See also:

• GAIUS

GAIUS See also:

• GAIUS MEMMIUS (incorrectly called Gemellus, " The Twin ")

MEMMIUS (incorrectly called Gemellus, " The Twin ")  , See also:

• ROMAN

Roman orator and poet, See also:

• TRIBUNE (med. Lat. tribune, from classical Lat. tribunal)

tribune of the See also:

• PEOPLE

people (66 B.C.), friend of See also:

• LUCRETIUS (TITUS LUCRETIUS CARUS) (c. 98–55 B.C.)

Lucretius and See also:

• CATULLUS, GAIUS VALERIUS (?84-J4 B.C.)

Catullus . At first a strong supporter of See also:

• POMPEY

Pompey, he quarrelled with him, and went over to See also:

• CAESAR, GAIUS JULIUS (102—44 B.c.)
• CAESAR, SIR JULIUS (1557-1558-1636)

Caesar, whom he had previously attacked . In S4, as See also:

• CANDIDATE

candidate for the consulship, he lost Caesar's support by revealing a scandalous transaction in which he and his See also:

• FELLOW

fellow candidate had been implicated (Cic . Ad AU. iv . 15—18) . Being subsequently condemned for illegal practices at the See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election, he withdrew to See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, and afterwards to Mytilene . He died about the See also:

• YEAR

year 49 . He is remembered chiefly because it was to him that Lucretius addressed the De rerum natura, perhaps with the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of making him a convert tee the doctrines of See also:

• EPICURUS (342–270 B.C.)

Epicurus . It appears from See also:

• CICERO

Cicero (Ad Fam. xiii . 1) that he possessed an See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate on which' were the ruins of Epicurus' 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, and that he had determined to build on the site a house for himself . According to See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid (Trist. ii . 433) he was the author of erotic poems .

He possessed considerable oratorical abilities, but his contempt for Latin letters and preference for See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• MODELS

models impaired his efficiency as an See also:

• ADVOCATE (Lat. advocatus, from advocare, to summon, especially in law to call in the aid of a counsel or witness, and so generally to summon to one's assistance)

advocate (Cic . But the latter is more interesting than the former, because it tells how See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc, See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long after See also:

• ROGIER, CHARLES LATOUR (1800–1885)

Rogier's See also:

• DEATH

death and his own See also:

• SETTLEMENT
• SETTLEMENT, ACT OF

settlement at See also:

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

Bruges, preserved the traditions of sacred See also:

• ART

art which had been applied in the first See also:

• PART

part of the See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century by Rogier See also:

• VAN

van der See also:

• WEYDEN, ROGIER VAN DER

Weyden to the " Last See also:

• JUDGMENT

Judgment " of See also:

• BEAUNE

Beaune . All that Memlinc did was to purge his 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 manner of excessive stringency, and add to his other qualities a See also:

• VELVET

velvet softness of pigment, a delicate transparence of See also:

• COLOURS, MILITARY

colours, and yielding See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace of slender forms . That such a beautiful See also:

• WORK

work as the " Last judgment " of See also:

• DANZIG, or DANTSIC (Polish Gdansk)

Danzig should have been bought for the See also:

• ITALIAN

Italian See also:

• MARKET (Lat. mercatus, trade or place of trade)

market is not surprising when we recollect that picture-fanciers in that See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country were See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with the beauties of Memlinc's compositions, as shown in the preference given to them by such purchasers as See also:

• CARDINAL (Lat. cardinalis)

Cardinal Grimari and Cardinal See also:

• BEMBO, PIETRO (1470—1547)

Bembo at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, and the heads of the house of See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . But Memlinc's reputation was not confined to See also:

• ITALY
• ITALY (Italia)

Italy or See also:

• FLANDERS (Flem. Vlaanderen)

Flanders .. The " Madonna and See also:

• SAINTS, BATTLE OF THE

Saints " which passed See also:

• OAT (O. Eng. ate; the word is not found in cognate languages; it may be allied with Fr. eitel, knot, nodule, cf. Gr. oiSos swelling)

oat of the Duchatel collection into the See also:

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

gallery of the Louvre, the " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child " painted for See also:

• SIR

Sir 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 See also:

• DONNE, JOHN (1573–1631)

Donne and now at See also:

• CHATSWORTH

Chatsworth, and other See also:

• NOBLE, SIR ANDREW (1832- )

noble specimens in See also:

• ENGLISH

English and See also:

• CONTINENTAL

Continental private houses, show that his work was as widely known and appreciated as it could be in the See also:

• STATE
• STATE, GREAT OFFICERS OF

state of See also:

• CIVILIZATION

civilization of the 16th century . It was perhaps not their See also:

• SOLE (Solea)

sole attraction that they gave the most See also:

• TENDER

tender and delicate possible impersonations of the " See also:

• MOTHER

Mother of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " that could suit the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of that See also:

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

age in any See also:

• EUROPEAN

European country . But the portraits of the donors, with which they were mostly combined, were more characteristic, and probably more remarkable as likenesses, than any that Memlinc's contemporaries could produce . Nor is it unreason-able to think that his success as a portrait painter, which is manifested in isolated busts as well as in altarpieces, was of a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind to react with effect on the Venetian school, which undoubtedly was affected by the partiality of Antonello da See also:

• MESSINA

Messina for trans-Alpine t pes studied in Flanders in Memlinc's 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 . The portraits of Sir John Donne and his wife and See also:

• CHILDREN, LAW RELATING TO

children in the Chatsworth altarpiece are not less remarkable as models of See also:

• DRAWING

drawing and finish than as refined presentations of persons of distinction; nor is any difference in this respect to be found in the splendid See also:

• GROUPS
• GROUPS, THEORY

groups of See also:

• FATHER

father, mother, and children which fill the noble altarpiece of the Louvre . As single portraits, the busts of Burgomaster Moreel and his wife in the museum of See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, and their daughter the " Sibyl Zambetha " (according to the added description) in the See also:

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

hospital at Bruges, are the finest and most interesting of specimens . The " Seven Griefs of See also:

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

Mary " in the gallery of See also:

• TURIN

Turin, to which we may add the " Seven Joys of Mary " In the Pinakothek of See also:

• MUNICH (Ger. Munchen)

Munich, are illustrations of the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit which clung to the art of Flanders of representing a See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of subjects on the different planes of a single picture, 'where a wide expanse of ground is 'covered with incidents from the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion in the See also:

• FORM (Lat. forma)

form See also:

• COMMON

common to the See also:

• ACTION

action of sacred plays .

The masterpiece of Memlinc's later years, a See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine containing See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics of St See also:

• URSULA, ST

Ursula in the museum of the hospital of Bruges, is fairly supposed to have been ordered and finished in 1480 . The delicacy of finish See also:

• NISH (also written NISCx and Nis)

nish in its See also:

• MINIATURE

miniature figures, the variety of Its landscapes and See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume, the marvellous See also:

• PATIENCE

patience with which its details are given, are all matters of enjoyment to the spectator . There is later work of the master in the " St See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher and Saints " of I484 in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy, or the Newenhoven " Madonna " in the hospital of Bruges, or a large " Crucifixion," with scenes from the Passion, of 1491 in the See also:

• CATHEDRAL

cathedral of See also:

• LUBECK

Lubeck . But as we near the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of Memlinc's career we observe that his practice has become larger than he can See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass alone; and, as usual in such cases, the labour of disciples is substituted for his own . The registers of the painters' See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation at Bruges give the names of two apprentices who served their time with Memlinc and paid dues on See also:

• ADMISSION

admission to the gild in 148o and 1486 . These subordinates remained obscure . The trustees of his will appeared before the 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 of wards at Bruges on the loth of See also:

• DECEMBER (Lat. decent, ten)

December 1495, and we gather from records of that date and See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place that Memlinc See also:

• LEFT

left behind several children and a considerable See also:

• PROPERTY

property . (J . A . C.; P . G .