I II \ NS Ml Ml l\(. CLASSICS IN ART SERIES THE ONLY PUBLICATIONS GIVING REPRODUCTIONS OF EVERY KNOWN PICTURE BY THE ARTIST, TOGETHER WITH ITS SIZE AND PRESENT LOCATION EACH VOLUME CONTAINS FROM 150 TO 500 ILLUS- TRATIONS WITH BIOGRAPHICAL INTRODUCTIONS Square 8vo Cloth Extra, Gilt Top In Slip Case I. RAFFAEL, THE WORK OF ... . $3.00 net II. REMBRANDT, THE WORK OF . . . 4.50 net III. TITIAN, THE WORK OF .... . 3.00 net IV. DURER, THE WORK OF .... . 3.50 net V. RUBENS, THE WORK OF .... . 4.00 net VI. VELASQUEZ, THE WORK OF . . . 2.50 net VII. MICHELANGELO, THE WORK OF . . 2.50 net VIII. C0RREGGI0, THE WORK OF . . . 2.50 net IX. D0NATELL0, THE WORK OF . . . 3.00 net X. VAN DYCK, THE WORK OF ... . 5.00 net XL MEMLING, THE WORK OF ... . 2.50 net XII. MANTEGNA, THE WORK OF . . . 3.00 net XIII. FRA ANGELIC0, THE WORK OF . . 3.50 net XIV. HOLBEIN, THE WORK OF . . . . 3.50 net XV. WATTEAU, THE WORK OF ... . 3.00 net XVI. MURILLO, THE WORK OF ... . 3.50 net BRENTANOS, Filth Ave. & 27th St., NEW YORK *Chatsworth, Duke of Devonshire Selbstbildnis Memlings (Ausschnitt aus dem linken Flugel des Triptychons auf S. 2/3) Portrait of Memlinc Um 1468 Portrait de Memling (Detail of the left wing of the triptych p. 2/3) (Detail du volet a gauche du triptyque p. 2/3) nil wokk <>i HANS MKMI.IN( 111 i*m»t»rcti» I* 1 1 1 1 tnuTit>s« M < M X I II Copyright, IQI3, by Brentano's HUE GETTY CENTER UMMY HANS MEMLING HIS LIFE AND ART In the history of human civilization the fifteenth century has a special and significant value. The note of Spring is dominant in it; it was a time of youth and growth, of discovery and of the birth of a fresh enjoyment of art. To such an extent was this so that we may contrast it as an independent period with the Middle Ages as well as with the art of later times. It broke with the former and prepared the way for the latter, even though it had not perfected its own style. It was a period of transition. With its coming the old times departed, but the new had not yet arrived; yet its fields were young and green with the springing of fresh seeds. The more we investigate this century the more we shall find it proper to con- sider it as a time of youth. The truly enormous productive power of its artistic life manifested itself mainly in the introduction of new elements which the later centuries, up to the great catastrophe of the French Revolution, assimilated and expressed in what we know as modern art. This marvellous youthful energy so acted on the art of the fif- teenth century that it also changed what style of its own that cen- tury possessed, and produced that which differentiates it from the earlier Middle Ages as well as from the Renaissance and Rococo. Quattrocento painting is always quattrocento, whether the work be that of 1430 or 1490; but the pictures of the first half of the century are altogether different from those of the end of the century. In that interval an extensive field was reconquered for art. The men then working had, of course, their own special ideals derived from the age, but, at the same time, they so extended its frontiers, so to speak, that they anticipated many of the characteristics of the future. This accounts for the unusual versatility of the Quattrocento style, which is evident not only in European art as a whole, but even in the particular art of each nation. Even the Dutch, who had pro- 5 duced a severe and formal style, displayed remarkable versatility; and though most of their masters resemble each other so closely that the work of one is often mistaken for the work of another, yet modern research has found them altogether different from each other. Jan Van Eyck is now sharply separated from Rogier Van Der Weyden, and both from Dirk Bouts. We can also easily per- ceive that an absolutely new style — new as regards these three mas- ters — came in with Hugo Van Der Goes, who, even in those days, was famous for his subtle technique. Finally, in the last quarter of the century a veritable swarm of artists arcfse who not only sustained the fame of Dutch painting but carried it to a splendid conclusion. Chief among these was Hans Memling, who may be called the last of the great masters of the classical age of Old Dutch art. It will be well if we explain, once for all, what we mean by the period of Old Dutch art. In general, one may include within the term Old Dutch, those artists who were active in Belgium and Holland from the first quarter of the fifteenth century to the mid- dle of the sixteenth, a period of about one hundred and thirty years. This long period, however, was split up by widely differing move- ments, so that we shall understand it better if we divide it into at least two periods: that of classical art proper, which ended with Memling, and that of the very clever epigoni, which led to a kind of academy. It is well to bear in mind that Memling belongs to the first division of artists whose works are very beautiful and also very severe. Memling's art is usually regarded as characterized by amiability of temperament and charm of composition. While it is true that few, if any, of the Old Dutch school had the like charm and grace, yet this is only partially true; for even Memling's immediate successors were much softer in manner than he and much more intent upon exquisite finish, and by comparing his work with theirs, we shall clearly see that Memling must still be considered as one of the severe masters of the Quattrocento. It is in this sense that we consider Memling as concluding the first period of the develop- ment of Dutch art. The history of art like that of everything else is subject to the laws of continual change, so that in art there is really no conclu- sion. All things are moving forward and upward, and even death is but the birth of a new life. In the midst of this ceaseless move- ment certain groups may be discerned which seem to exist for them- selves and appear, in the short period of their life history, to go through a cycle of art history in an abbreviated form. So that we 6 may consider the Dutch Quattrocento, in spite of the fact that it was a period of preparation for the later splendid flowering of the Flemish and Dutch painting of the seventeenth century, as an individual whole with a history going back to a youth and ending in old age. The more we know of this still partially studied period, the more do we realize that the new art, wonderfully manifested in 1432 with the unveiling of the altar by Van Eyck in Ghent, owed its remarkable success to the fact that its artists studied nature her- self. It is true they confined themselves to a few problems and em- ployed no large number of themes, and what they did they did from the point of view of still life; but the later artists revelled in the living world. The oldest masters of the Dutch style were distinguished by a solemn and, in spite of their evident joy in inven- tion, even a deeply religious mood. This may be deduced from the fact that their technique, though sure and true to a picturing of nature, is by no means facile and flowing. In its manner it be- longs to mosaic art; its painting seems to be made up of separate and distinct compositions most cleverly put together to form a har- moniwus whole. But the art of the second half of the fifteenth cen- tury shows a totally different mode of expression. Seemingly noth- ing is changed, and yet everything is now soft, fluent, and elegant. Expression is of the whole, and style is free and self-conscious. The conception is, in many respects, more personal, there is more of the artist's soul in it and more poetry. This was a wonderful advance. This progress manifested itself in such a complicated and in- teresting manner that it deserves a closer investigation. Here it will be well