HANS See also:

• HANS MEMLINC (c. 1430-1494)

MEMLINC (c. 1430-1494)  , Flemish painter, whose See also:

• ART

art gave lustre to See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges in the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of its See also:

• POLITICAL

political and commercial decline . Though much has been written respecting' the rise and fall of the school which made this See also:

• CITY (through Fr. cite, from Lat. civitas)

city famous, it remains a See also:

• MOOT

moot quesj See also:

• ION

ion whether that school ever truly existed . Like See also:

• ROME
• ROME (Roma)

Rome or See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, Bruges absorbed the talents which were formed and See also:

• DEVELOPED

developed in humbler centres . See also:

• JAN

Jan See also:

• VAN

Van See also:

• EYCK, VAN

Eyck first gained repute at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent and the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague before he acquired a See also:

• DOMICILE (Lat. domicilium, from domus, home)

domicile elsewhere, and See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc, we have See also:

• REASON (Lat. ratio, through French raison)

reason to think, was a skilled artist before he settled at Bruges . The See also:

• ANNALS (Annales, from annus, a year)

annals of the city are silent as to the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth and See also:

• EDUCATION

education of a painter whose name was in-accurately spelt by different authors, and whose identity was lost under the various appellations of Hans and Hausse, or Hemling, Memling, and Memlinc . But W . H . J . Weale mentions a See also:

• CON

con-temporary document discovered in 1889, according to which Memlinc " See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew his origin from the ecclesiastical principality of Mayence," and died at Bruges on the 1th of See also:

• AUGUST (originally Sextilis)

August 1494• He probably served his See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship at Mayence or See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, and later worked under See also:

• ROGIER, CHARLES LATOUR (1800–1885)

Rogier van der See also:

• WEYDEN, ROGIER VAN DER

Weyden . He did not come to Bruges until about 1467, and certainly not as a wounded fugitive from the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of See also:

• NANCY

Nancy, The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story is fiction, as is alsothe See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report that he was sheltered and cured by the Hospitallers at Bruges, and, to show his gratitude, refused See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment for a picture he had painted . Memlinc did indeed paint for the Hospitallers, but he painted not one but many pictures, and he did so in 1479 and 1480, being probably known to his patrons of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John by many masterpieces even before the See also:

• BATTLE

battle of Nancy . Memlinc is only connected with military operations in a mediate and distant sense .

His name appears on a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of sub-scribers to the See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan which was raised by See also:

• MAXIMILIAN
• MAXIMILIAN (1832—1867)

Maximilian of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria to push hostilities against See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France in the See also:

• YEAR

year 1480 . In 1477, when he is falsely said to have fallen, and when See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles the Bold was killed, he was under See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract to furnish an altarpiece for the gild-See also:

• CHAPEL

chapel of the booksellers of Bruges; and this altarpiece, now preserved, under the name of the " Seven Griefs of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary," in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of See also:

• TURIN

Turin, is one of the See also:

• FINE

fine creations of his riper See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and not inferior in any way to those of 1479 in the See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of St John, which for their See also:

• PART

part are hardly less interesting as illustrative of the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power than_the " Last See also:

• JUDGMENT

Judgment " in the See also:

• CATHEDRAL

cathedral of See also:

• DANZIG, or DANTSIC (Polish Gdansk)

Danzig . See also:

• CRITICAL (in alphabetical order of authors)

Critical See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion has been unanimous in assigning the altarpiece of Danzig to Memlinc; and by this it affirms that Memlinc was a See also:

• RESIDENT

resident and a skilled artist at Bruges in 1473; for there is no doubt that the " Last Judgment." was painted and sold to a See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant at Bruges, who shipped it there on See also:

• BOARD (O. Eng. bord)

board of a See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound to the Mediterranean, which was captured by a Danzig See also:

• PRIVATEER

privateer in that very year . But, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order that Memlinc's repute should be so See also:

• FAIR

fair as to make his pictures purchasable, as this had been, by an See also:

