predeceased him by some thirteen years, to be
-joined there in after years by many another eminent artist, such as
-John Prevost, Lancelot Blondeel, Peter Pourbus, and Antony Claeissens.
-
-That he was a busy man the record of works that have come down to us
-from this decade alone amply testifies. The "Saint John the
-Baptist," in the Royal Gallery at Munich (1470); the exquisite little
-diptych "The Blessed Virgin and Child," in the Louvre, painted (_c._
-1475) for John Du Celier, a member of the Guild of Merchant Grocers,
-whose father was a member of the Council of Flanders; the panel in the
-National Gallery, which we reproduce; the magnificent altarpiece in
-the Royal Museum at Turin painted for William Vrelant (1478); the
-famous triptych executed for the high altar of the church attached to
-the Hospital of Saint John at Bruges (1479); and the triptych "The
-Adoration of the Magi" presented to the Hospital by Brother John
-Floreins (1479), all belong to this period: while with the year 1480
-are associated the portraits of William Moreel and his wife, in the
-Royal Gallery at Brussels; that of one of their daughters as the Sibyl
-Sambetha, in Saint John's Hospital; the marvellous composition in the
-Royal Gallery at Munich, "Christ the Light of the World," painted to
-the order of Peter Bultinc, a wealthy citizen of Bruges and a member
-of the Guild of Tanners; and the triptych "The Dead Christ mourned by
-His Mother," in Saint John's Hospital--let alone the numerous other
-works attributed to him but not authenticated or which have been lost.
-The bare record, however, conveys but a feeble idea of the immensity
-of the labour this output involved.
-
-    [Illustration: PLATE V.--MARTIN VAN NIEUWENHOVE.
-
-    The companion of the painting reproduced in Plate I., and is in
-    the Hospital of Saint John.]
-
-The panel in the National Gallery, which may be ascribed to 1475,
-arrests our attention for the moment. It presents to us the Blessed
-Virgin and Child in attitudes closely corresponding to those in the
-earlier Donne triptych, but both are more pleasing figures in respect
-of pose, the attitude of the Madonna in particular being less
-constrained and the expression happier and more natural. The figure of
-the angel too has gained in gracefulness. The donor under the
-patronage of Saint George appeals to one as a living personality. Of
-these two figures a lady critic complains that they are
-"characteristic examples of Memlinc's inability to depict a really
-manly man"; and she endeavours to give greater point to this criticism
-by contrasting the painter's methods with those of John van Eyck,
-wholly of course to the disadvantage of the former. In the present
-case the identity of the donor remains a mystery: he may not have been
-the really manly man the idealist would require, and also he may have
-been the man of reverent and sweet disposition revealed to us in this
-portrait. It is for the softening and idealisation of the face from
-the reality, however, that fault is commonly found with Memlinc as a
-portrait-painter. But, after all, what is this idealisation of the
-subject but the highest aim and truest concept of art? It is no
-difficult matter for the competent painter to produce a counterpart of
-the outward flesh with all its peculiarities, even to the last wrinkle
-and the least significant blemish, and be awarded the palm for "stern
-realism"; but to conceive the inner soul of the man, to seize and fix
-that conception on panel or canvas, surely that is the higher art? It
-is true that in the men whom Memlinc portrayed there is a marked
-similarity of expression, arising obviously from the fact that they
-are usually pictured in an attitude of devotion, and that in the frame
-of mind this attitude imposed they suffered some loss of workaday
-individuality. But surely it is not to Memlinc's discredit that his
-clients were of the devotional order? Nor is the criticism of the
-Saint George as mild and effeminate any more to the point; for when
-the appeal is from Memlinc to Van Eyck one is forcibly reminded of the
-votive picture of the Virgin and Child by that master in the Town
-Gallery at Bruges, in which we have the donor under the patronage of a
-Saint George whom for sheer inanity of expression and utter
-awkwardness of demeanour it would be hard to beat. And yet in neither
-instance, we may safely assume, was the figure the type the artist
-would have created for the valiant knight of the legend. Apart from
-this, a careful study of Memlinc's many works will reveal to the most
-exacting a sufficiency of evidence that his art was equal to any
-demands that might have been made of it; of his preference for the
-milder and more religious type of man, however, there can be no doubt.