to remember that Jan Van Eyck and his followers are chiefly important in that they reflected the lyrical and didactic style of the Middle Ages in their delight in the visible world. They appealed to the eye primarily and only indirectly to the heart and the intellect. They thus gave birth to a new style that is so w idely separated from that of the fifteenth century that it is scarcely possible to bridge the two. And yet, great as this innovation was, it would not have been possible without the style which the Middle Ages had evolved for itself. In Italy, throughout the whole of the fifteenth century, we find the quattrocento painters revealing an intimate relationship with the older art, and in Florence we sec two schools, each partly the diametrical opposite to the other and partly connected with the other, and yet easily recognizable as the group of idealists and the group of realists. Less clearly defined, but still 7 evident, the same conditions are found existing in the much more energetic but more one-sided schools of the North, especially that of the Dutch, and around 1470 we see the long-suppressed idealism of the Middle Ages breaking out again and again in Hans Mem- ling. Much of the character of this extraordinary painter recalls, almost immediately, the works of Master Willem. The grace and loveliness of that art intended only for the most sensitive taste of the dying Trecento seems to have returned in an almost atavistic manner. In some respects Memling recalls Van Eyck, that art of Van Eyck which in him had found its final expression and end. And yet it is a fact that a style, once dead, can never be made to live again; so that Memling, in truth, did not intend an archaic imita- tion of Master Willem. Only in a slight degree did he fashion his pictures after these older masters; for the rest, he not only retained the best elements in the achievements of the fifteenth century, but developed in them what was capable of development. This it is which makes his paintings so complicated and interesting a problem. He employed the imaginative elements of the Middle Ages because Old Dutch art was forced in this direction, and also because, like every other art, after the severity of the Van Eycks, Rogier and Dirk Bouts, it had to allow room for a milder conception. Furthermore, it will be found that a period of close study of nature is always fol- lowed by an indulgence in the spiritual, the fanciful, tending to a finer elegance in taste. So that an art like that of Memling was abso- lutely certain to come at the end of the fifteenth century; it was, in a historical sense, a necessary development. Still, in conceding this we must not overlook one important consideration. Elegance, the lyrical mood and grace are, as it were, but the chemical components of a style in art. The resultant combination and the form given it by artistic expression depend, in the last resort, on the painter himself. Old Dutch art would have taken its course without a Memling; but in Memling it reached a perfection which only the personality and character of the artist could give it. Memling, though a representative of the national art of Bel- gium, is of the Old Dutch school by virtue of his art only; by birth he was a German. He was born in the archdiocese of Mayence, probably in Mumling, whence, no doubt, he derived his name. He died in 1494 at Bruges, leaving some children of minor ages behind him; so that we may assume he did not reach an advanced age. We shall probably be correct in placing the date of his birth between the years 1440 and 1450. He came from a district where German art 8 had flourished for centuries, and it would be of the highest impor- tance could we bring to light any authentic works by him which related him to this art. But so far no work has been found which in the least suggests such a relationship. In one of his famous paint- ings, he introduced a view of the Cathedral of Cologne; but that is no proof of Germanic influence. His coloring, draughtsmanship, modeling, composition and types are all purely Dutch; so much so, that but for the evidence of his German origin, we should never suspect it from his art. His exquisite poetical feeling and wonder- ful sense for loveliness and grace may have been inherited by him from Central-Rhenish art, because these are not marks of the Dutch School; but the splendid discipline which Memling received from the Old Dutch masters gave him a purity, clarity and mastery in the modeling of forms which distinguished his figures and paintings unmistakably from the German school. Who it was who trained Memling in his art has been a vexed question. It was long thought that he was a pupil of Rogier Van Der Weyden, partly because old traditions seemed to indicate it, and partly because many of Memling's paintings show, in their material and arrangement, a similarity with Rogier's work. But neither the one nor the other of these arguments will bear analysis. In the first place, the difference in the styles of these two artists is too great to suggest such a kinship. The last works of the old master and the earliest works of the young artist were painted in the same decade, and they are totally unlike each other. Indeed, Memling's early paintings are much more akin to the last altarpieces of Dirk Bouts, the Louvain artist; but that does not warrant us in conclud- ing that Memling was a pupil of Dirk Bouts. The difference be- tween Memling's art and that of Dirk Bouts may not be as wide as that between him and Rogier, but it is wide enough to remain un- bridged. Bouts is so archaic that we cannot think of Memling's chaste beauty emanating from his studio. Perhaps we shall be justi- fied in assuming that a pupil of Dirk Bouts supplied the link be- tween the two artists; and as Dirk Bouts undoubtedly influenced the Schools of Bruges and Louvain, this will also explain why Mem- ling shows such an intimate relationship with the Dutchman yet remains a true Belgian. On technical and historical grounds we may consider Mem- ling's earliest work to be the altarpiece of Sir John Donne of Kid- welly, now in the possession of the Duke of Devonshire at Chats- worth. James Weale, who has rendered such important service to 9 the history of art by his documentary investigations into the Old Dutch School, has given good reasons for placing the execution of this fine painting to the year 1468. Memling was then probably about twenty-five years of age. At that age artists were usually in- dependent of masters, and this is evident in this marvellous triptych. Though the work of his youth, it proves unmistakably that Memling had found himself. If Memling, at so young an age, was big enough to create a style so peculiar to himself, he must have had the neces- sary intelligence to realize that it would not be well for his art were he to allow the style to become fixed and rigid. He would rather refine and broaden it as he grew in years. And this is what he did. The subject of the altarpiece at Chatsworth is one often met with in Memling's works. The Madonna, surrounded by singing angels and saints, is enthroned in a high-backed seat resplendent in gold, in a hall which opens freely into the landscape. The right and left wings contain figures of the two St. Johns which Memling so often painted. In front of the holy Virgin, and at the left, kneels the donor of the altarpiece, Sir John Donne of Kidwelly, and on the right his spouse. We see here the young Memling already in the service of the nobility. This is no mere accident, for there is good ground for believing that he belonged to the court of Charles the Bold, for whom, probably, he was both court painter and art adviser. This fact must not be forgotten in considering Memling's art. Charles