Lombardy
Lombardy is one of the twenty administrative regions of Italy, in the northwest of the country, with an area of 23,844 square kilometres. Milan, Lombardys capital, is the second-largest city and the largest metropolitan area in Italy, the word Lombardy comes from Lombard, which in turn is derived from Late Latin Longobardus, derived from the Proto-Germanic elements *langaz + *bardaz, equivalent to long beard. Some sources derive the second element instead from Proto-Germanic *bardǭ, *barduz, Lombardy referred during the early Middle Ages to the entire territory of Italy ruled by the Lombards, a Germanic tribe who conquered much of the Italian peninsula beginning in the 6th century. During the late Middle Ages, the term shifted meaning and was used to identify the whole of Northern Italy, with a surface of 23,861 km2, Lombardy is the 4th largest region of Italy. It is bordered by Switzerland and by the Italian regions of Trentino-Alto Adige/Südtirol and Veneto, Emilia-Romagna, three distinct natural zones can be fairly easily distinguished in the Lombardy region, mountains and plains – the latter being divided in Alta and Bassa.
Inconsistent with the three distinctions above made is the subregion of Oltrepò Pavese, formed by the Apennine foothills beyond the Po River. The mighty Po river marks the border of the region for a length of about 210 km. In its progress it receives the waters of the Ticino River, the other streams which contribute to the great river are, the Olona, the Lambro, the Adda, the Oglio and the Mincio. The numerous lakes of Lombardy, all of glacial origin, lie in the northern highlands, from west to east these are Lake Maggiore, Lake Lugano, Lake Como, Lake Iseo, Lake Idro, Lake Garda, the largest in Italy. A minor mountainous area, the Oltrepò Pavese, lies south of the Po, in the plains, intensively cultivated for centuries, little of the original environment remains. The most commons trees are elm, sycamore, willow, in the area of the foothills lakes, grow olive trees and larches, as well as varieties of subtropical flora such as magnolias, acacias. Numerous species of flora in the Prealpine area include some kinds of saxifrage, the Lombard garlic, groundsels bellflowers.
The highlands are characterized by the vegetation of the whole range of the Italian Alps. At a lower levels oak woods or broadleafed trees grow, on the slopes beech trees grow at the lowest limits. Shrubs such as rhododendron, dwarf pine and juniper are native to the summital zone, Lombardy has a wide array of climates, due to local variances in elevation, proximity to inland water basins, and large metropolitan areas. In addition, there is a seasonal temperature variation. A peculiarity of the climate is the thick fog that covers the plains between October and February. In the Alpine foothills, characterised by an Oceanic climate, numerous lakes exercise a mitigating influence, in the hills and mountains, the climate is humid continental
National Gallery
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838.
Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814.
The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
Charles V, Holy Roman Emperor
Charles V was ruler of both the Spanish Empire from 1516 and the Holy Roman Empire from 1519, as well as of the Habsburg Netherlands from 1506. He voluntarily stepped down from these and other positions by a series of abdications between 1554 and 1556, through inheritance, he brought together under his rule extensive territories in western and southern Europe, and the Spanish colonies in the Americas and Asia. As a result, his domains spanned nearly four square kilometers and were the first to be described as the empire on which the sun never sets. Charles was the heir of three of Europes leading dynasties, the Houses of Valois-Burgundy and Trastámara and he inherited the Burgundian Netherlands and the Franche-Comté as heir of the House of Valois-Burgundy. From his own dynasty, the Habsburgs, he inherited Austria and he was elected to succeed his Habsburg grandfather, Maximilian I, as Holy Roman Emperor, a title held by the Habsburgs since 1440. Charles was the first king to rule Castile and Aragon simultaneously in his own right, the personal union, under Charles, of the Holy Roman Empire with the Spanish Empire resulted in the closest Europe would come to a universal monarchy since the death of Louis the Pious.
France recovered and the wars continued for the remainder of Charless reign, enormously expensive, they led to the development of the first modern professional army in Europe, the Tercios. The struggle with the Ottoman Empire was fought in Hungary and the Mediterranean, after seizing most of eastern and central Hungary in 1526, the Ottomans’ advance was halted at their failed Siege of Vienna in 1529. A lengthy war of attrition, conducted on his behalf by his younger brother Ferdinand, in the Mediterranean, although there were some successes, Charles was unable to prevent the Ottomans’ increasing naval dominance and the piratical activity of the Barbary Corsairs. Charles opposed the Reformation and in Germany he was in conflict with the Protestant Princes of the Schmalkaldic League who were motivated by religious and political opposition to him. Once the rebellions were quelled the essential Castilian and Burgundian territories remained mostly loyal to Charles throughout his rule, Charles’s Spanish dominions were the chief source of his power and wealth, and they became increasingly important as his reign progressed.
