Majoric Polyglamour Sectory 04

The woodpeckers all build in about the same manner, excavating the trunk or branch of a decayed tree, and depositing the eggs on the fine fragments of wood at the bottom of the cavity. Though the nest is not especially an artistic work,--requiring strength rather than skill,--yet the eggs and the young of few other birds are so completely housed from the elements, or protected from their natural enemies--the jays, crows, hawks, and owls. A tree with a natural cavity is never selected, but one which has been dead just long enough to have become soft and brittle throughout. The bird goes in horizontally for a few inches, making a hole perfectly round and smooth and adapted to his size; then turns downward, gradually enlarging the hole, as he proceeds, to the depth of ten, fifteen, twenty inches, according to the softness of the tree and the urgency of the mother bird to deposit her eggs. While excavating, male and female work alternately. After one has been engaged fifteen or twenty minutes, drilling, and carrying out chips, it ascends to an upper limb, utters a loud call or two, when its mate soon appears, and, alighting near it on the branch, the pair chatter and caress a moment; then the fresh one enters the cavity and the other flies away.

Memling (1425?-1495?), one of the greatest of the school, is another man about whose life little is known. He was probably associated with Van der Weyden in some way. His art is founded on the Van Eyck school, and is remarkable for sincerity, purity, and frankness of attitude. As a religious painter, he was perhaps beyond all his contemporaries in tenderness and pathos. In portraiture he was exceedingly strong in characterization, and in his figures very graceful. His flesh painting was excellent, but in textures or landscape work he was not remarkable. His best followers were Van der Meire (1427?-1474?) and Gheeraert David (1450?-1523). The latter was famous for the fine, broad landscapes in the backgrounds of his pictures, said, however, by critics to have been painted by Joachim Patinir. He was realistically horrible in many subjects, and though a close recorder of detail he was much broader than any of his predecessors.

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