-
-It were idle to speculate as to the length of time Memlinc devoted to
-the production of his pictures, seeing the meagreness of the data
-afforded us for the purpose. His peculiar technique, however, which
-avoided the accentuation of light and shade, and thereby simplified
-the scheme of colouring, lent itself to rapid execution. Even so,
-paintings like the altarpiece in the Royal Museum at Turin and that in
-the Royal Gallery at Munich must have made heavy calls on his time
-through a number of years. As examples of the powers and wealth of
-resource of the artist these masterpieces stand almost alone. The
-architectural setting of the former, a wholly imaginary Jerusalem, is
-so contrived as to assist in the most natural manner the precession of
-the Gospel story from the triumphal entry into the Holy City to the
-Resurrection and the manifestation of Christ to Mary Magdalene. As
-without conscious effort the eye is guided along the line of route
-followed by the Redeemer, one treads in imagination in the Divine
-footsteps through the hosannahing multitude in the extreme background
-on the right, and turning to the left arrives at the Temple steps in
-time to witness the casting out of the buyers and sellers; descending
-thence and bearing gradually towards the right a turn of the street
-leads one to the scene of the Last Supper, which Judas has already
-left to confer with the priests under a neighbouring portico as to the
-betrayal of his Master; and eventually one arrives at the Garden of
-Olives, to be confronted in rapid succession with the Agony and the
-picture of the sleeping disciples, the rush of armed men, Judas'
-traitorous kiss and Peter in the act of striking at Malchus. Following
-the multitude for some little distance one reaches the heart of the
-city, where the successive incidents of the Passion are grouped each
-under a separate portico showing on to a spacious courtyard in the
-very centre of the panel--Christ before Pilate and his expostulating
-wife, the Flagellation, the Crowning with thorns and mocking of Our
-Lord, Christ before Herod and the Ecce Homo, with the preparations for
-the Crucifixion going on the while in the open courtyard. These
-completed, the mournful procession passes under a palace gateway into
-the forefront of the picture, bears to the left and issues through the
-city gate, where the Mother of Christ, the beloved disciple, and the
-holy women have gathered together, into the open country, where at the
-foot of the hilly way that skirts the city walls Simon of Cyrene comes
-forward to relieve the fallen Saviour in the burden of the Cross;
-presently the procession is lost to view at a bend of the road only to
-reappear on the slopes of Calvary, which is triplicated here for the
-purpose of re-enacting the three scenes associated with it--of the
-Nailing to the Cross, of the Death of Our Lord, and of the Descent
-from the Cross. Lower down on the left we assist at the Entombment and
-at the Deliverance of the Just from Limbo, and further away we
-witness the Resurrection and, in the far background, the manifestation
-of Our Lord to Mary Magdalene. Viewed as a whole it is a marvel of
-composition enhanced by a brilliancy of colouring, and every scene in
-it a delicately finished miniature. Apart from the architectural
-setting, the three Calvaries, and the duplication of the Holy
-Sepulchre imposed by the necessity of representing both the Entombment
-and the Resurrection, the most captious can discover nothing to abate
-the enthusiastic admiration which this altarpiece excites, or one's
-wonder at the masterful manner in which Memlinc has succeeded in
-developing the story of the Passion in some twenty scenes
-necessitating the introduction of considerably over two hundred
-figures, apart from the animal and bird life that supplements them,
-within the narrow compass of a panel only fifty-five centimetres high
-by ninety centimetres in breadth! The extreme corners of the
-foreground are filled in with exquisite portraits of the donors, the
-miniaturist William Vrelant and his wife, for whom one feels that
-Memlinc has tried to excel himself in this masterwork.
-
-Scarcely less surprising as a composition is the story in bright
-luminous colours told in the Munich altarpiece, a work of considerably
-larger dimensions (80 by 180 centimetres), commonly described as "The
-Seven Joys of Mary," but for which the more appropriate title has been
-suggested of "Christ the Light of the World." It is the story of the
-manifestation of Our Lord to the Gentile world in the persons of the
-Wise Men from the East, closely correspondent, as was Memlinc's wont,
-to the Gospel narrative and Christian tradition, except perhaps in
-this one respect, that the artist's innate love of moving water has
-suggested to him the original conceit of depicting the departing Magi
-as setting sail for their distant homes across the boundless waters.
