flamande, 85; do., Découverte d'un tableau daté de Hans Memling (Brussels, 1883); Weale, Cat. Bruges Acad., 20; do., Hans Memling, zyn leven, etc. (Bruges, 1871); W. & W., ii. 44; Art Journal (1885), 318.
MEMMI, LIPPO, died in 1356. Sienese
school; an artist of the same school as his
greater brother-in-law, Simone di Martino,
with whom he had a common workshop in
Siena. Though at times content to labor
on the mechanical part of Simone's altarpieces,
he frequently undertook separate
commissions, the most important of which
was the adornment of the Palazzo del Podesta
at S. Gimignano in 1317. The spirit
and composition of this work much resembles
that of Simone; but it is remarkable
for the minuteness of its finish, every hair
and every ornamental detail being patiently
worked out. Lippo also aided Simone in
the painting of the Annunciation, now in
the Uffizi, Florence. Other examples of his
work are a Madonna with Saints, in the Palazzo
Pubblico, S. Gimignano; a Madonna
and Angels, in the Chapel of the Santissimo
Corporale, at Orvieto; the Beato Augustino,
in S. Agostino, Siena; a Madonna, in the
Berlin Museum; and a Resurrection, in the
Dresden Gallery.—C. & C., Italy, ii. 101; Vasari,
ed. Le Mon., ii. 87, n. 3, 94; W. & W.,
i. 466; Dohme, 2i.; Zeitschr. f. b. K., v. 234.
MEMMI, SIMONE. See Simone di Martini.
MENABOI, GIUSTO DI GIOVANNI,
second half of 14th century; dead in 1397.
Florentine school; pupil probably of Giovanni
da Milano; name in register of Florentine
painters in 1387, but afterwards a
resident of Padua. A Madonna Enthroned,
dated 1363, is at Milan, and a Coronation
of the Virgin, dated 1367, in the National
Gallery, London. Frescos attributed to him
are in the Baptistery, Padua, and an altarpiece
in the adjoining chapel; and other
frescos in the Luca Belludi Chapel, Padua,
and in the Rinuccini Chapel, S. Croce, Florence.
He was a feeble continuator of the
style of Giotto, whose colouring is bright
and well fused, but whose drawing, expression,
and choice of motives are dull and
clumsy.—C. & C., Italy, ii. 248; Kunstblatt
(1838), No. 13; W. & W., i. 484.
MENENDEZ, Don LUIS, born at Naples
in 1716, died at Madrid in 1780. Spanish
school; history and fruit painter, son and
pupil of Francisco Antonio Menendez (a
successful miniature painter, 1682-1745);
then studied in Rome, and, visiting Naples,
was appointed painter in ordinary to King
Charles; on his return to Madrid, Ferdinand
VI. employed him to illuminate the choir-*books
of the royal chapel. His favourite
subjects were bodegones, in the delineation
of which he has rarely been excelled.
Works: Holy Family, Madonna, thirty-*nine
Bodegones and Fruitpieces, Madrid
Museum.—Stirling, iii. 1219.
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MENESES OSORIO, FRANCISCO, born
at Seville about 1630, died there about 1705.
Spanish school; pupil of Murillo, his favourite
assistant, and one of his best copyists;
painted the glory in the Marriage of St.
Catherine, which cost Murillo his life, and
also the four lateral pictures. Some works
ascribed to his master were probably executed
by him. He was a member of the
Academy of Seville from 1666 to 1673, and
its Mayordomo in 1668-69. Works: Death
of a Hermit, Last Judgment, Cadiz Museum;
Virgin appearing to St. Cayetano,
Church of La Merced, Cadiz; Institution
of Third Order of St. Francis, Seville Museum;
Christ in
Garden of Olives,
Duc de Montpensier,
S. Telmo.—Stirling,
iii. 1103; Ch. Blanc, École espagnole;
Cean Bermudez; Curtis, 331.
MENESTRATUS, painter, 1st century
A.D. His pictures were ridiculed in an epigram
in the Greek anthology by Lucillius,
who says his Phaëthon was only fit for the
fire and his Deucalion for the water. Brunn
(ii. 310) thinks it doubtful whether bad tragedies
rather than pictures are not here referred
to.