the Bold was an ambitious prince with dreams of a world-empire; his court was splendid and luxurious and the meet- ing place of the great. Memling must have imbibed its atmos- phere and grown under the influence of its lord. His pictures point to a man who moved in the best society of his day. His peculiar charm and grace are always evident; but the roots of his art are planted, not so much in a naive religious faith, as in the glory of a court life where a barbaric custom and an elegant etiquette existed side by side. A worldly taste is in a large part of Memling's art, which explains why it was that he so often painted the Virgin as though she were a lady holding a court. The motive of the Middle Ages of a Madonna in a heavenly garden is, in Memling, transposed into a motive of a Queen surrounded by noble and splendid dames, as if discussing some subtle religious problem. The parallel of the famous Courts of Love suggests itself. How different is it in Van Eyck, whose Madonna is either a well-developed Flemish matron or a woman possessing a face radiating the poetry of transcendental peace. To this court influence is also due the evident joy with which 10 Memling indulged himself in the picturing of splendor and mag- nificence. He dresses his holy women and virgins in the richest and most attractive gowns — the gowns of the Duchess of Burgundy her- self — and he has a keen artistic delight in the elegant fashions of his time. While all these matters point to Memling as the accomplished artist, yet, if we examine this very painting with respect to its man- ner of drawing and technique, we shall find quite a number of traits which reveal a relationship with Dirk Bouts. It was from the lat- ter that he, apparently, obtained the types of his saints and that pref- erence for long, oval faces. Especially are the two St. Johns in the Dirk Bouts manner. Technically, there is not that sureness of exe- cution which so individual a conception would lead us to expect. This is most evident in the portrait of Sir John Donne, which is narrow and sharp. In the year 1473 — the story has often been told, but we mention it only here — a Dantzig pirate ship captured an Italian vessel in the North Sea. On board the prize was found, among other valuables, a large triptych representing the Last Judgment. The painting was by Memling, and is now in St. Mary's Church in Dantzig. If the story be true, we must assume that this captured picture was painted very soon after the Chatsworth altarpiece, that is to say, about the year 1470. The picture, unfortunately, has been sadly defaced by a too-ambitious restorer of the eighteenth century. Still, the charac- ter of the original can be recognized in many places and reveals so eminent a technique in agreement with Memling's style that we recog- nize the artist in spite of the damage done. Through the researches of Warburg we know now that Jacopo Tani, a Florentine merchant, gave the commission for the painting. This is interesting as show- ing in what high esteem the Old Dutch school was held by the cul- tured nations of Europe. In the early part of Memling's life, rich Italians ordered altarpieces for their churches from the Dutch; in the later years of his life, Italian art began to find its way into the Netherlands. So long as Dutch art remained independent and na- tional, it held sway. Memling's " Last Jifdgment" is a fine exam- ple of this independent and national character. His artistic sense and youthful poetic vigor are held in restraint by a fine technique within the limits of true art. Later the Dutch succumbed to the curse of a facile technique, and so lost their native artistic strength, and with this loss went also their power to resist the siren voice of Ital- ian art. 1 1 The subject of the " Last Judgment " is met with in all phases of the art of the fifteenth century. It had been a favorite one in the Middle Ages and had been accepted by the painters of the Quattro- cento. We find it in the " Circle " of the brothers Van Eyck, in Ro- gier Van Der Weyden and in Dirk Bouts. But Memling alone gave it as much of a unity as was then possible. This is especially evident when we compare his painting with the famous " Last Judgment" which Rogier painted for the hospital at Beaume, at the request of Chancellor Rollin. It was once held that Memling's composition was derived from Rogier's, but a comparison will show that he dif- fered widely from the older master and was, indeed, far more pro- gressive. Rogier divided his presentation into nine sections which have little or no organic connection. Memling, on the contrary, treated the subject as a unity. Rogier's work is related to Middle Age sculpture; Memling's was conceived from a purely painter's standpoint. Rogier dealt very cautiously with the nude, but Mem- ling almost revelled in it. Memling's painting is still pure Quat- trocento art; but the tendencies of the Renaissance are distinctly foreshadowed. How marvellous are these naked human bodies, not only in their astonishingly free movement, their soft and graceful modeling, but in the truly touching expression of their features! Probably contemporaneous with the Dantzig " Last Judgment " is the " Madonna " (1472) in the Vienna Liechtenstein Gallery, rep- resenting the Virgin with the donor of the picture kneeling before her, and St. Anthony behind him. It may be that this painting was part of a large altarpiece. As is so often the case with Memling's work, the composition is at once simple and unusual. The Virgin is represented as if she had been sitting in a cosey room and were coming forward to receive the donor, introduced by St. Anthony. This is a genuine Memling conception, by which he combines repose and movement; so that the whole picture breathes a very lovely charm. In this sense, this painting is, perhaps, surpassed by a small picture, the " St. Joseph" (a subject often painted by Memling), in the Pinakothek at Munich, in which, in spite of its small size, there is not a trace of the miniaturist's art. The modeling of the figures, however, savors of the conventional ; they are so smooth and round that they seem as if they had been turned out on a lathe. Still, as a whole, it is fluent and executed so as to accentuate a mood of idyllic repose. To Memling's early years also belong the wings of an altarpiece, now in the London National Gallery, of which the other parts have been lost. They represent St. John the Baptist and St. Lawrence standing framed in doors of a late Gothic architecture. The St. Lawrence is especially notable for its splendid coloring, very like that of Dirk Bouts. The painting of portraits was a favorite pursuit with the Old Dutch masters and they achieved remarkable results in the art. Memling also contributed his share, and a number of portraits by him have been preserved to this day. They form an important part both of his work and of the art of the period, for they are a distinct contrast to Jan Van Eyck's portraits with which they were once con- fused. The founders of this school conceived the painting of por- traits in an absolutely honest spirit. They achieved a surprising certainty of execution, but, in spite of an ambitious striving after a faithful picturing of the subject, they were too regardful of the spirit- ual qualities of the human face. Indeed, they looked at it as related to religious subjects, which accounts for a kind of supersensuous- ness which characterizes them. With Memling, however, the fun- damental conception is different. He is true to the fact. In the portrait of an Italian medal-engraver, the figure is holding a medal in his hand. In the very beautiful portrait of a young man in the Oppenheim Collection at Cologne, we see that it must represent a