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diff --git a/42876-0.txt b/42876-0.txt index 806bd1f..9946a0b 100644 --- a/42876-0.txt +++ b/42876-0.txt @@ -1,39 +1,4 @@ -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. 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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 - -The text at the BALLANTYNE PRESS, Edinburgh - - - - - -End of Project Gutenberg's Memlinc, by W. H. James Weale and J. 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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: UTF-8 - -*** 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) - - - - - - -</pre> - +<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. 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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. 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