Hans Memling was a German painter who moved to Flanders and worked in the tradition of Early Netherlandish painting. He was born in the Middle Rhine region, spent his childhood in Mainz, he had moved to the Netherlands by 1465 and spent time in the Brussels workshop of Rogier van der Weyden. He was subsequently made a citizen of Bruges, where he became one of the leading artists in which he painted religious works that incorporated portraits of his wealthy patrons. Memling's patrons included wealthy burghers and aristocrats. Memling's portraits built upon the styles, he became successful, in 1480 was listed among the wealthiest citizens in a city tax list. He married Anna de Valkenaere sometime between 1470 and 1480, they had three children. Memling's art was rediscovered, became popular, in the 19th century. Born in Seligenstadt, near Frankfurt in the Middle Main region, Memling served his apprenticeship at Mainz or Cologne, worked in the Low Countries under Rogier van der Weyden in Brussels, Duchy of Brabant.
He worked at Bruges, County of Flanders by 1465. 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, it is that he was known to the patrons of St John prior to the Battle of Nancy. In 1477, when he was believed dead, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges; this altarpiece, Scenes of the Passion of Christ, now in the Galleria Sabauda of Turin, is not inferior in any way to those of 1479 in the Hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment, which since the 1470s, is in the National Museum, Gdańsk. Critical opinion has been unanimous in assigning this altarpiece to Memling; this is evidence that Memling was a resident of Bruges in 1473. 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, 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, of which the wings containing angels were painted by "Master Hans", he may have been apprenticed to van der Weyden in Bruges. The clearest evidence of the connection of the two masters is that afforded by pictures an altarpiece, which has alternately been assigned to each of them, which may be due to their joint labours. In this altarpiece, a triptych ordered for a patron of the house of Sforza, we find the style of van der Weyden in the central panel of the Crucifixion, that of Memling in the episodes on the wings, yet the whole piece was assigned to the former in the Zambeccari collection at Bologna, whilst it was attributed to the latter at the Middleton sale in London in 1872. Memling's painting of the Baptist in the gallery of Munich is the oldest form in which Memling's 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. Memling's portraits, in particular, were popular in Italy. According to Paula Nuttall, Memling's distinctive contribution to portraiture was his use of landscape backgrounds, characterized by "a balanced counterpoint between top and bottom and background: the head offset by the neutral expanse of sky, the neutral area of the shoulders enlivened by the landscape detail beyond". Memling's portrait style influenced the work of numerous late-15th-century Italian painters, is evident in works such as Raphael's Portraits of Agnolo and Maddalena Doni, 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, the heads of the house of Medici at Florence. Memling's reputation was not confined to Flanders; the Madonna and Saints, the Virgin and Child, the four attributed portraits in the Uffizi Gallery of Florence, show that his work was appreciated in the 16th century.
The Scenes from the Passion of Christ in the Galleria Sabauda of Turin and the Advent and Triumph of Christ in the Pinakothek of Munich are illustrations of the habit in Flanders art of representing a cycle of subjects on the different planes of a single picture, where a wide expanse of ground is covered with incidents from the Passion in the form common to the action of sacred plays. Around 1492, Memling was commissioned to paint the Najera Altarpiece for the Benedictine Monastery of Santa Maria la Real in Najera, Spain; the altarpiece, completed in Flanders, consisted of an image of God surrounded by angels playing a variety of musical instruments while atop a row of clouds before a golden background. Recent scholarship by Bart Fransen has determined that Gonzalo de Cabredo and Abbot Pablo Martinez commissioned the creation of this artwork. Memling became sufficiently prosperous that his name appears on a list of the 875 richest citizens of Bruges who w
El Tiro is a meteorite named after the nearest town to where it was found in Sonora, Mexico. The entire mass was acquired by Aerolite Meteorites of Tucson, owned by Geoff Notkin of Meteorite Men, it was sold into private collections. A gold prospector found a single stone showing weathering cracks, remnant fusion crust, shallow regmaglypts close to the El Tiro settlement in Sonora, Mexico. El Tiro is one of only nine confirmed meteorites from Sonora and one of 109 confirmed meteorites from Mexico. Aerolite Meteorites acquired and sold the main mass, while a 23.1 grams mass, including a probe mount, is held at the University of New Mexico's Institute of Meteoritics. A saw cut polished slices of the stone reveal densely packed chondrules of variable size set in a dark brown ground mass; such slices demonstrate unequilibrated chondrules, as well as apparent mean diameter containing many with porphyritic, igneously zoned olivines and pyroxenes. Scattered and fine-grained matrix is present. High-Ca pyroxenes were observed, only small amounts of fine-grained plagioclase were observed.
Glossary of meteoritics "Stone Meteorites". Aerolite Meteorites. Retrieved 16 May 2018
The Glynne Baronetcy, of Bicester in the County of Oxford, was a title in the Baronetage of England. It was created on 20 May 1661 for the former Member of Parliament for Carnarvon, he was the son of Lord Chief Justice during the Commonwealth. The second Baronet sat as Member of Parliament for Oxford Woodstock; the sixth Baronet was Member of Parliament for Flint. The title became extinct on the death in 1874 of 9th Baronet; the family estates, including Hawarden Castle in Flintshire, had been rescued from bankruptcy by the wealth of Sir John Gladstone, whose son William Ewart Gladstone had married the ninth Baronet's sister Catherine. Sir William Glynne, 1st Baronet Sir William Glynne, 2nd Baronet Sir Stephen Glynne, 3rd Baronet. Glynne married Sophia Evelyn, by whom he had three sons, the 4th, 5th, 6th Baronets. Sir Stephen Glynne, 4th Baronet Sir William Glynne, 5th Baronet. Glynne died unmarried at Aix-la-Chapelle. Sir John Glynne, 6th Baronet Sir Stephen Glynne, 7th Baronet. Glynne was educated at Queen's College and took holy orders, becoming rector of Hawarden.
He married Mary Bennett in 1779, died of a ruptured blood vessel while hunting the next year. Sir Stephen Richard Glynne, 8th Baronet. Glynne was the posthumous son of the 7th Baronet, he was educated at Oxford. Sir Stephen was an agriculturalist. In 1806, he married daughter of Lord Braybrooke, he was succeeded by his son Stephen. Sir Stephen Richard Glynne, 9th Baronet Jenkins, David. "Glynne family, of Hawarden, Flints.". Dictionary of Welsh Biography. Retrieved 2007-08-13. Pritchard, T. W.. The Glynnes of Hawarden. Hawarden: Gladstone's Library. ISBN 9781527219052. Baronetcies: G, at Leigh Rayment's Peerage pages