member of an Archers' Guild, from the fact that the figure is holding an arrow or dart. Moreover, the background is a wide landscape, which adds to the life of the portrait. Memling's portraits are free and independent, and though still severe and formal and narrow, in the Quattrocento manner, they presage the new epoch. A most striking work is the portrait of a young man which was added to the collection of George Salting in London, from the Felix Collection. It is difficult to fix its date, but it is more likely of Mem- ling's youth than of his later years. A fairly early date should be assigned to the two wings, once in the Kann Collection, if we could be certain they are Memling's work. They, certainly, bear every indication of his style, though a certain harshness in the drawing, and a curiously pointed manner of the composition, make us reluctant to attribute them to the master. Tradition and the inscriptions on the pictures themselves com- pel us to assume that Memling was unusually, even remarkably, active around the years 1479 and 1480. Indeed, so large is the num- ber of works assigned to these dates that we can scarcely believe he could have executed them all. Chief of these is the altar-picture in St. John's Hospital at Bruges, representing the mystical betrothal T 3 of St. Catherine, and dedicated to the two St. Johns — the Evange- list and the Baptist. Next to the altarpiece of the brothers Van Eyck at Ghent and the Portinaria altar of Hugo Van Der Goes, this is the most magnificent religious painting of the classical Old Dutch period. It is, in every respect, the equal and counterpart of the other two, and from the three paintings it is almost possible to de- duce the history of Belgian art of that time. We note, almost with wonder, how the Old Dutch School proper is nearing its end while still preserving its ancient virtues. There is a change to a new style and a turning to new themes; but in Memling it has an artist who is more than a mere master of technique. This technical ability was an ever-present danger with the Old Dutch painters; it threatened to smother their purely artistic genius. Memling saved them and reasserted the productive strength of the Dutch. The vital principle, so to speak, which enabled this small, and yet highly cultured nation, to attain to the front rank in the art of northern Europe, obtains no more important expression than in this great altarpiece of St. John's Hospital. Memling repeats the mo- tive he employed ten years before in the Donne painting, but he re- turns to it as a ripe artist. Once more the Virgin is presented as throned and surrounded by saints, and once more the two St. Johns are witnesses to the solemn act; but the treatment is now altogether different. It is far freer and everything is more concentrated. And it is not because he painted on a larger canvas, but because he had attained greater mastery over his art that he here evinces an inner freedom and a finer power of composition with such extraordinary spontaneity of manner. In imitation, possibly, of the Ghent altar- piece, Memling here excludes all secular touches from the centre piece, which is given over entirely to the glorification of the Holy Virgin and St. Catherine. The portraits are relegated to the side pictures, so that the main theme acquires a religious and also artistic unity which marked the first great masterpiece of this school. Important as this point is, it gains in value from the fact that the arrangement everywhere evinces a desire for concentration. The two St. Johns are stepping from the wings into the centre picture, becoming thus participants in the event, while leaving room for Memling's story-telling talent in picturing the more important epi- sodes in the lives of the two saints. Once more the artist's joy in the elegancies of life are shown in the costumes of the saints about the Madonna, which are worn with dignity and yet charming grace. If Jan Van Eyck, as has been said, transplanted the inhabitants of 14 Heaven to the earth, surely, Memling brought them closer to us by the power of his personal poetic feeling. The landscape is in har- mony with the rest of the picture, and is visible in a number of charming views from between the columns which support the hall. The figures are no longer, as in the older pictures, arranged stiffly side by side, but in an attractive variation of tall and short behind one another, in circular effect, which gives a feeling of movement. This is an important change from the style of the first half of the century when the figures were disposed purely empirically in the foreground. Memling had outgrown these primitive conditions and took the first step towards a filling of space as depth; so that his fig- ures stand out more rounded and freer of motion than had formerly been the case. Whether Memling alone took this step is not known, but he certainly shows a progress in painting which is not evident in the other great Dutch masters of his time. That peculiar virtu- osity, owing to an over-refinement of the pictorial sense, which is so marked a characteristic of this period of Dutch art, while present in Memling also, is in him not disagreeable but rather interesting. In the right inside wing of this altarpiece, St. John's vision of the heavenly Jerusalem is reflected in the water. The reflection, though it is emphasized, is treated with a fine artistic sense. The outer wings are also remarkable, and contain perhaps the best portraits by Mem- ling we possess. A year after the painting of this masterpiece, Memling, in 1480, executed a much smaller picture in the style of the miniature painters. It is known as "The Seven Joys of the Virgin," and is now in the Pinakothek at Munich. This marvellously fine painting has been the subject of much speculation as to whether or no it is by Memling. Opinion is now, however, confirmed that it is by this master, though as a painting it is not held in very high esteem, prob- ably, because its composition is foreign to our present-day tastes. The canvas is about six feet wide and three feet high. The theme, simple in itself, has been carefully elaborated by the artist, who pictures here the entire journey of the Magi, from their setting out for Bethlehem to their return home. A large number of events in the life of Christ are also depicted. The whole is crowded into one small surface without any unity other than that given it by the frame. In spite, however, of these defects, the picture is a proof of the mani- fold ways of art-expression, and seems to justify itself by its own artistic logic. Evidently, what Memling intended was not unity of compo- »5 sition but artistic unity. He not only attained this but supported it and elucidated it by the details of the Biblical story. There is a clearness of construction in it which is truly marvellous, achieving, by his creative ability, intelligibility and artistic expression. While the scenes are varied, Memling made such use of the different sto- ries as to connect the manifold into a kind of ring; and the land- scape, heavily treated, removes the work from the class of minia- tures and gives it the impressiveness of a fine painting. It is said that Moritz Von Schwind admired this work greatly. Memling's art of telling a story appealed to this most lovable of German Ro- mantic painters, who found in him a poetic spirit akin to his own. In the background gigantic mountain tops rise, on which stand the wise men from the East questioning the stars. They then begin their journey and, in small figures which appear only as color spots on the surface of the picture, the wayfarers pass along the wind- ing roads until they arrive at Jerusalem, entering the courtyard of the Tetrarch on splendid, spirited