Hulin de Loo, Georges: Early Flemish paintings in the Renders Collection at Bruges: exhibited at the Belgian Exhibition, Burlington House, January 1927 (London, 1927)

fingering the leaves of the book is the same in Bruges as
in London, and there are marked similarities to be noticed
in the draperies, especially in the mantle which is brought
forward over the head. The Virgin at an open window had
already been painted by Bouts who himself had perhaps been
inspired by Van Eyck. The general arrangement of our panel
with the drapery hangings taking up the whole width of
the painting, and the canopy, recall in a general way the
milieu in which are placed the Ince Hall Virgins (now in
Melbourne) and the ones of the Institut Stoedel in Frankfort,
both due to the genius of John. It may be added that accord"
ing to a tradition, this picture is said to have belonged to
the Duke of Arenberg, who possessed also a great number
of primitives originally in Bruges and now in the Brussels
3t In short, this is a work full of a happy grace and fresh-
ness, captivating even in its hesitancies, it is a fine page
of bold and rich colours; for the history of art it is a
valuable document, which will help to the better understanding
of Memling’s formation, as well as of his connexion with
his forerunners, and it will throw a new light on a hitherto
almost unknown period of his career, t r-— 1 :—

SUMMARY BIBLIOGRAPHY : —j-:——j-:-1-j-
Voll (Karl): Mewling. (Klassiker der Kunst, t. 14). —-r--f—
Hulin de Loo — Cours de Licence. 1924. Mewling, j-*-—
Friedldnder {Max J.) : Die Altniederldndische Malerei, t. II, Thierry