-This portion of the background and the greater wealth of surrounding
-landscape greatly relieves the architectural setting, which is not so
-overpowering as in the Turin altarpiece. The composition too, as
-becomes the subject, is teeming with the joy of life in varying
-aspects. Here we have the gay cavalcade with streaming banners
-galloping along the road to Bethlehem, there the shepherds peacefully
-tending their flocks on the grassy slope, their watch beguiled by the
-strains of a bagpipe; here the scene at the Manger, all love and
-devotion, and the running stream nigh by at which the horses are being
-watered the while the Magi are making their act of adoration, there
-the kings with their retinues triumphantly riding away over the rocky
-heights; anon we have the sequence of miracles that attended the
-Flight of the Holy Family into Egypt--the wheat that grew and ripened
-in a day, the date-palm bending to offer its fruit to the Virgin
-Mother resting beneath its shade while the unsaddled ass grazes as it
-lists and Joseph fetches water from a neighbouring spring; elsewhere
-the risen Christ appearing to the fishing apostles, and far beyond
-across the waters in the background the setting of the sun in all its
-glory. Every scene that lends itself to the treatment has its beauty
-enhanced by the beauties of Nature. The one sorrowful incident in the
-whole story, the Massacre of the Innocents, is a mere suggestion of
-this cruel episode. Memlinc's nature shrank from the interpretation of
-evil, and in this particular instance has admirably succeeded in
-commemorating the incident of the massacre without involving it in any
-of its horror. A pleasing innovation may also be noticed in the
-treatment of his portraits of donors, Peter Bultinc and his son being
-introduced as devout spectators of the scene presented in the stable
-at Bethlehem, which they humbly contemplate through an opening in the
-wall. "The more one examines this picture, the greater one's
-astonishment at the amount of work which Memlinc has lavished on it,
-at the exquisite beauty of the various scenes, the marvellous
-ingenuity displayed in separating them one from another, and the skill
-with which they balance and are brought into one harmonious whole."
-
-    [Illustration: PLATE VI.--MARTYRDOM OF SAINT URSULA.
-
-    This forms the eighth panel of the famous shrine, completed in
-    1489 for the Hospital of Saint John at Bruges, where it may be
-    seen. The archer is a portrait of the celebrated Dschem, brother
-    of the Sultan Bajazet, taken prisoner at Rhodes in 1482, copied
-    from a portrait in the possession of Charles the Bold.]
-
-The Turin altarpiece was completed not later than 1478, in which year
-William Vrelant gave it to the Guild of Saint Luke and Saint John
-(Stationers); the Munich one at any rate some time before Easter 1480,
-at which date the donor presented it to the Guild of Tanners. But
-already then Memlinc had undertaken the triptych in the Hospital of
-Saint John painted to the order of its spiritual master, Brother John
-Floreins, acknowledged to be technically the most perfect work he
-completed before the end of 1480; and also the larger triptych for the
-high altar of the Hospital church.