horses. Then they inquire of the workers in the fields until the last stretch of road leading to Bethlehem is reached. The chief scene, in which is shown their homage to the Child, is most dignified. Close to this scene, on the right and left, are those genre-like groups which play such a charm- ing part in Memling's works. To the left is a troop of Moorish slaves in white gowns with a figure anticipating the Christian saint. To the right is the finely beautiful group of horses which Schwind, apparently, took for his model for his famous picture in the Schack Gallery. The quick narrative demands that the Magi shall not stay long at the stable, so they are seen to mount their horses and, with flying colors, the procession moves on and is lost between the hills to emerge again by the sea where they take ship for home. To the adult spectator who retained enough of the naivete of his childhood days to follow the scenes of this picture with devotion, it must have been with a sense of keen enjoyment that he so unex- pectedly caught again a glimpse of his own early life. But the painting is remarkable in so many ways — in technique, in the dis- posal of the small spaces, in the landscape and the numerous figures — that it is a source of continual interest and delight. The subject of the Three Wise Men of the East was a favorite one with fifteenth and sixteenth century artists, probably because the Quattrocento art of the Netherlands was greatly influenced by mystery and passion plays, and also because the story afforded un- usual opportunities for splendor of effect and treatment. Memling 16 painted the subject again and again. The comparatively small pic- ture in the Hospital of St. John at Bruges which dates from 1479, contains a centre piece of the Adoration. The left inner wing pic- tures the Nativity, while on the right is shown the Presentation in the Temple. The outer wings give John the Baptist and St. Veron- ica. This small altarpiece was a gift to the Hospital made by Jan Floreins, its treasurer. Unfortunately the painting has suffered greatly from injury and bad restoration. In certain respects its composition is similar to the one at .Munich. The scene in the right wing is very akin in treatment to the same scene by Rogier Van Der Weyden, so much so, that it has been put forward as an argument for assuming that Memling was that master's pupil. The Adoration in the right wing is found again in a small paint- ing in the Clemens Collection at Munich, which is of a very delicate and soft character, perhaps too much so for Memling. In the Prado we meet with the entire altarpiece, for the second time, in an en- larged form, but with so many changes in details that it is out of the question to consider the one a mere copy of the other. The Madrid painting is cold, and the treatment of the perspective shows such progress that we are justified in believing it to be by the hand of an imitator of Memling. The Bruges Hospital possesses also two other paintings which belong to the year 1480. Of these a " Lamentation," a small trip- tych ordered by Adrian Rein, is remarkably like the work of Dirk Bouts. The St. Barbara in the right wing is, in its way, the original of the fashionable ladies of Quintin Matsys. Other variations on the theme of the Seven Wise Men arc in the Kaufmann Collection at Berlin and the Palazzo Doria at Rome. The Berlin painting bears all the marks of Memling's style, but the Roman picture is probably not altogether the work of his hand. The two portraits in the Bruckenthal Collection at Hermann- stadt are among the best we possess of examples of portrait painting by Memling. They evidently belong to a later period, evincing as they do a decided accent of the personal and conventional elements. Quite a number of such portraits exist, foremost among which are those of the Moreel family. In the Brussels Gallery is the one of Willcm Moreel and his wife Barbara; in the Bruges Hospital, under the title of " A Sibyl, 1 ' is a portrait of Maria Moreel, a daughter of Willem and Barbara. This latter is a beautiful painting and shows a great change in technique. In the disposition of its lines and masses it foreshadows the coming of the northern Renaissance. In 17 the Altarpiece of St. Christopher, painted by Memling in 1484 and now in the Municipal Collection at Bruges, the entire Moreel fam- ily are represented. It is not a very pleasing work, but there is much charm in the faces, especially in those of the boys and girls, which show some reluctance on their part to submit to the religious solemnity of the occasion. A prominent work by Memling of his later period is the great altarpiece, in the Louvre, of the family of Jacob Floreins. In its color effect and rather unskilful treatment it appears somewhat cold to us, but this was not the original intention. The old motive of assembling the donors about the Madonna in a Church is here altered. The open hall of the Church is made now to fill out the background while the saints and donors are placed in the fore- ground. The chief work, however, of this last phase of Memling's art is the Diptych of Martin Nienwenhove, painted in 1487. The left wing is devoted to the Madonna and Child. In the right is a half- length portrait of the praying donor. Martin Nienwenhove, then twenty-two years old, who became, shortly after, the Burgomaster of Bruges, is here shown in the fulness of his youthful vigor. The work shows unmistakably the freedom Memling had now attained. There is a naturalness about it which distinguishes it utterly from the almost frightful fidelity of the portraits of the old school. The left wing shows the Madonna in the act of giving an apple to the Child seated on a cushion in front of her. As is often the case with Memling the countenance of the Virgin is somewhat heavy, but the treatment of the painting as a whole is rich and elegant to a degree. The old-time simplicity and severity are absent. In 1487 also, Memling painted the portrait of the young man, now in the Uffizi Gallery at Florence, who, according to Warburg, is Benedetto Portinari. There is a counterpart of him in the " Vir- gin and Child " in the Kaiser Friedrich Museum at Berlin. The transformation which had taken place in Memling's art is to be seen more in this Madonna than even in the portrait. The Virgin is now a slender maiden, and though the painting is no longer over- loaded with columns and arches, yet the total effect is one of spa- ciousness and opulence. In 1489 was dedicated an oaken shrine in St. John's Hospital at Bruges. The shrine is decorated with numerous paintings which have always been attributed to Memling and which have exceeded in popularity all Memling's works. Without doubt, the popularity is 18 deserved, for the work is very beautiful. Yet it is not certain that all the paintings are by the master. The shrine is executed in the usual style of a sort of Gothic church with high sloping roofs. On each of the longer sides are three pictures and on the smaller sides two. On each of the roofs are affixed two medallions with angels, and between them is an oval painting, one representing the Coronation of the Virgin and the other St. Ursula with the Virgins. The medallions are in Memling's style, but certainly not by him; probably by some assistant in his studio. The two paintings on the smaller sides, however, are of high artistic merit and are the work of the master himself. One shows the Madonna with two ladies, probably the donors, and the other is again a representation of St. Ursula and her attendants. The man- ner of their treatment and the quiet of the moods realized are alike admirable. The figure of St. Ursula is specially elegant. She is shown as a princess robed in the same rich garments