In the Americas, Charles sanctioned the conquest by Castillian conquistadors of the Aztec, Castillian control was extended across much of South and Central America. The resulting vast expansion of territory and the flows of South American silver to Castile had profound long term effects on Spain. Charles was only 56 when he abdicated, but after 34 years of rule he was physically exhausted and sought the peace of a monastery. Upon Charles’s abdications, the Holy Roman Empire was inherited by his younger brother Ferdinand, the Spanish Empire, including the possessions in the Netherlands and Italy, was inherited by Charles’s son Philip II. The two empires would remain allies until the 18th century, Charles was born in 1500 as the eldest son of Philip the Handsome and Joanna of Castile in the Flemish city of Ghent, which was part of the Habsburg Netherlands. The culture and courtly life of the Burgundian Low Countries were an important influence in his early life and he was tutored by William de Croÿ, and by Adrian of Utrecht.
He gained a decent command of German, though he never spoke it as well as French, a witticism sometimes attributed to Charles is, I speak Spanish to God, Italian to women, French to men and German to my horse
Early Netherlandish painting
Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, the major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century, the painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is noted for its sculpture, illuminated manuscripts, stained glass. Assisted by the system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls.
A majority were destroyed during waves of iconoclasm in the 16th and 17th centuries, Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, attribution of some of the most significant works is still debated. These artists became a driving force behind the Northern Renaissance. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Belgium, the Netherlandish artists have been known by a variety of terms. Late Gothic is a designation which emphasises continuity with the art of the Middle Ages. In the early 20th century, the artists were variously referred to in English as the Ghent-Bruges school or the Old Netherlandish school. In this context, primitive does not refer to a lack of sophistication.
When the Burgundian dukes established centres of power in the Netherlands, in the 19th century the Early Netherlandish artists were classified by nationality, with Jan van Eyck identified as German and van der Weyden as French. Scholars were at times preoccupied as to whether the schools genesis was in France or Germany, in the 14th century, as Gothic art gave way to the International Gothic era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is tied to the tradition. Modern art historians see the era as beginning with 14th-century manuscript illuminators and this patronage continued in the low countries with the Burgundian dukes, Philip the Good and his son Charles the Bold. The demand for illuminated manuscripts declined towards the end of the century, following van Eycks innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts
J. Paul Getty Museum
The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more.
Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath.
The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
Hugo van der Goes
Hugo van der Goes was one of the most important Flemish painters of the late 15th century. He introduced important innovations such as a new monumentalism, a colour spectrum. The presence of his masterpiece, the Portinari Triptych in Florence, Hugo van der Goes was likely born in Ghent or its environs around 1440. Nothing is known with certainty about the artists life prior to 1467, the sponsors for his membership of the guild were Joos van Wassenhove, master painter in Ghent from 1464, and Daneel Ruthaert. It is likely that he had trained elsewhere before he became a master in Ghent, some historians have suggested that Dieric Bouts was possibly the master of van der Goes but there is no independent evidence for this. In 1468 the artist was commissioned by the city of Ghent to execute works in connection with the grant of the Great Indulgence of the city. In the following years, van der Goes created further decorations such as papal blazons at the behest of the city, in 1468 he was in the town of Bruges making decorations to celebrate the marriage between Charles the Bold and Margaret of York.
On 18 October 1468 van der Goes and other members of the painters guild invited painters from Tournai to their assembly in Ghent on the occasion of St. Lukes day, St. Luke was the patron saint of painters. In 1469 Hugo van der Goes and Joos van Wassenhove vouched for Alexander Bening for his entry as a master in the Ghent painters guild, in 1480 Alexander Bening married Catherina van der Goes, a cousin of Hugo van der Goes. Van der Goes and his workshop worked on commissions of the city of Ghent to provide decorations for Charles the Bolds Joyous Entry in Ghent in 1469. When in 1470 Joos van Wassenhove left Ghent for Italy to work in the service of Federico da Montefeltro, in 1473 the Burgundian court paid van der Goes for the paintings and blazons on the occasion of Charles the Goods funeral. The painter was repeatedly elected as deacon of the Ghent painters guild, at the highpoint of his career, van der Goes closed up his studio in Ghent in 1477 to become a frater conversus at the monastic community of the Rood Klooster near Auderghem.