-
-
-
-
-VI
-
-MASTERPIECES AND DEATH
-
-
-Meanwhile the contest in which the burghers of Bruges had become
-involved through the disputes between the States of Flanders and
-Maximilian over the guardianship of his son, was precipitating the
-decay of the town which the relentless forces of Nature had long since
-decreed. As early as 1410 the navigation of the great haven of the
-Zwijn had become impeded, and so rapidly had the silting up advanced
-that before the close of the century no vessel of any considerable
-draught was able to enter the port of Damme. Entirely engrossed in the
-safeguarding of the remnant of their privileges, no serious effort was
-made to combat the mischief, and in the end Bruges found herself
-absolutely cut off from the sea. On the other hand, in the enjoyment
-of peace and the greater security it engendered, Antwerp was slowly
-asserting herself and gradually attracting to her quays the merchant
-princes from the littoral of the Zwijn; and as commerce imperceptibly
-gravitated towards the city by the Scheldt the foreign consuls one by
-one forsook the doomed emporium of the Hanseatic League. Memlinc,
-pursuing the even tenor of his life, continued to produce with
-unabated ardour and undiminished skill, and with this period--the last
-fourteen years of his life--is associated the most celebrated of all
-his works, the marvellous Shrine of Saint Ursula, the gem of the
-priceless collection preserved to this day in the old chapter-room of
-Saint John's Hospital. When this masterpiece was first undertaken we
-are not in a position to say, but it was completed in 1489, and on the
-21st day of October in that year the relics for whose safe keeping it
-had been designed were deposited within it. But to the eighties belong
-other memorable productions. In 1484 was finished the interior of the
-altarpiece for the Moreel chantry in the Church of Saint James, now
-housed in the Town Gallery at Bruges; in 1487 was painted the portrait
-of a man preserved in the Gallery of the Offices at Florence, and also
-was completed the wonderful diptych for Martin van Nieuwenhove, whose
-portrait we reproduce as the finest example of Memlinc's work in that
-particular department of art; and in 1490 the finishing touches were
-put to the picture in the Louvre of the Madonna and Child, to whom
-saintly patrons are presenting the family of James Floreins, a younger
-brother of the donor of the triptych picturing the Adoration of the
-Magi which, as we have seen, was completed in 1479.
-
-But work, which always spelt happiness to Memlinc, meant something
-more to him in this decade of his career. Death in 1487 robbed him of
-his wife. One pictures to oneself the bereaved artist seeking solace
-from the grief of his widowed home in intensified application to his
-art. The refining discipline of sorrow was exercising its softening
-influence on a nature of whose religious fervour and deep piety his
-life-work is an abiding testimony. Absorbed in the production of the
-Shrine of Saint Ursula, does not the instinct of human sympathy
-suggest to us the artist spending himself in this inimitable work for
-a monument of his love worthy of the memory of the helpmate who had
-devoted her life to enhance the happiness of his own, herein seeking
-and finding surcease of the sorrow that now overshadowed his life, the
-burden of work balancing the burden of grief? And what a monument! So
-familiar is the legend and the unique interpretation of it he has left
-us, one feels it would be a work of supererogation to dwell on the
-story. But the treatment, viewed by the light of Memlinc's
-bereavement, discloses fresh beauties in every panel. Critics have
-dwelt on the unreality of the death scenes in this shrine. Memlinc, as
-we have had sufficient occasion to observe, shrank from the painful
-expounding of evil. But for him death had no terrors: it was but the
-passing over to the ineffable reward of a well-spent life, and this
-innate feeling he conveys to us in the placid acceptance of death by
-Saint Ursula and her virgin band as but a stepping across the
-threshold to everlasting bliss. These critics, on the contrary, look
-for the betrayal of fear and anguish, for the manifestation of human
-suffering: but, like the martyrs of the early Church, we find these
-victims of the ruthless Huns not alone meeting their death in a spirit
-of resignation, but welcoming it with abounding peace and a joyful
-self-surrender, strong in the hope and faith of the hereafter: as the
-artist himself was wistfully looking forward to the day and the hour
-that would reunite him there to the one he had loved best on earth.
-
-Turning to the other works of this period which we have mentioned, the
-Moreel altarpiece arrests our attention. Apart from the particular
-friendship which linked him with William Vrelant and the brothers
-Floreins, few men were more likely to attract him than the donor of
-this painting. The great-grandson of a Savoyard, Morelli, who had
-settled in Bruges in 1336, William Moreel, a member of the Corporation
-of Grocers, after filling various civic offices, was elected
-burgomaster of Bruges in 1478, and again in the troublous days of
-1483. His standing is sufficiently attested by the record that in 1491
-only ten of his fellow-citizens were taxed at a higher rate. Able and
-strong-willed, a capable financier and ardent politician, he was ever
-foremost in defending the rights and liberties of his country, and to
-such purpose that Maximilian, who had imprisoned him in 1481, refused
-when he made his peace with the States of Flanders, on 28th June 1485,
-to include him in the general amnesty. He retired to Nieuport, but
-returned to Bruges in 1488 and was chosen as treasurer of the town,
-and in July 1489 was presented by the magistrates with the sum of L100
-in recognition of services rendered. Reference has been made to the
-independent portraits of Moreel, his wife, and one of his daughters.
