DOI Page / Citation link:
https://doi.org/10.11588/diglit.62134#0107
memling’s adoration of the magi. 99
There are three little pictures of Memling before which
we must especially pause. They are well known by engrav-
ings, but without having seen the brilliancy of the colour,
and the delicacy and purity of the manipulation, but a faint
idea can be formed of the peculiar charm of these pictures.
In the engravings the quaintness of the drawing alone tells
in grotesque harshness, and all harmony is lost.
These pictures are the Adoration of the Magi, and its
two wings, upon one of which is painted St. John; upon
the other St. Christopher. The Adoration, as usual, is
represented as taking place in a singular abode—a mingling
of ruined palace, cottage, and stable. A meek Virgin, draped
in dark blue, with heavy white drapery falling around her
pale face, holds upon her lap a grave little naked Infant
Jesus, who stretches forth his tiny arms towards the ador-
ing kings. Behind the Virgin, resting her folded hands
upon the back of the Virgin’s seat, and standing with
modest downcast eyes, is a little waiting-maid. Beyond
this group, and seen between slender porphyry columns, is
a stable which has a round arched window, supported also
upon marble columns. An ass and mule are seen eating
in the stable, out of a manger. And one’s eye wanders
now through the porphyry columns into a further and
much gloomier apartment, where a bright fire burns. This
dark room is divided by a low lath-and-plaster partition
from the stable ; and upon this partition is perched a pair
of doves. It is extraordinary the detail of every kind
crowded into these old pictures. And through the round,
arched window of the stable, and through the open door-
way of the ruinous abode, we catch glimpses of round
hills, green with the rich deep grass of later spring. Upon
the summit of the nearest hill rises a beech-tree, spreading
its verdant crown against the deepest, clearest azure
sky. A quaint town, of Lombardic architecture, shines
There are three little pictures of Memling before which
we must especially pause. They are well known by engrav-
ings, but without having seen the brilliancy of the colour,
and the delicacy and purity of the manipulation, but a faint
idea can be formed of the peculiar charm of these pictures.
In the engravings the quaintness of the drawing alone tells
in grotesque harshness, and all harmony is lost.
These pictures are the Adoration of the Magi, and its
two wings, upon one of which is painted St. John; upon
the other St. Christopher. The Adoration, as usual, is
represented as taking place in a singular abode—a mingling
of ruined palace, cottage, and stable. A meek Virgin, draped
in dark blue, with heavy white drapery falling around her
pale face, holds upon her lap a grave little naked Infant
Jesus, who stretches forth his tiny arms towards the ador-
ing kings. Behind the Virgin, resting her folded hands
upon the back of the Virgin’s seat, and standing with
modest downcast eyes, is a little waiting-maid. Beyond
this group, and seen between slender porphyry columns, is
a stable which has a round arched window, supported also
upon marble columns. An ass and mule are seen eating
in the stable, out of a manger. And one’s eye wanders
now through the porphyry columns into a further and
much gloomier apartment, where a bright fire burns. This
dark room is divided by a low lath-and-plaster partition
from the stable ; and upon this partition is perched a pair
of doves. It is extraordinary the detail of every kind
crowded into these old pictures. And through the round,
arched window of the stable, and through the open door-
way of the ruinous abode, we catch glimpses of round
hills, green with the rich deep grass of later spring. Upon
the summit of the nearest hill rises a beech-tree, spreading
its verdant crown against the deepest, clearest azure
sky. A quaint town, of Lombardic architecture, shines