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Old Masters. ANTWERP. 13. Route. 191
the parish-church of Melun by order of Etienne Chevalier (d. 1474),
Treasurer of France (other wing of the diptych in the Berlin Mu-
seum). — In the centre, on revolving stands: 203-2410. Herri
met de Bles (?), Adoration of the Ma on the wing: within,
St. George and the donor, 6, 256,
and (on the back) 530, 531. Bruges School, Two diptychs, with the
Virein in a Gothic church (copy of Jan van Eyck’s picture in the
Berlin Museum), the Saviour in a white robe, and two Abbots,
painted in 1499 for the Abbey van den Duinen (p. 48: Abbot Robert
a9
without, The Annunciation ;
Le Clercq an addition of the 16th cent.); 254. Hugo van der Goes (?),
Philippe de Crc 5, Memling, Niccold Spinelli, the Italian medallist
(1468), 253 (on the back), Memling (or rather School of Roger van
der Weyden?), A canon of St. Norbert. — We now enter —
oom O. To the right: #778-780. Memling, Christ as King of
Heaven, surrounded by six singing angels, on each of the wings
five angels with musical instruments. This large triptych, about
3 ft. long and 51/,ft. high, formerly in the Benedictine convent of
o
Najera in Spain, was purchased by the city of Antwerp in Paris in
4896 for 240,000 frances (ca. 1490). — 529. Flemish School (15th
cent.), Archer al. — In the doorway : no number, ‘Braun-
schweiger Monogrammist’ (16th cent.), Tavern-scene. — To the left
we enter —
Room A. To the right: 576, 577, 579. Unknown Master, Large
triptych, in the middle St. Eligius, the apostle of Antwerp, preach-
ing: 741-145. B. van Orley, Last Judgment, on the wings the Seven
Works of Mercy. — 464. J. van Cleve (?), Adoration of the Magi.
#245 246, 248. Quinten Matsys, Entombment of Christ, a
winged picture (triptych), ordered in 1508 for the Chapel of the
Joiners in the cathedral, but probably not finished until 1514. This
ly regarded as the master’s chef d oeuvre.
is unive
Crenrrat Proture. The funeral cortége is represented as halting at
the foot of Mt. Calva whilst on its way from the Cross to the Se-
pulchre. The dead viour is partly supported by Nicodemus, on
whose right Joseph of Arimathea rai the head with one hand, while
with the other he removes the remaining shreds of the crown of thorns.
The mother in an agony of grief kneels near the body of her Son, and is
supported by St. John. On the left Mary Magdalen, to her right Salome.
The corpse itself bears evident traces of the master’s anxiety to attain ana-
tomical accuracy. Its attitude is rigid, the countenance distorted by the
pangs of the death-strt . The face of the Virgin is almost as pale as
that of the dead body itself. The man with the turban, bearing the
crown of thorns, appears rather indignant than mournful. The expres-
sion of Joseph of Arimathea is that of pain mingled with benevolence.
St. John has the rigid and almost square features, disfigured by grief,
which had become the usual type of the apostle in the earlier period
The Wines, which are less satisfactory than the central picture,
represent the martyrdom of St.John the Baptist and St. John the Evangelist.
In the former Herod is represented banqueting in an open hall, whilst
the daughter of Herodias brings in the head of the Baptist. The task of
depicting frivolity and vanity in the countenances of the king and the
hardened mother, contrasted with an expression of greater feeling in the
BaEDEKER’s Belgium and Holland. 415th Edit. 49)
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