MEMLIXG nardo, is now ascribed to him. A portrait of himself is in the Melzi Collection, Milan. Vasari, ed. Mil., iv. 35 ; Baldinucci, i. 002 ; Lanzi, ii. 488 ; Ch. Blanc, Ecole milauaise ; Burckhardt, 707 ; Liibke, Gesch. ital. Mai., ii. 444. MEMLING (Memlinc, Memmeliuek, Hem- ling), HANS, born about 1425, died at Bruges between Dec. 1, 1492, and Dec. 10, 1495. Flem- ish school ; his- tory painter, probably pupil of Rogier van der W e y d e n ; w a s settled at Bruges in 1478, perhaps since 1471, if not before. According to a popular legend, Mcmling was admitted as n sick soldier into the Hos- pital of St. John, Bruges, after the battle of Nancy, and in gratitude for the care be- stowed 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), Eev. I. F. Russell. Greenhithe, Kent ; Last Judgment (1467), St. Mary's, Dantzic ; Triptych (1471), Duke of Devonshire, Chis- wick. His finest portraits are those of Will- iam Moreel and wife (1480), Brussels Mu- seum ; 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 Niew- enhove, 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. Cath- arine), Adoration of the Kings (1479), Shrine of St. CrsuZo, Diptych with Pieta (1480), do. with Madonna (1487), St. John's Hospital,
- Bruges ; Altar of St. Christopher (1484),
I Academy, ib.; Seven Sorrows of the Virgin (1479), Passion of our Lord (?), Turin Gal- 1 lery ; Seven Joys of the Virgin (1480), St. John the Baptist, Old Piuakothek, Munich ; Annunciation (1482), Prince Rad/iwill, Ber- lin ; Altai-piece (1484), Moreel Chapel, St. Jacques', Bruges ; Christ on the Cross, Male Portrait, Brussels Museum ; Madonna and Saint, Man Praying (1487), Umzi, Florence ; Descent from the Cross (?), Palazzo Dorm, 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., W<">rlitz 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), Liech- tenstein Gallery, ib. ; Great Altai-piece with Passion of our Lord (1491), Liibeck Cathe- dral ; 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. OPVS'-IOMANNIS MEMLING J17? Allgem. d. Biogr., xxi. 307 ; Ch. Blanc, Ecole flamaude ; Cat. du Mus. d'Anvers (1874), 253; C. & C., Flemish Painters, 251 ; Engerth, Belved. Gal., ii. 272 ; Fetis, Cat. du Mus. roy., 132 ; Forster, 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 ; Schuaase, viii. 232 ; Wauters, Peinture 2-11