-In the triptych under notice the whole family are gathered together,
-the father and his five sons, his wife Barbara van Vlaenderberch and
-their eleven daughters. The donor's head is probably a copy of the
-Brussels panel, assuming that at the time it was painted, Moreel was
-still in prison; while that of his wife, more careworn and aged, bears
-testimony to the anxiety occasioned her by her husband's confinement.
-This painting, too, will afford the critics who love to find fault
-with the Flemish school for its alleged inability to do justice to the
-winsomeness of child life an opportunity of reconsidering their
-judgment by the light of the Infant Jesus whom Saint Christopher is
-bearing across the ferry, and once more we are met in every portion of
-the picture with brilliant exemplifications of the artist's special
-aptitude for interpreting the beauties of Nature.
-
-Scarcely less attractive, and in some respects even more interesting,
-is the celebrated diptych associated with the name of Martin van
-Nieuwenhove. Here we have a departure from Memlinc's usual
-practice, which was to present the Blessed Virgin and Child in an open
-portico, the artist picturing them in a room amply lighted by windows,
-the upper portions of which are adorned with pictures in stained
-glass, while the lower halves, mostly thrown open, reveal inimitable
-scenes of country life; moreover, a convex mirror at the back of Our
-Lady reflects the depicted scene of the interior. The donor belonged
-to a noble family long settled in Bruges, evidently a man of great
-promise, for after being elected a member of the Town Council in 1492,
-he was chosen burgomaster in 1497 at the early age of thirty-three.
-Unfortunately he passed away in the prime of life a short three years
-later. The painting dates from 1487, and the portrait is Memlinc's
-masterpiece in that branch of art.
-
-    [Illustration: PLATE VII.--AN OLD LADY.
-
-    This fine portrait, with its companion, was formerly in the
-    Meazza collection at Milan, dispersed in 1884. It was exhibited
-    at Bruges in 1902 (No. 71), since when it has been purchased by
-    the Louvre, where it is now to be seen. The companion portrait
-    is in the Berlin Museum.]
-
-The panel in the Louvre ranks equally with this production, its chief
-feature being the marvellous grouping of the donors and their family.
-James Floreins, younger brother of John, the spiritual master of Saint
-John's Hospital, belonged to one of the wealthiest of the Bruges
-guilds, the Corporation of Master Grocers, among whose members (John
-Du Celier and William Moreel to wit) Memlinc found such generous
-patrons of his art. He had married a lady of the Spanish Quintanaduena
-family, who bore him nineteen children: the eldest son, a priest, is
-represented in furred cassock and cambric surplice, and the second
-daughter in the habit of a Dominican nun. This picture is another but
-wholly different departure from the setting usually affected by the
-artist in his presentment of the Virgin and Child. The throne here is
-erected in the middle of the nave of a round-arched church, a
-rood-screen of five bays shutting off the choir. The north transept
-porch, is adorned with statues of the Prophets, the south portal with
-others of the Apostles. The difficulty of grouping so large a family
-in the circumscribed space about the throne is obviated with
-consummate skill, the father and two eldest sons on the one side, and
-the mother and two eldest daughters on the other, being placed well in
-the foreground, while the younger members of either sex are disposed
-in the aisles, the upstanding figures of Saint James the Great and
-Saint Dominic beside the throne filling the void on either side which
-this arrangement entailed. Even here, with the limited opportunities
-the architectural setting affords, Memlinc will not be denied his
-predilection for landscape ornamentation, two delightful glimpses of
-country life enchanting the eye as it wanders down the transepts and
-out on to their porches.
-
-If in these pages attention has perhaps been somewhat too exclusively
-devoted to the portraits of men left us by Memlinc, obviously enough
-because of the greater interest they excite by the stories known of
-their careers, it must not be supposed that he proved himself less
-skilful as a portrayer of women. As a rule the wives of the donors in
-his pictures are of the homely type, but they appeal to us none the
-less as typical examples of the womankind of a burgher community in
-which the virtues of the home were cherished and sedulously
-cultivated. Two exceptionally fine specimens of male and female
-portraiture, which most likely belong to this period, are the bust of
-an old man in the Royal Museum at Berlin and that of an aged lady,
-recently acquired by the Louvre for the very substantial sum of
-200,000 francs. If, as has been suggested, these are portraits of
-husband and wife, it is regrettable that they should have strayed so
-far apart, but the latter we have selected for illustration as
-perhaps the best available example to demonstrate Memlinc's aptitude
-for the interpretation of the dignity of old age in woman.