that St. Cathe- rine wears in the great altarpiece of 1479. The fame of the shrine, however, rests not on these two side paintings, beautiful as they are, but on the six paintings on the two longer sides, which tell the story of the legend of St. Ursula. Their charm is captivating. Unfortunately, they are not in a good state of preservation, and this prevents a full estimate of their execution. The first of these paintings depicts the saintly princess arriving at Cologne. Ursula is just leaving the ship and is descending the steps to meet the Princess Sigillindis, who welcomes her with outstretched arms. In the most lively and vivacious manner all court pomp and ceremonial have been avoided, remarkable and meritorious in Mem- ling, who was so fond of picturing scenes and circumstances of great occasion in all their royal display. Almost miraculous is the man- ner in which Ursula, in the midst of the busy turmoil of the unload- ing of the ship and the skurrying of the servants and maids, is made to stand out as the central figure and as if unmoved by the bustle and noise. In the background rises the cathedral of Cologne, a presenta- tion so faithful that it could only have been made by one who was well acquainted with it. The second picture, showing the arrival at Basle, is entirely different in composition. The ships which in the first picture were placed on the side, are now set forward into the foreground. The purpose here is less with the fact of the arrival and more with eager longing of Ursula for Rome. The artist, by this motive, sug- gests the further journey of the saintly lady across the Alps. T 9 The third painting is perhaps the most beautiful of the six and, in view of the extremely charming and refined composition, it is not easy to question its genuineness. Out of the shadows of a large and centrally placed baptistry church where, to the right in the foreground, the heathen companions of the saint can be seen being received into the fold of the Catholic Church, Pope Cyriacus with his suite steps to the entrance to receive the kneeling Ursula and to give her his apostolic benediction. It is difficult to describe Mem- ling's consummate art with which he wove quite opposing psycho- logical motives into a unity of truly bewitching charm. The beauty of the royal daughter, her aristocratic bearing, the splendor of her dress, all stand out; and yet she is kneeling in simple humility with uplifted hands, in prayer, before the Church's sovereign. A true father of Christendom is this eminently dignified man, more impos- ing in his personality than he is in his regalia. He extends to Ursula his right hand in blessing in a curiously solemn manner, as if he knew already what the saintly lady did not know, namely, that her bloom- ing young life was destined soon to perish. In the fourth picture Ursula is seen departing from Basle, and the Pope, with his cardinals, is shown as about to accompany her to her death. Finally, the fifth picture depicts Ursula's fated arrival at Cologne, where all are received by the archers and armed knights and murdered as they sit between the narrow spaces of the ships. Ursula herself is again made the central figure. She, who played so sweetly gentle a part in the previous story, stands now among her companions consoling them in their last moments. The sixth painting must be given second place to the third in excellence. It forms a happy climax, the only possible conclusion to the pathetic tale so beautifully told. The saintly woman stands now a prisoner, though unbound and unrestrained. Before her is her destroyer and the tents and warriors of her enemy. The king himself, clad in splendid armor, has stepped forward and is begging her to comply and be saved. He is evidently deeply distressed that such beauty and grace should perish. But Ursula, without even glancing at him, declines with a wave of her hand, and awaits quietly expectant the arrow which an archer is aiming at her. In this novel and sharply painted manner the legend closes, told in a way which no other story of this legend-filled age was ever told. Whether these paintings are by Memling or no remains doubtful; but whoever executed them they undoubtedly possess a refinement of composition and execution which must ever remain a delight to the eye and heart. 20 What Memling himself could do at this period is to be seen in the " Passion of Christ," now in the Turin Gallery. It was do- nated by an Italian, whose portrait as well as that of his wife, is to be seen on the sides. It is generally held that this painting ante- dates the Munich " Virgin " of 1480, but the advanced style of its execution gives every reason for assigning it to as late a period in Memling's life as possible. In general conception it is the same as that of the Munich painting, but the arrangement is not so tasteful. The large, impressive landscape which is so pleasing a factor in the Munich picture is absent from the one in Turin. Here the city of Jerusalem is made the scene of the action. Although this city mo- tive is not favorable to Memling's genius, he yet treats it with great facility and skill. He places the spectator, as it were, in a position to look over the walls into the city, and the manner in which he does this goes to show how far Memling had advanced in perspective over the Old Dutch School. The view of the exterior of the city is not treated in the usual accurate Gothic style, because Jerusalem was a city of cupolas, so that in place of closed houses and palaces Memling depicts open halls, each of which was to be the stage for a special scene. The task was a difficult one, but the artist accom- plished it with the certainty of great skill. The principal feature of this interesting picture, which is the more impressive the more we contemplate it, is the treatment of the figures. Often as Memling evinces unusual freshness of treatment there is no instance in which he displayed such freedom of move- ment as in this painting. Indeed, there is no other picture in the entire realm of Old Dutch art to equal it in this respect. Such accomplishment belongs, undoubtedly, to his later period, for it is more akin to Renaissance than to Gothic art. In color also this Turin painting is a development to the perfect. The figures are still in the Quattrocento style of coloring, but where possible he takes the opportunity to indulge himself in delicate nuances, even to the painting of the uncertain light of dawn. The Dutch artists of the Quattrocento achieved their splendid coloring at the sacrifice of truth, and even Van Eyck, in his incomprehensible marvels of technique, was not the great realist in color that he was in form and figure. It is this departure from the manner of the older period that marks Memling as inaugurating the new art which was to fol- low the Old Dutch. It has been a matter for discussion as to whether or no Memling was acquainted with Italian art. He lived to within a few years 21 of the sixteenth century, the period when Old Dutch art began to come under Italian influence. In the Court of Charles the Bold he must have met with examples of the works of southern artists, since this prince often commissioned such works. Bruges, also, was a cosmopolitan city housing numerous rich Italian residents who, no doubt, imported specimens of the art of their native land. So that we may conclude that Memling was not a stranger to such art. For many years Memling showed no trace of having been influenced by it. It is only in his later works that we meet with motives which would indicate an imitation of Renaissance. We know that the Dutch painters were fond of framing their works by painting architectural frames round their margins. This occurs in Rogier Van Der Weyden