The Rood Klooster was part of the wing of the Modern Devotion movement. At the monastery he enjoyed certain privileges and he was allowed to continue working on painting commissions and to drink wine. During his time at the cloister he was appointed in 1482 by the City of Leuven to assess the works of Dieric Bouts for the Leuven city hall. From the city administration he received a jug of Rhine wine for this service, van der Goes probably completed Bouts unfinished Triptych for Hyppolite Berthoz. On the left panel he painted the portraits of the couple. In 1482 van der Goes was sent on a trip to Cologne together with his half-brother Nicolaes who had taken religious vows
Museum of Fine Arts (Budapest)
The Museum of Fine Arts is a museum in Heroes Square, Hungary, facing the Palace of Art. It was built by the plans of Albert Schickedanz and Fülöp Herzog in an eclectic-neoclassical style, the museums collection is made up of international art, including all periods of European art, and comprises more than 100,000 pieces. The collection is made up of older additions such as those from Buda Castle, the Museums collection is made up of six departments, Antique, Old sculpture gallery, Old master paintings gallery, Modern collection, Graphics collection. The institution celebrated its centenary in 2006, on February 16,2015, the museum closed to the public for renovation. It is expected to reopen in March 2018, after three years of work, in the meantime, a selection of works are housed in the Hungarian National Gallery. The gallery holds the second largest collection of Egyptian art in central Europe and it comprises a number of collections bought together by Hungarian Egyptologist, Eduard Mahler, in the 1930s.
Subsequent digs in Egypt have expanded the collection, some of the most interesting pieces are the painted mummy sarcophagi. The core of the collection was made up of pieces acquired from Paul Arndt, the exhibition mainly includes works from Ancient Greece and Rome. Most significant is the 3rd century marble statue called the Budapest dancer, the Cyprean and Mycenaean collection is notable, the ceramics and bronzes. The 3000 paintings in the offer an almost uninterrupted survey of the development of European painting from the 13th to the late 18th centuries. The core of the collection is constituted by the 700 paintings acquired from the Esterhazy estate, the collection is split up into Italian, Netherlandish, French and Spanish art. The collections main section is devoted to pieces from the Middle Ages to the 17th century and it was based on the Italian collection of Karoly Pulszky and Istvan Ferenczys bronze collections. From the latter one of the most treasured works, the small equestrian by Leonardo da Vinci.
A number of painted wooden sculptures feature in the German and Austrian section, the collection shows selected rotating exhibitions of its collection of 10,000 drawings and 100,000 prints originating mainly from the Esterhazy, Istvan Delhaes and Pal Majovsky acquisitions. All periods of European graphic art are represented, important pieces include two studies by Leonardo da Vinci for the Battle of Anghiari,15 drawings by Rembrandt,200 pieces by Goya, and French aquatints. The museums collection of 19th- and 20th-century art is less significant than those found in other departments, the bulk of the painting is from the Biedermeier period and French art. From the latter are representatives of the Romantic period, the Barbizon school, there is a large collection of sculptures by Auguste Rodin and Constantin Meunier. Hungarian artist, Victor Vasarely, donated a significant collection of his works to the gallery and these have found a permanent home outside the walls of the gallery at the Zichy mansion in Obuda
Alte Pinakothek
The Alte Pinakothek is an art museum located in the Kunstareal area in Munich, Germany. It is one of the oldest galleries in the world and houses one of the most famous collections of Old Master paintings, the name Alte Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek covers nineteenth-century art, and the recently opened Pinakothek der Moderne exhibits modern art, all three galleries are part of the Bavarian State Picture Collection, an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826, even the neo-renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type usual in the early 19th Century. It is closely associated with the function and structure of the building as a museum, the museum galleries were designed to display Rubenss Last Judgment, one of the largest canvasses ever painted.
The museum building was damaged by bombing in World War II but was reconstructed and reopened to the public in the late 1950s. The ornate, pre-war interior including the large loggia facing the south façade in the floor were not restored. A new wall covering was created in 2008 for the rooms on the floor of the Alte Pinakothek with a woven. The new color scheme of green and red draws on the design of the rooms, Elector Maximilian I commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially the work of Albrecht Dürer. He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers, a few years however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war. Maximilians grandson Maximilian II Emanuel purchased a number of Dutch. Under Max Emanuels successors, the purchases were discontinued due to the tight budget. Also Max Emanuels cousin Johann Wilhelm, Elector Palatine collected Netherlandish paintings and he ordered from Peter Paul Rubens the The Big Last Judgment and received Raphaels Canigiani Holy Family as a dowry of his wife.