-
-More amazing perhaps than the magnitude of the work Memlinc achieved
-is the dearth of information concerning him that has been vouchsafed
-to us. Until 1860 nothing whatever was known of the story of his life,
-and what has been since discovered is almost entirely due to the
-painstaking researches of one or two individuals. These revealed the
-fact of Memlinc's marriage, the name of the woman he chose for his
-wife and that of her father, the fact that she bore him three
-sons--John, Cornelius, and Nicolas--the year of his wife's death, the
-record of house property bought by him, the date of his own death and
-his place of burial, and this is the sum total of the material at our
-disposal, apart from his paintings, with which to build up his
-biography. The Shrine that is his masterpiece once completed, the only
-other dated work of which we have any knowledge is the polyptych
-altarpiece which hangs in the Greverade chantry of the Cathedral at
-Lubeck. This bears on its frame the date 1491; but the execution of
-the painting is very unequal, and it appears probable that the
-greater part is the work of pupils. Perhaps Memlinc felt that he had
-lived his life, and was content to lay aside palette and brush in the
-consciousness that he had given the world of his best. May-be, too, as
-the years began to tell, there grew a yearning for the privacy of home
-life in more intimate communion with the motherless children from whom
-he himself was soon to be parted. All too speedily the end came, for
-he passed away on the 11th of August 1494, at a ripe old age
-considering the average length of days meted out to man in his time.
-
-
-
-
-VII
-
-EFFACEMENT AND VINDICATION OF HIS TYPES
-
-
-Bruges, the scene of his stupendous lifework and his home for nearly
-the last thirty years of his life, was fast settling down to utter
-stagnation and the general poverty it superinduced. One needs to
-realise the measure of her decay to understand the possibility of such
-a personality as Memlinc's fading from the public memory. True, he had
-founded no school to perpetuate his art and cherish his name and
-reputation. Twice we find mention of apprentices in the register of
-the Guild of Painters--a John Verhanneman, inscribed on 8th May 1480,
-and a Passchier Van der Meersch, in 1483. Neither attained the rank of
-master-painter. Nor is it known that any of the three sons inherited
-their father's talent or followed his profession. However, we remember
-that Rumwold De Doppere, writing of his death in the year it
-occurred, asserted that he was "then considered to be the most skilful
-and excellent painter in the whole of Christendom," while Van
-Vaernewyck, as late as 1562, tells of the houses of Bruges being still
-filled with paintings by Memlinc among other great artists. And yet so
-completely was he forgotten within a century of his death that Van
-Mander, when preparing his biographies of Netherlandish painters
-(published in 1604), could only learn that he was in his day "a
-celebrated master who flourished before the time of Peter
-Pourbus"--that is, before 1540! Neglect and disdain followed speedily
-on forgetfulness, and the scattering of his priceless works commenced.
-The magnificent picture of the Passion of Christ in the Turin Museum,
-which adorned the altar of the chapel of the Guild of Saint John and
-Saint Luke in the Church of Saint Bartholomew until 1619, was then
-removed to a side wall, and five years later sold to make room for an
-organ! The no less famous painting "Christ the Light of the World,"
-which graced the altar of the chapel of the Guild of Tanners in the
-Church of Our Lady until 1764, was then removed to the house of the
-dean, who a few years later sold it to a picture-dealer at Antwerp
-for 20 _l._! And so these masterpieces were made the sport and spoil
-of picture-dealers and traffickers in curiosities. Under Spanish rule
-further toll was levied on the art treasures of Bruges, and of what
-escaped the vulgar vandalism of the Calvinists, whose utter inability
-to create was only equalled by their senseless capacity for
-destruction, the French revolutionaries, whose sense of the beautiful
-in art not all their irreligion had sufficed to stifle, claimed a
-considerable share. Fortunately the ultimate defeat of Napoleon made
-restitution in a measure possible, and so the Moreel triptych, seized
-on 23rd August 1794, and the Van Nieuwenhove diptych, carried off in
-the same month, were recovered in 1815. Still the fact remains that
-Bruges at this date possesses only seven of Memlinc's works. The
-remainder are dispersed among the galleries of the Continent--in
-Brussels and Antwerp; in Paris; in Madrid; in Rome, Florence, Turin,
-and Venice; in Vienna and Buda-Pesth; in Berlin, Frankfort, Munich,
-Danzig, Lubeck, Hermannstadt, and Woerlitz; and at the Hague; while
-England boasts of three pictures, two in the National Gallery and one
-at Chatsworth.