as well as in Dirk Bouts. In Memling's later paintings, although the Gothic arches are still retained, they are decorated with putti, or little Cupids, which are figured as standing above the capitals or lying in the curve of the arch festooning gar- lands. This is a genuine Italian motive, but Memling may have found it in the illustrated title-pages of books. Among the paintings so ornamented are the triptych, in the Louvre, with the centre picture of " The Resurrection," and the altar- piece in the Vienna Hofmuseum. The inside wings of the Vienna painting represent, beneath high arches, John the Baptist and John the Evangelist. Comparing these with the very similar painting in the London Gallery we find that the latter, an earlier work, is fresher in composition and conception, and the figures are much more care- fully executed. But the perspective is indistinct and the architecture mere ornament. In the Vienna picture, on the contrary, the figure is in absolute harmony with the architecture and there is a far greater artistic freedom and clarity. In the Uffizi Gallery there is a slightly altered copy of this Vienna altarpiece in which an angel takes the place of the donor. The execution is, however, hard and pedantic, and would justify us in assuming that it was not by Mem- ling himself, but rather emanated from his studio. A painting by Memling with the latest date we know is the Crucifixion altarpiece in the Church of St. Mary at Liibeck. It was painted in 1491 , and is convincing proof that the old Dutch art of the early years of the sixteenth century had succeeded, not only in avoiding mere formalism, but had turned to new methods with re- newed vigor and zest. The painting, until lately, was considered a Memling, but opinion has now changed and few critics give him 11 the credit for it. Its composition seems to have been so attractive that it found many imitators. Memling died on August 1 1, 1494. The city in which he lived he helped to make famous and a Mecca in the world of art. But the downfall of Bruges was decreed. Neither her political power nor her position in art could compete with that of Antwerp. It is sad to think that Memling died at so comparatively an early age, but we may console ourselves with the further thought that he died in the fulness of his strength and while Bruges, his second home, beautiful even to-day, still retained her ancient splendor. *3 ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width Auf Holz = oii wood Auf Leinwand = on canvas Auf Schiefer = on slate The figures giving the sizes of the paintings stand for metres 1 *Chatsworth, Duke of Devonshire Johannes der Taufer Die Madonna mit St. John Baptist Saint Jean Baptiste The Virgin with saints and donors Nach elner Aufnahme > iligen und Stiftern 168 La Vierge avec des saints et des donateurs inz llanfstacngl, Munchen Johannes der Evangelist St. John the Evangelist Saint Jean l'Evangeliste 2/3 4 Memllng 2 5 6 7 Danzig, Marienkirche Die Schar der Seligen (Detail aus dem Mittelbild zum „Jfingsten Gericht") The group of the blessed jj m Le groupe des bienheureux (Detail of the central picture of „The last judgment") (Detail du tableau central du „Jugement dernier") Nach einer Aufnahme vonJR. Th. Kuhns Erben, Danzig 10 12 Danzig, Morlcnklrchc Die Pforte des Paradicses (untercr Tcil) (Detail vom linken l lugelbild zuin .Jiingsten Ocrichl") The entrance to the paradise (lower part) „ .... L'entree au paradis (partie inferieure) (Detail of the left wing, p. 12) (Detail du volet a gauche, p. 12) Nnch clncr Aiittmhnie von R. Tli. Kuhns BjtbCD, Danzig Memling 3 13 Danzig, Marlenkirche Die Pforte des Paradieses (oberer Teil) (Detail vom linken Flugelbild zum „Jungsten Gericht") The entrance to the paradise (upper part) „ .... L'entree au paradis (partie superieure) (Detail of the left wing, p. 12) "' " (Detail du volet a gauche, p. 12) 14 15 * Wien, Galerie Liechtenstein H. 0,88, B. 0,53 Madonna mit dem Stifter und dem heiligen Antonius The Virgin and Child, the donor UJ2 La Vierge avec l'Enfant, le donateur and St. Antonius et Saint Antoine Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 17 18 19 20 Memiing 4 21 22 23 24 Mem ling S 25 27 30 31 *Mfinchen, Alte Pinakothek The seven joys of the Virgin 34 Memliiig 7 35 36 37 jnchen, Alte Pinakothek Die sieben Freuden Maria (Ausschnitt: Der Tod Maria) The seven joys of the Virgin 1480 Les sept joies de la Vierge (Detail: The death of the Virgin) (Detail: La mort de la Vierge) uckmann A.-G., Munchen 38 Die sieben Frcuden Maria (Ausschnitt) The seven joys of the Virgin 1480 Les sept joies de la Vierge I ran/ I l;iiiKt;n nt;l, Muiu lu n Memling 8 44 48 Madrid, Prndo-Museum Die Geburt Christi The nativity of Christ La naissance du Christ Memling 9 Die Anbetung der heiligen drei Konige Um 1500 N'jcli i-ini-r Aufnuhnie D. Anderson, Rom H. 0,9."t, B. Mlttelbild 1,47, Flugel |e 0,73 Die Darstellung im Tempel The presentation in the temple La presentation au temple 45/46 17 Memling 10 49 •Brugge, Johanneshospital Der Stifter mit dem heiligen Adrian The donor with Le donateur et St. Adrian Saint Adrien Die Beweii The lamentation over Christ 1 Der sogen. Altar The so-called altar-piece of Adriaen Reins Nach elner Aufnahme von Braun u Cliristi Le Christ pleure par les siens I Adriaen Reins Autel dit d'Adriaen Reins Iment * Clc, Dornoch (Elsass) 11.0,4-1, I). Mlttclblld 0,36, FlOgd |« 0,14 Die lieilige Barbara St. Barbara Sainte Harbe 50/51 Memling 11 53 Hermannstadt, Gymnasium H. 0,44, B. 0,33 Bildnis eines Stifters mit einem Kinde Portrait of a donor with a child Um 1485 Portrait d'un donateur avec un enfant Nach eincr Aulnahme von F. Bruckmann A.-G., Miinchcn Hermonnstndl, Gymnnslum 11.0,44, II. Bildnis einer Stifterin Portrait of a female donor Um 1485 Portrait d'une donatrice Nach clntr Aufnahmr von F. Bruckmann A.-Q., Munchen Memling 12 57 58 59 63 Memling 13 64 Memling 11 65 66 68 69 Berlin, Kaiser-Frledrich-Museum H. 0,43, B. 0,31 Madonna mit dem Kinde The Virgin with Child 1487 La Vierge et l'Enfant Nach einer Aufnahme von Franz Hanfstaengl, Miinchsn 70 71 Mcmling IS 73 •Berlin, Kalser-Friedrich-Museum H. 0,34, B. 0,29 Bildnis eines alten Mannes Portrait of an old man Urn 1490 Portrait d'un vieil homme Nach einer Aufnahme von Franz Hantstaengl, Mtinchen 74 Weibliches Bildnis Portrait of a woman Um 1490 Portrait de temme Nach cliii-r Aulnnhmc von Brauti, ClOmcnt * Clc, Dornach (Elsass) 75 Paris, Louvre H. 0,25, B. 0,15 Die Verlobung der heiligen Katharina (Linker Fliigel zur folgenden Tafel) Um 1485 The myslic marriage of St. Catherine Le mariage mystique de Sainte Catherine (Left wing for the following picture) (Volet a gauche du tableau suivant) Nach eincr Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 76 Paris, Louvre H. 0,55, B. 0,15 Stifter mil Johannes dem Tflufer (Rechter Flugel zur vorausgehenden Tafel) A donor with St. John Baptist Um 1485 Un donateur et Saint Jean Baptiste (Right wing for the preceeding picture) (Volet ;i droite du tableau precedent) Nach olucr Autnahmc von Fratclll Allnnrl. Iloreni 77 ; Brugge, Johanneshospita! H. 0,87, B. 0,33, L. 0,91 Der Reliquienschrein der heiligen Ursula (rechte Seite) The shrine of St. Ursula Um 1488 La chasse de Sainte Ursule (Right side) (Partie a droite) Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 78 Dcr Reliquicnsclirein der heiligen Ursula (linkc Seite) The shrine of St. Ursula Um 1488 La chassc de Sainte Ursule (Left side) (Partie u gauche) Nach clncr Aufnalimc von Braun, Clement * Cie., Dornacli (Elsass) so Bri'iRKc, Johanneshospltal Madonna mit dem Kindc und Sliftcrinncn (Vom Ursula-Schrein) The Virgin with Child Um 1488 La Vierge avec 1'Enfant and donors et des donatrices (Detail of the shrine) (Detail de la chasse) Noch clncr Aufnnhmi' von