Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/263

 *nardo, is now ascribed to him. A portrait of himself is in the Melzi Collection, Milan.—Vasari, ed. Mil., iv. 35; Baldinucci, i. 602; Lanzi, ii. 488; Ch. Blanc, École milanaise; Burckhardt, 707; Lübke, Gesch. ital. Mal., ii. 444.

MEMLING (Memlinc, Memmelinck, Hemling), HANS, born about 1425, died at Bruges between Dec. 1, 1492, and Dec. 10, 1495. Flemish school; history painter, probably pupil of Rogier van der Weyden; was settled at Bruges in 1478, perhaps since 1471, if not before. According to a popular legend, Memling was admitted as a sick soldier into the Hospital of St. John, Bruges, after the battle of Nancy, and in gratitude for the care bestowed upon him painted the celebrated wooden shrine of St. Ursula, before Oct. 29, 1489, with miniatures representing six scenes from the legend of the saint, and other subjects, still preserved in the hospital. Of all the great Flemish painters of the time, Memling had the deepest religious feeling. His earliest works are: A Diptych (1460), Rev. I. F. Russell, Greenhithe, Kent; Last Judgment (1467), St. Mary's, Dantzic; Triptych (1471), Duke of Devonshire, Chiswick. His finest portraits are those of William Moreel and wife (1480), Brussels Museum; of the same persons and their eldest son, on wings of a triptych (1484), Bruges Academy; and of Mary Moreel, known as the Sibyl Sanbatha, and of Martin van Niewenhove, diptych (1487), Hospital of St. John, Bruges. Other works are: Madonna, Male Portraits (3), Antwerp Museum; Altar of St. John (also called Marriage of St. Catharine), Adoration of the Kings (1479), Shrine of St. Ursula, Diptych with Pietà (1480), do. with Madonna (1487), St. John's Hospital, Bruges; Altar of St. Christopher (1484), Academy, ib.; Seven Sorrows of the Virgin (1479), Passion of our Lord (?), Turin Gallery; Seven Joys of the Virgin (1480), St. John the Baptist, Old Pinakothek, Munich; Annunciation (1482), Prince Radziwill, Berlin; Altarpiece (1484), Moreel Chapel, St. Jacques', Bruges; Christ on the Cross, Male Portrait, Brussels Museum; Madonna and Saint, Man Praying (1487), Uffizi, Florence; Descent from the Cross (?), Palazzo Doria, Rome; Triptych with Adoration of the Magi (?), Madrid Museum; Madonna, Berlin Museum; Portrait of Anton of Burgundy, St. Christopher carrying the Infant Christ, Dresden Museum; do., Wörlitz Gallery; do., Count Duchatel, Paris; do., and SS. John the Baptist and Evangelist, Adam and Eve, Christ bearing the Cross, Resurrection, Museum, Vienna; Madonna (1472), Liechtenstein Gallery, ib.; Great Altarpiece with Passion of our Lord (1491), Lübeck Cathedral; Marriage of St. Catherine, Strasburg Gallery; Two panels of St. John Baptist and Mary Magdalen, with scenes from their lives, Louvre, Paris. In fresco: Crucifixion, Saints and Donors, Notre Dame, Dijon.—Allgem. d. Biogr., xxi. 307; Ch. Blanc, École flamande; Cat. du Mus. d'Anvers (1874), 253; C. & C., Flemish Painters, 251; Engerth, Belved. Gal., ii. 272; Fétis, Cat. du Mus. roy., 132; Förster, Gesch., ii. 101; do., Denkmale, i. 3; v. 11; viii. 13; ix. 1; Gaz. des B. Arts (1861), xi. 28; Hotho, Gesch., ii. 128; Immerzeel, ii. 213; Journal des B. Arts (1861), 21, 23, 35; Kramm, iii. 670; Kunst-Chronik, xviii. 353; Le Beffroi, ii. 264; Michiels, iv. 7; v. 464; Schnaase, viii. 232; Wauters, Peinture