-
-Although Memlinc founded no school, the masters of his day and
-others who settled in Bruges in the sixteenth century were to a very
-appreciable extent influenced by his art. Gerard David, Albert
-Cornelis, Peter Pourbus, and the Claeissens all felt its impress, and
-if the traditions of the old school survived in Bruges to a later
-period than in other centres, and well into the seventeenth century,
-it was mainly through the instrumentality of these painters. In
-contrasting the lives of mediaeval and modern artists one cannot escape
-a feeling of regret that the former should so utterly have neglected
-the literary side of their calling. What a revelation to us would have
-been the discovery of the personal recollections of but one of these
-great masters of the fifteenth and sixteenth centuries, and what a
-world of trouble they would have saved the art students of after
-generations! But seemingly the demand for this class of literature had
-not then arisen, while the craving for notoriety which would have
-compelled an effort of this description was altogether foreign to the
-single-minded nature of a school whose art was to its exponents
-something more than the realisation of worldly ambition or the
-satisfaction of a vulgar lust of gain. There could have been no
-hankering after either in the type of man revealed to us by the
-lifework of Memlinc. And so it was that with the reawakened interest
-in mediaeval painting which made itself manifest in the nineteenth
-century the services of the archaeologist had to be requisitioned.
-Difficult indeed would it be to exaggerate the immensity of the task
-imposed upon him. The sifting from the mass of popular fiction which
-had gathered round Memlinc's name the few grains of truth embedded in
-it, the ceaseless delving among municipal and ecclesiastical archives
-for a chance record of some incident in his career, the slow process
-of authenticating the genuine from the ruck of doubtful and spurious
-works associated with his name, half a century of unswerving devotion
-to the task has not yet brought us within measurable reach of its
-accomplishment. Every day, so to speak, brings to light some new fact,
-often compelling a revision of conclusions which in its absence were
-sufficiently justified.
-
-    [Illustration: PLATE VIII.--OUR LADY AND CHILD, SAINT GEORGE AND
-    THE DONOR.
-
-    This painting, formerly in the Gierling collection, was
-    purchased by Mr J. P. Weyer of Coeln for 450 thalers, and at the
-    sale of his pictures in 1862, by Mr O. Muendler for 4600 thalers
-    for the National Gallery.]
-
-Thus it happened that the identification of the donors of the "Last
-Judgment" at Danzig, in 1902, led to the recognition of this earliest
-example of Memlinc's art. And so no doubt will it happen again, each
-fresh discovery amplifying the knowledge necessary to remove doubt as
-to the authenticity of attributed works. But even so, what an advance
-from half a century since, when the personality of the painter was but
-the sport of idle legend, and loomed vaguely on the horizon in the
-distorted outlines of a loathsome caricature! If dearth of information
-is a powerful incentive to the imagination, then the evolution of the
-Memlinc legend goes far to establish its potency. An obscure
-seventeenth-century tradition had it that Memlinc painted a picture
-for the Hospital of Saint John in grateful recognition of services
-rendered to him by the Brethren of that charitable foundation: from
-which indeterminate report grew a tale of a dissolute soldier of
-fortune spared from the shambles of the field of Nancy dragging his
-wounded and diseased body to the Hospital gates, and beguiling the
-weary hours of a long convalescence there in the production of a
-masterpiece of painting in token of his gratitude. As an unconnected
-story for the amusement of simple-minded folk the fable is not without
-merit of a sort, but what a libel on the Christian artist who
-transcends all the painters of his age in the interpretation of deep
-religious feeling, and the shaping of whose whole life must have been
-a novitiate to this end! We have travelled a long road since the days
-when this preposterous legend was exploded. True, the exhumation of
-Memlinc's individuality from the burial-ground of lost memories has
-been a slow and arduous process; but the rich store of knowledge now
-at our command is an abundant testimony to the patience of the experts
-who have garnered it.