Charles Theodore, Elector of Bavaria had a preference for Netherlandish paintings as well. By the late 18th century a number of the paintings were already displayed in Schleissheim Palace. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the armies of Napoleon I. The Louvre held it until 1804, when Napoleon declared himself Emperor of France, when the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleons bathroom. Most of the paintings have not been returned, with the secularisation many paintings from churches and former monasteries entered into state hands
Genoa
Genoa is the capital of the Italian region of Liguria and the sixth-largest city in Italy. In 2015,594,733 people lived within the administrative limits. As of the 2011 Italian census, the Province of Genoa, over 1.5 million people live in the wider metropolitan area stretching along the Italian Riviera. Genoa has been nicknamed la Superba due to its glorious past, part of the old town of Genoa was inscribed on the World Heritage List in 2006. The citys rich history in notably its art, music. It is the birthplace of Christopher Columbus, Niccolò Paganini, Giuseppe Mazzini, which forms the southern corner of the Milan-Turin-Genoa industrial triangle of north-west Italy, is one of the countrys major economic centres. The city has hosted massive shipyards and steelworks since the 19th century, the Bank of Saint George, founded in 1407, is among the oldest in the world and has played an important role in the citys prosperity since the middle of the 15th century. Today a number of leading Italian companies are based in the city, including Fincantieri, Selex ES, Ansaldo Energia, Ansaldo STS, Edoardo Raffinerie Garrone, Piaggio Aerospace, the Genoa area has been inhabited since the fifth or fourth millennium BC.
In ancient times this area was frequented and inhabited by Ligures, Phocaeans and Etruscans. The city cemetery, dating from the 6th and 5th centuries BC, testifies to the occupation of the site by the Greeks, but the fine harbour probably saw use much earlier, perhaps by the Etruscans. In the 5th century BC was founded the first oppidum at the foot of the today called the Castle Hill which now is inside the medieval old town. The ancient Ligurian city was known as Stalia, so referred to by Artemidorus Ephesius and Pomponius Mela, Ligurian Stalia was overshadowed by the powerful Marseille and Vada Sabatia, near modern Savona. Stalia had an alliance with Rome through a foedus aequum in the course of the Second Punic War, the Carthaginians accordingly destroyed it in 209 BC. The town was rebuilt and, after the Carthaginian Wars ended in 146 BC. it received municipal rights, the original castrum thenceforth expanded towards the current areas of Santa Maria di Castello and the San Lorenzo promontory.
Trades included skins and honey, goods were shipped to the mainland, up to major cities like Tortona and Piacenza. Among the archeological remains from the Roman period, an amphitheatre was found, another theory traces the name to the Etruscan word Kainua which means New City and still another from the Latin word ianua, related to the name of the God Janus, meaning door or passage. The latter is in reference to its position at the centre of the Ligurian coastal arch. The Latin name, oppidum Genua, is recorded by Pliny the Elder as part of the Augustean Regio IX Liguria, after the fall of the Western Roman Empire, the Ostrogoths occupied Genoa
Hans Memling
Hans Memling was a German painter who moved to Flanders and worked in the tradition of Early Netherlandish painting. He worked at Bruges, County of Flanders by 1465 and he may have been wounded at the Battle of Nancy and cured by the Hospitallers at Bruges and to show his gratitude he refused payment for a picture he had painted for them. Memling did paint for the Hospitallers in 1479 and 1480, in 1477, when he was believed dead, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. Critical opinion has been unanimous in assigning this altarpiece to Memling. The purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation, the oldest allusions to pictures connected to Memling point to his relations with the Burgundian court, which was held in Brussels. The inventories of Margaret of Austria, drawn up in 1524, allude to a triptych of the God of Pity by Rogier van der Weyden and he may have been apprenticed to van der Weyden in Bruges, where he afterwards dwelt.
Yet the whole piece was assigned to the former in the Zambeccari collection at Bologna, Memlings painting of the Baptist in the gallery of Munich is the oldest form in which Memlings style is displayed. The subsequent Last Judgment in Gdańsk shows that Memling preserved the tradition of sacred art used earlier by Rogier van der Weyden in the Beaune Altarpiece, Memlings portraits, in particular, were popular in Italy. Memlings portrait style influenced the work of numerous late-15th-century Italian painters and he was popular with Italian customers as shown in the preference given to them by such purchasers as Cardinal Grimani and Cardinal Bembo at Venice, and the heads of the house of Medici at Florence. Memlings reputation was not confined to Italy or Flanders, the Madonna and Saints, the Virgin and Child, and the four attributed portraits in the Uffizi Gallery of Florence, show that his work was widely appreciated in the 16th century. The masterpiece of Memlings years, the Shrine of St Ursula in the museum of the hospital of Bruges, is supposed to have been ordered and finished in 1480.
The delicacy of finish in its figures, the variety of its landscapes and costume. Near the close of Memlings career he was supported by his workshop. The registers of the guild at Bruges give the names of two apprentices who served their time with Memling and paid dues on admission to the guild in 1480 and 1486. Erwin Panofsky in his 1953 Early Netherlandish Painting, says of Memling and his works give the impression of derivativeness. Old St. Johns Hospital, Bruges Christ Giving His Blessing and they are characterized by guls with hooked lines radiating from a central body, and probably came from Anatolia or Armenia. This article incorporates text from a now in the public domain, Hugh
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