DOI Page / Citation link:
https://doi.org/10.11588/diglit.42081#0073
at the studio until the death of the Master in 1464. We were
not aware of the existence of any of Memling’s works which
could be placed with certainty prior to the years 1466 or
1467; but at this time he already appears to be a painter
of some standing to whom important orders are entrusted : some
youthful productions dating from his period of formation and
more or less directly connected with Rogier’s studio must
certainly have existed; some may have been preserved and our
Saint Mary - Magdalen may have been one of them. *——-
38 Although not endeavouring to fix the date of this figure
so far back as 1450 or 1452, when Memling might have
seen it at Rogier’s studio, we may suppose that it was
reproduced later by the young artist from some study or
pattern such as the artists constantly used in those days.
It must be noted that we have in fact a silverpoint drawing
of this Mary - Magdalen, as well as an inferior copy enhanced by
some colours; these two specimens which are now in the
British Museum have been published in the Vasari Society
t. II, 1906 - 1907.
38 Memling would not have copied his model in all its details;
besides the general differences due to his special temperament
and craft of which we have already spoken, we draw attem
tion to the following variations : the tree which is shown
in the middleground between the mantle of the Saint and
the hand holding the vase of precious ointment, and the
Hebrew inscription decorating the white turban are not
reproduced in our replica. The material of the left sleeve is
not quite the same and the colour is different; here it is
not aware of the existence of any of Memling’s works which
could be placed with certainty prior to the years 1466 or
1467; but at this time he already appears to be a painter
of some standing to whom important orders are entrusted : some
youthful productions dating from his period of formation and
more or less directly connected with Rogier’s studio must
certainly have existed; some may have been preserved and our
Saint Mary - Magdalen may have been one of them. *——-
38 Although not endeavouring to fix the date of this figure
so far back as 1450 or 1452, when Memling might have
seen it at Rogier’s studio, we may suppose that it was
reproduced later by the young artist from some study or
pattern such as the artists constantly used in those days.
It must be noted that we have in fact a silverpoint drawing
of this Mary - Magdalen, as well as an inferior copy enhanced by
some colours; these two specimens which are now in the
British Museum have been published in the Vasari Society
t. II, 1906 - 1907.
38 Memling would not have copied his model in all its details;
besides the general differences due to his special temperament
and craft of which we have already spoken, we draw attem
tion to the following variations : the tree which is shown
in the middleground between the mantle of the Saint and
the hand holding the vase of precious ointment, and the
Hebrew inscription decorating the white turban are not
reproduced in our replica. The material of the left sleeve is
not quite the same and the colour is different; here it is