• AGENT (from Lat. agere, to act)

agent of the See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici at Bruges, it is See also:

• INCUMBENT (from Lat. incumbere, to lean, lie upon)

incumbent on us to acknowledge that he had furnished sufficient proofs before that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of the skill which excited the wonder of such highly cultivated patrons . It is characteristic that the See also:

• OLDEST

oldest allusions to pictures connected with Memlinc's name are those which point to relations with the Burgundian See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court . The inventories of See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret of Austria, See also:

• DRAWN

drawn up in 1524, allude to a See also:

• TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych of the " See also:

• GOD

God of Pity " by Rogier van der Weyden, of which the wings containing angels were by " Master Hans." But this entry is less important as affording testimony in favour of the preservation of Memlinc's See also:

• WORK

work than as showing his connexion with an older Flemish craftsman . For ages Rogier van der Weyden was acknowledged as an artist of the school of Bruges, until records of undisputed authenticity demonstrated that he was bred at See also:

• TOURNAI (Flemish Doornik)

Tournai and settled at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels . Nothing seems more natural than the See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction of his name with that of Memlinc as the author of an altarpiece, since, though Memlinc's youth remains obscure, it is clear from the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of his manhood that he was taught in the See also:

• PAINTING

painting-See also:

• ROOM

room of Van der Weyden . Nor is it beyond the limits of See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability that it was Van der Weyden who received commissions at a distance from Brussels, and first took his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil to Bruges, where he afterwards dwelt . The clearest See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of the Connexion of the two masters is that afforded by pictures, particularly an altarpiece, which has alternately been assigned to each of them, and which may possibly be due to their See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint labours . In this altarpiece, which is a triptych ordered for a See also:

• PATRON

patron of the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

• SFORZA
• SFORZA, CATERINA (1463-1509)

Sforza, we find the style of Van der Weyden in the central See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel of the Crucifixion, and that of Memlinc in the episodes on the wings . Yet the whole piece was assigned to the former in the Zambeccari collection at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, whilst it was attributed to the latter at the See also:

• MIDDLETON
• MIDDLETON, ARTHUR (1742–1787)
• MIDDLETON, CONYERS (1683–1750)
• MIDDLETON, THOMAS (c. 1570-1627)

Middleton See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale in See also:

• LONDON

London in 1872 .

At first, we may think, a closer re-semblance might be traced between the two artists than that disclosed in later See also:

• WORKS

works of Memlinc, but the delicate organization of the younger painter, perhaps also a milder appreciatioif of the duties of a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian artist, may have led Memlinc to realise a sweet and perfect ideal, without losing, on that See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, the feeling of his master . He certainly exchanged the See also:

• ASCETICISM

asceticism of Van der Weyden for a sentiment of less energetic concentration . He softened his teacher's asperities and See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter hardness of expression . In the oldest See also:

• FORM (Lat. forma)

form in which Memlinc's style is displayed, or 'rather in that example which represents the Baptist in the gallery of See also:

• MUNICH (Ger. Munchen)

Munich, we are supposed to contemplate an effort of the year 1470 .. The finish of this piece is scarcely surpassed, though the subject is more important, by that of the " Last Judgment " of Danzig' tamed down to 1802, when it was allotted to See also:

• BAVARIA (Ger. Bayern)

Bavaria . In 1331 it was a member of the See also:

• LEAGUE

league of Swabian towns; in 153o it was one of the four towns which presented the Confessio Tetrapolitana to the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand I.; and a few years later it joined the league of See also:

• SCHMALKALDEN

Schmalkalden . During the See also:

• THIRTY

Thirty Years' See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War it was alternately occupied by the Swedes and the Imperialists . In May 'Soo the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French gained a victory over the Austrians near See also:

• MEMMINGEN

Memmingen . See Dobel, Memmingen See also:

• IM(K2+a2+h2—2 ah cos 0)

im Ref ormationszeitalter (See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg, 1877—1878), and Clause, Memmingen Chronik, 1826—1892 (Memmingen, 1894) .