Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-03-07
ART NOTES

Mr.. Thomas e. Waggaman has Just made
q valuable addition to his collection OF
paintings in tr,ptych by Hans Memiing,
which Is in an excellent state of preserva-
ton and is authentic beyond doubt. Hans
Memling, 1t will be remembered, was one
Of the leaders Of the early Flemish school.
living between the years 1425 and 1895. and
his work has always been held in high esti-
nation. Little. comparatively, however. Is
known of his life. and but few Of his paint
ings are now in existence. The majority of
these are in the museum at Brussels and
the Bruges Academy. though examples are
to be found in Antwerp. Vienna, Munich,
Turin and Rome. So rare and so valuable
are the paintings by this Flemish master
that 1t Is more than remarkable that so fine
a one as the triptych now in Mr.. wagga-
mans possession should have ever been al
lowed to pass the gates Of the old world;
and not only the owner but all the art
lovers of Washington must rejoice In its
having found a permanent home in this
city. Merely as an antiquity. or as an ex-
ample of one of the earliest schools of
painting, this triptych, with its assured his
tory and quaint. time-worn wooden frame,
would be of deep interest: but aside from
both, IT would stand today as great work
of art and marvelousy wrought painting.
The center panel is a picture of the Madon-
ma holding the infant Christ on her lap,
and the wings or doors, which when open
form a part Of the composition, show fig
ures of a man and woman kneeling before
prayer desks in attitudes of devoted adora-
ton. These are portraits of William Moreel.
prosperous fifteenth century merchant,
and one of his many daughters. 1t was
the custom IN those far-off days for laymen
ordering religious painting as a gift for
church to have their own portraits and
those of members Of their families painted
in the picture, with much the same spirit
that prompts the engraving of the donors
name on our present-day church memorials.
If the theme of the picture were a cruel
fNfon the family likenesses were introduced
among the mourners, or it, as In this case.
Madonna. among the worshipers. -Ac-
cording to the catalogue of Memling's
works this same Moreel was generous pa
tron, giving lavishly to the church, for
there is quite. list of detached triptych-
doors which bear the likeness of himself
and members of hds immediate family.
From study of this painting it Is easy
to comprehend why the Pre-Raphaelite
Brothers were dissatisfied with modern
methods, and what 1t was they strove to
reclaim; for with the remarkable technique
there Is simplicity and sincerity of exc
cution and a purity of religious thought
evinced which in later day was smoth-
cred If not entirely obliterated. In the
Madonna's face and attitude there is an
excess Of tenderness. and on the faces Of
both the subordinate figures Is an express
sion Of true devotion. Photographic copy
of this painting would show forth with en-
phasis the charm of its lines and the
strength Of it's modelling. but full half Of
the beauty Of the work, that which is de-
rived from the color scheme, would be lost
The robe of the Virgin is soft, rose red
modulated by falling into many cross-folds
and brought in contrast at the neck with
vest of blue. William Moreel wears a long
cloak Of gray cloth. with a collar Of dark
brown fur, and his daughter a gown of blue,
with a vest Of red. The floor is a regular
mosaic of red and white marble, and behind
the figures is stretched, as wall or dado,
green-blue tapestry embroidered in old gold
thread, over which. in the gray distance, Is
seen a city on a hill and the clear, luminous
summer sky. The technical rendering Of
this tapestry Is one Of the most interesting
and remarkable features Of the painting.
It is so infinitely done that the very weave
place perfectly in the scheme of the whole,
and becomes to the casual observer merely
a part Of the background. Another feature
of special note is the atmospheric quality Of
the distant landscape and sky. Well may
the modern artist stand before this picture
and marvel. There is no trickery about it.
no accidental effectiveness. The work Is
sincerely, conscientiously done. There are,
no doubt many who would prefer for every
day companions the works Of the modern
schools to that Of the early Flemish or Ital-
ian, but there Is no one who understands or
cares for art as art who would not pause
before this painting with respectful admira-
ton and find in 1t thoughtful delight.
private view of the accepted design Of
the monument to the late J. Sterling Nor
ton by MIR. Rudolph Evans and the compe-
tition model for a monument to President
Mckinley by Mr.. Evans, sculptor, and Mr..
George o. Totem jr, architect, was given
last Saturday evening in the studio of the
latter The monument to Mr.. Morton had