-
-It is not given to us to be all swayed in the same way or to the same
-extent by Art in any of its forms; but few who have been led to
-contemplate the masterpieces of the Netherlandish school will fail to
-pay the tribute of admiration these wonderworks evoke, and bear
-testimony to their educational value. For Hans Memlinc it is not
-claimed that he surpassed in each department of his art all the other
-painters who helped to build up the fame of the Netherlandish school:
-in some material respects his methods differed widely from theirs, and
-he elaborated a technique distinctly his own. It is not likely to be
-imputed that his sedulous avoidance of the marked contrasts of light
-and shade was a confession of inability to realise their treatment,
-though possibly he may be thought by some to have weakly followed the
-line of least resistance. Of course, Memlinc, like every other great
-artist of his age, had his limitations. His knowledge of anatomy
-naturally was not equal to the exact requirements of science, the pose
-of his figures not absolutely conformable to the ideals of the
-dilettante in respect of grace of carriage or correctness of
-deportment. Though critics contrast the simplicity of his art with the
-grandeur of style of Van Eyck, commonly with some predilection for the
-latter, yet it is possible for one to be subjugated by it and still
-feel to the full the fascination of the tender beauty inherent in the
-former. In his conceptions of the great mysteries of the Christian
-faith, in the characterisation of the many saints he portrayed, and
-above all in his varied presentation of womanhood he certainly
-excelled. In the "Last Judgment" at Danzig we have probably the least
-successful of his great efforts. The conception is not original,
-though admittedly one of the finest produced up to that time; also it
-is his earliest extant work, and in the style of a master from whose
-controlling influence he had not yet emancipated himself. But the
-fault lies rather with the subject. Many an artist has laboured at it,
-not always perhaps from choice; but the painter has yet to be born
-who will produce a convincing picture of that unrealised tragedy. Any
-attempt that falls short of conveying to the mind and soul of man the
-awe-full warning it should express necessarily bears the stamp of
-failure; and when, as too often is the case, it but provokes a smile
-by reason of its incongruity, the effort it cost stands unjustified.
-Not that Memlinc's conception errs conspicuously in this sense: but it
-lacks conviction, and not all the beautiful work it exhibits can close
-our eyes to the fact.
-
-To the up-to-date art critic of the weekly press, steeped in
-modernity, all this grand religious art of the middle ages is but as
-the dead ashes of a fire that once glowed but has now lost its warmth;
-or, to vary the simile, he contemptuously relegates it to the
-scrap-heap of antiquated material as the useless remains of a "dead
-language"; little bethinking himself of the great underlying truth he
-was unconsciously voicing. For just as all succeeding literatures
-found their spring and inspiration in the magnificent literatures
-enshrined in the great dead languages of Rome and Greece, so likewise
-has modern art, unconsciously if you will, but none the less
-assuredly, derived the essence of its loveliness from the mediaeval
-art it affects to despise. Art of any kind to be great must have
-realised its greatness through the vivifying power of the art that had
-gone before. _Ex nihilo nihil fit._ The impellent craving after
-realism of the materialistic school of to-day is but a perverted form
-of the love of truth which was the keynote of all mediaeval art, its
-cult of the sensuous but a depraved phase of a love of the beauty in
-virtue and godliness which characterised the latter: the great touch
-of faith is wholly wanting. In art as in all things human there is no
-finality; but the while Bruges subsists, though she were utterly
-bereft of all her picturesqueness and the wealth of architectural
-beauty that endears her to the artist mind, so long will that
-treasure-house of Memlinc's art, the small chapter-room in the
-Hospital of Saint John, continue to exercise its educating influence,
-and so long, because of it, will the old Flemish capital, though shorn
-of all its pristine glory, continue to be one of the most cherished
-shrines of the art pilgrims of the world.
-
-The plates are printed by BEMROSE & SONS, LTD., Derby and London
-
-The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
-
-
-End of Project Gutenberg's Memlinc, by W. H. James Weale and J. Cyril Weale
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