the buildings of which are seen in the background, correctly represented, but not in their true relations. In a window in the background to the R., the angel appears to St. Ursula in a vision.
2nd panel: the Virgins arrive at Basle and disembark from the ships. In the background, they are seen preparing to make their way, one by one, across the Alps, which rise from low hills at the base to snowy mountains. From another ship Conon and his knights are disembarking.
**3rd panel: (the most beautiful:) the Maidens arrive at Rome. In the distance they are seen entering the city through a triumphal arch; in the foreground, St. Ursula kneels before St. Cyriacus and his bishops, with their attendant deacons, all the faces having the character of portraits. (Note especially the fat and jolly ecclesiastic just under the arch.) At the same time, her betrothed, Conon, with his knights, arrives at Rome by a different road, and is seen kneeling in a red robe trimmed with rich fur beside St. Ursula. (Fine portrait faces of Conon and an old courtier behind him.) The Pope and his priests are gathered under the portals of a beautiful round-arched building, whose exquisite architecture should be closely examined. To the extreme R., the new converts and Conon receive baptism naked in fonts after the early fashion. In the background of this scene, St. Ursula receives the Sacrament. (She may be recognised throughout by her peculiar blue-and-white dress, with its open sleeves.) To the left of her, Conon makes confession. In this, as in the other scenes, several successive moments of the same episode are contemporaneously represented. Look long at it.
Now, turn round the shrine, which swings freely on a pivot, to see the scenes of the return journey.
1st panel: (beginning again at the left:) the Pope and his bishops and cardinals embark with St. Ursula in the boat at Basle on their way to Cologne. Three episodes are here conjoined: the Pope cautiously stepping into a ship; the Pope seated; the ship sailing down the Rhine. All the faces here, and especially the timid old Pope stepping into the boat, deserve careful examination. In the background, the return over the Alps.
*2nd panel: the Maidens and the Pope arrive at Cologne, where they are instantly set upon by the armed Huns. Conon is slain by the thrust of a sword, and falls back dying in the arms of St. Ursula. Many of the maidens are also slaughtered.
*3rd panel: continuous with the last, but representing a subsequent moment: the Martyrdom of St. Ursula. The King of the Huns, in full armour, at the door of his tent, bends his bow to shoot the blessed martyr, who has refused his advances. Around are grouped his knights in admirably painted armour. (Note the reflections.) All the scenes have the character of a mediæval romance. For their open-air tone and make-believe martyrdom, see Conway.
At the ends of the shrine are two other pictures, (1) *St. Ursula with her arrow, as the protectress of young girls, sheltering a number of them under her cloak (not, as is commonly said, the 11,000 Virgins). Similar protecting figures of the saint are common elsewhere (Cluny, Bologna, etc.). At the opposite end, (2) the Madonna and Child with an apple, and at her feet two Augustinian nuns of this Hospital, kneeling, to represent the devotion of the order.
The roof of the shrine is also decorated with pictures. (1) St. Ursula receiving the crown of martyrdom from God the Father, with the Son and the Holy Ghost; at the sides, two angels playing the mandoline and the regal or portable organ; (2) St. Ursula in Paradise, bearing her arrow, and surrounded by her maidens, who shared her martyrdom, together with the Pope and other ecclesiastics in the background. (This picture is largely borrowed from the famous one by Stephan Lochner on the High Altar of Cologne Cathedral, known as the Dombild. If you are going on to Cologne, buy a photograph of this now, to compare with Meister Stephan later. His altar-piece is engraved in Conway. If you have it with you, compare them.) At the sides are two angels playing the zither and the violin. (The angels are possibly by a pupil.)
I have given a brief description only of these pictures, but every one of them ought to be carefully examined, and the character of the figures and of the landscape or architectural background noted. You will see nothing lovelier in all Flanders.
Near the window by the entrance is a **Triptych, also by Memling, commissioned by Brother Jan Floreins of this Hospital. The central panel represents the Adoration of the Magi, which takes place, as usual, under a ruined temple fitted up as a manger. The Eldest of the Three Kings (according to precedent) is kneeling and has presented his gift; Joseph, recognisable (in all three panels) by his red-and-black robe, stands erect behind him, with the presented gift in his hands. The Middle-aged King, arrayed in cloth of gold, with a white tippet, kneels with his gift to the L. of the picture. The Young King, a black man, as always, is entering with his gift to the right. The three thus typify the Three Ages of Man, and also the three known continents, Europe, Asia, Africa. On the L. side of this central panel are figured the donor, Jan Floreins, and his brother Jacob. (Members of the same family are grouped in the well-known “Duchâtel Madonna,” also by Memling, in the Louvre.) To the right is a figure looking in at a window and wearing the yellow cap still used by convalescents of the Hospital, (arbitrarily said to be a portrait of Memling.) The left panel represents the Nativity, with our Lady, St. Joseph, and two adoring angels. The right panel shows the Presentation in the Temple, with Simeon and Anna, and St. Joseph (in red and black) in the background. (The whole thus typifies the Epiphany of Christ; left, to the Blessed Virgin; centre, to the Gentiles; right, to the Jews.) The outer panels, in pursuance of the same idea, have figures, right, of St. John Baptist with the lamb (he pointed out Christ to the Jews), with the Baptism of Christ in the background; and left, St. Veronica, who preserved for us the features of our Lord, displaying his divine face on her napkin. The architectural frame shows the First Sin and the Expulsion from Paradise. Note everywhere the strong character in the men’s faces, and the exquisite landscape or architectural backgrounds. Dated 1479. This is Memling’s finest altar-piece: its glow of colour is glorious.
By the centre window, a *triptych, doubtfully attributed to Memling, represents, in the centre, the Deposition from the Cross, with the Holy Blood conspicuous, as might be expected in a Bruges work. In the foreground are St. John, the Madonna, and St. Mary Magdalene; in the background, the preparations for the Deposition in the Tomb. On the wings: left, Brother Adrian Reins, the donor, with his patron saint, Adrian, bearing his symbol, the anvil, on which his limbs were struck off, and with his lion at his feet; right, St. Barbara with her tower, perhaps as patroness of armourers. On the exterior wings, left, St. Wilgefortis with her tau-shaped cross; right, St. Mary of Egypt, with the three loaves which sustained her in the desert.
On the same stand is the beautiful *diptych by Memling, representing Martin van Nieuwenhoven adoring the Madonna. The left panel represents Our Lady and the Child, with an apple, poised on a beautifully painted cushion. A convex mirror in the background reflects the backs of the figures (as in the Van Eyck of the National Gallery). Through the open window is seen a charming distant prospect. The right panel has the fine portrait of the donor, in a velvet dress painted with extreme realism. Note the admirable prayer-book and joined hands. At his back, a stained glass window shows his patron, St. Martin, dividing his cloak for the beggar. Below, a lovely glimpse of landscape. This is probably Memling’s most successful portrait. Dated 1487: brought here from the Hospice of St. Julian, of which Martin was Master.
In all Flemish art, observe now the wooden face of the Madonna– ultimately derived, I believe, from imitation of painted wooden figures, and then hardened into a type. As a rule, the Madonna is the least interesting part of all Flemish painting; and after her, the women, especially the young ones. The men’s faces are best, and better when old: character, not beauty, is what the painter cares for. This is most noticeable in Van Eyck, but is true in part even of Memling.
At the end of the room is the magnificent *triptych painted by Memling for the High Altar of the Church of this Hospital. This is the largest of his works,