Bruiin, CMmenl * Cic, Dornnch (Elsass) Memling 16 81 Brugge, Johanneshospital Die Ankunft der heiligen Ursula in Koln (Vom Ursula-Schrein) The arrival of St. Ursula in Cologne Um 1488 L'arrivee de Sainte Ursule a Cologne (Detail of the shrine) (Detail de la chasse) Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 82 MriiKKC, Jnhanni-shospllal Die Ankunft der heiligen Ursula in Basel (Vom Ursula-Schrein) The arrival of St. Ursula in Basel Utn 1488 L'arrivee de Sainte Ursule a Bale (Detail of the shrine) (Detail de la chiisse) Nach clncr Aulnalinic von Braun, Clement * Clc, Dornoch (Elsass) 83 Brugge, Johanneshospital Der Empfang der heiligen Ursula in Rom (Vom Ursula-Schrein) The reception of St. Ursula in Rome Um 1488 La reception de Sainte Ursule a Rome (Detail of the shrine) (Detail de la chasse) Nach elner Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 84 Brugge, Johanneshospital Das Martyrium der elftausend Jungfrauen (Vom Ursula-Schrein) The martyrdom of the eleven thousand virgins Urn 1488 Le martyre des onze mille vierges (Detail of the shrine) (Detail de la chasse) Nach elner Aufnahme von Braun, Clement 4 Cie., Dornach fElsass) Brugge, Johanneshospital Die Kronung Maria (Vom Ursula-Schrein) The coronation of the Virgin Um 1488 Le couronnement de la Vierge (Detail of the shrine) (Detail de la chasse) Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 88 Briigijf, Johanncshospltal Die heilige Ursula mit den Jungfrauen (Vom Ursula-Schrein) St. Ursula and her companions Urn 1488 Sainte Ursule et les vierges (Detail of the shrine) (Detail de la ch.isse) N.i. h tlnet Aufnahnie von liraun, CKmcnt 4 Clc, Dornach (Elsass) Memling 17 89 'Turin, Pinakothek Die The passion of Christ Nach einer 94 95 Turin, Pinakothek Die Passion Christi (Ausschnitt) The passion of Christ Urn 1490 La passion du Christ (Detail) (Detail) Nach einer Aufnahme von D. Anderson, Rom 96 Memling 18 97 98 99 100 101 Liibeck, Marienklrche H. 2,05, B. 1,50 Die Kreuzigung Christi (Mittelbild des vollig geoffneten Altarwerks, vgl. Seite 101) The crucifixion 1491 Le crucifiement (The middle picture of the altar-piece, see p. 101) (Partie centrale de l'autel, voyez p. 101) Nach einer Aufnahme von Bernhard Nohring, Liibeck 102 103 Die Gruppe der fiinf heiligen Frauen mit dem Jiinger Johannes (Detail aus der „Kreuzigung", Seite 102) The five holy women and St. John 1491 Les cinq saintes femmes et Saint Jean (Detail of p. 102) (Detail de p. 102) Nach einer Aufnahme von Bernhard Nohring, Liibeck 104 Memling 19 105 Liibeck, Marienkirche Die Gruppe der urn die Kleider Christi wiirfelnden Kriegsknechte (Detail aus der „Kreuzigung", Seite 102) 1491 The soldiers raffling for the habit of Christ Les guerriers jouant aux des pour l'habit du Christ (Detail of p. 102) (Detail de p. 102) Nach einer Aufnalime von Bernhard Nolirlng, Liibeck 106 Der romische Hauptmann inmitten sonstiger Zuschauer (Detail aus der „Kreuzigung\ Seite 102) The Roman captain 1491 Le capitaine rornain (Detail of p. 102) (Detail de p. 102) Nach eluer Aufnahnic von Bcrnharil Nohrlng, Liibeck Lubeck, Marlenklrchi Die beiden Schacher (Detail aus der „Kreuzigung", Seite 102) The two thieves 1491 Les deux larrons (Detail of p. 102) (Detail de p. 102) Nach einer Autnahme von Bernhard Nohring, Lubeck 108 Liibeck, Marlcnklrche |e H. 2,05, I). 0,75 Die Kreuztragung Christi Die Auferstehung Christi Christ bearing the cross Le Christ portant la croix 1491 Theresurrection of Christ La resurrection du Christ (Innenfliigel des vollig geoffneten Altarwerks, vgl. Seite 101) (The inner wings of the fully opened altar-piece, see p. 101) (Volets intikieurs del'autel ouvert completement, voyez p. 101 > Nach elncr Aufnahmc von Bernhard Nflhring, Liibeck 109 Liibeck, Marienkirche Die Grablegung Christi (Detail aus dem „Auferstehungs"-Flugel, Seite 109) The sepulture of Christ 1491 La sepulture du Christ (Detail of the right wing p. 109) (Detail du volet a droite p. 109) Nach elner Aufnahme von Bernhard Nohring, Liibeck 110 Ill 112 Memling 20 113 115 Florenz, Ufflzlen H. 0,97, B. 0,43 Madonna mit dem Kinde und Engeln The Virgin with Child and angels Um 1500 La Vierge avec l'Enfant et des anges Nach einer Aufnahme von D. Anderson, Rom 116 •wicn, Hohniueun H.0,69, B.0,47 Madonna mit dem Kinde (Urspriinglicli Mittelbild eines Triptychons) The Virgin with Child Urn 1490 La Vierge avec l'Enfant (Formerly central part of a triptych) (Autrefois la partie centrale tl'un triptyque) Nach dnei Aufnnhnie von J. L6wy, Wlen 117 Johannes der Taufer Johannes der Evangelist (lnnenbilder zu S. 118) St. John Baptist Saint Jean Baptiste Urn 1480 St. John the Evangelist St. Jean l'Evangeliste (Inner-pictures belonging to p. 118) (Tableaux de l'interieur appartenant a p. 118) Nach etner Autnahmc von J Lfiwy, Wlen 119 120 Memllng 21 121 Berlin, Sammlung f R. von Kaufmann Durchmesser 0,205 Segnender Christus The blessing Christ Urn 1490 Le Christ benissant 124 ANHANG ZWEI FELHAFTE UND UNECHTE BILDER KOPIEN APPENDIX DOUBTFUL AND NOT GENUINE t PICTURES COPIES SUPPLEMENT TABLEAUX DOUTEUX OU NON AUTHENTIQUES COPIES 127 128 Memllng 22 129 130 Wlcn, Golerle Liechtenstein 11.0,43, B. 0,36 Madonna mit dem Kinde The Virgin wilh Child La Vierge avec l'Enfant Nach elner Auftiahmc von Frunz HanlBbiengl, Hflnchen 131 * London, Earl of Northbrook H. 0,32, B. 0,205 Madonna mit dem Kinde The Virgin with Child La Vierge avec l'Enfant Nach elner Aulnahme von F. Bruckmann A.-G., Munchen Berlin, Kaiser-Friedrich-Museum H. 0,87, B. 0,55 Thronende Madonna mit dem Kinde The Virgin with Child La Vierge avec l'Enfant Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 34 135 136 Memllng L>.) 137 139 141 142 » Hayward's Heath, Stephenson Clarke K. 0,70, B. 0,5; Madonna mit dem Kinde und Engeln The Virgin with Child and angels La Vierge avec l'Enfant et des anges Nach elner Autnahme von P. Bnickmann AG., MOnehea 143 144 Die Kreuzigung Christi Nach dem Stich von Julius Goltzius. Das Originalgemalde Memlings verschollen The crucifixion Le cruciliement After tlie etching of Julius Goltzius, D'apres la gravure de Jules Goltzius, the original painting being lost le tableau original etant perdu .Meinling 24 145 Budapest, Museum der bildenden Kiinste The crucifixion Die Kreui Nach einer Aufnahme Christi Le crucifiement llanfstacngl, Miinchcn 146/147 Wien, Hofmuseum H. 0,58, B. 0,28 Die Kreuztragung Christi (Seitenflugel zu dem Bilde auf S. 146/147) Christ bearing the cross Le Christ portant la croix (Left wing of the picture p. 146/147) (Volet a gauche du tableau p. 146/147) 148 Nacli einer Aufnahme von J. Lowy, Wien Memling 25 149 150 * Brussel, Kgl. Museum H. 0,64, B. 0,67 Das Martyrium des heiligen Sebastian The martyrdom of St. Sebastian Le martyre de Saint Sebastien Nach ciner Aufnahme von Biaun, Clement & Cie., Dornach (Elsass) 152 Die Einkleidung dcs lieiligen Ildefonso durcli Maria St. Ildefonso invested by the Virgin Saint lldefonse vetu par la Vicrge Nticli liner Aiifn.ilimc \ on F < Bruckmann A. Q., Munclu-n 154 Memling 2(> 157 Memling 26* 159 'Pari?, Sammlung f Lcop. Go'dschmidt H.0,41, B. 0,33c Bildnis des Tommaso Portinari Portrait of Tommaso Portinari Portrait de Tommaso Portinari Xach einer Aufnahme von F. Bruckrnann A.-G., Munchen 160 161 163 Chantilly, MusCe Cond6 Anthony of Burgundy Nach Anton von Burgund Antoine de Bourgogne Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 164 « Dresden, Kgl. Qemllldegalcrle H. 0,45, li. 0, (55 Anion von Hurgund Anthony of Burgundy Antoint de Bourgogne Nnch finer Aufn.-ilimc von Pi ■ O. Brockm.-mns Nachf., Dresden 165 Bergamo, Accademia Carrara H. 0,38, £ Bildnis eines jungen Mannes Portrait of a young man Portrait d'un jeune»homme Nach einer Aufnahme von D. Anderson, Rom 166 167 GETTY CENTER LIBRARY Mil III II III 3 3125 00105 2956