The Master of Bruges

by Terence Morgan

Master painter Hans Memling is without peer in the artistic world of fifteenth-century Bruges. But when he falls in love with the Princess, Marie, daughter of his powerful patron, the Duke of Burgundy, his life begins to unravel. Made reckless by his passion for Marie, Hans accepts an invitation to visit old allies in London. But there he will find himself plunged into the final stages of the War of the Roses and embroiled in one of the greatest political mysteries of all time. At once a spellbinding historical thriller and a vivid examination of the artistic impulse, The Master of Bruges is an enthralling debut.

Genres: Historical Fiction, Mystery, Belgium, Art, Fiction, Historical, British Literature

314 pages, Hardcover

First published December 22, 2009

About the author

Terry Morgan is a retired journalist, stage director, actor, playwright and teacher who has now turned his talents to novel-writing.

Reviews

[Brian · Rating 4 out of 5]

An enjoyable read. The bottom line is that it's yet another attempt to answer the mystery of the Princes in the Tower. I will not set out the author's solution, but it is certainly an original one. Do I believe it happened like this? Frankly, no, but it's no more out of the way than some of the other solutions proposed, including some of those postulated by historians.

Frankly, recent 'Ricardian' novels haven't impressed me that much, but this is certainly better than some that have sold a lot more copies, and given it is a first novel, I think that is pretty high praise.

I have to have a moan though - when Richard of Gloucester arrives in Bruges he has battle wounds. But surely there was no battle before he and Edward ran away to Burgundy?

The blurb might suggest that the protaganist Hans Memling, the painter, has a romance with Marie of Burgundy. This is actually quite low key in the book, and all the more realistic for it. (He does offer marriage, but she tells him to get real, just like a medieval princess would.)

[Misfit · Rating 4 out of 5]

"Face value is no value at all, and truth is not to be found therein."

Sponsored by the Duke of Burgundy, Hans Memling becomes a citizen of Bruges and master painter - and his favorite model is the Duke's beloved daughter Marie (perhaps a bit too favorite, but I won't spoil it for you). One night, Hans plays host to some mysterious guests from England and that party includes Edward and Dick Plant, and a strong friendship begins between them even after he discovers their true identity - Edward IV and Richard Duke of Gloucester.

Years pass and when Hans travels to England to finish the long put-off triptych for Sir John Donne, Hans once again meets with his old *friends* and upon the death of Edward he's assigned as a tutor (teaching painting) to the King's young sons in the Tower of London. Will he be able to save the princes or will That Upstart Henry Tudor destroy them all? And that's all I'm telling, I don't do book reports.

This was a very quick, entertaining read with a refreshing twist on an oft-told tale, and Morgan manages to bring the basics of most of those old *legends* into his story - although thank God no woe-is-me or Melusine. Whew. I liked getting an *inside look* at Memling's painting career (you will go googling for images, trust me), but I didn't pick up a real *passion* from him for his work. While I did enjoy it, I consider this very much a *what-if* story and should not be read as a definitive interpretation of this period's history. I suspect some of the twists Morgan brings in might send the Ricardian purists howling to the RIII discussion boards, but I'd definitely recommend this for those looking for a lighter read on the period.

[Sofie Polfliet · Rating 1 out of 5]

Ik en mijn kunsthistorisch diploma hebben heeeeel wat te zeggen over dit diepgaand absurde boek.
Laat mij beginnen met een nuance te maken: ik hou van historische fictie, ALS het ook zo gepresenteerd is. Een cast aan fictieve personages in een historisch setting / gebeurtenis en NIET een complete verbastering van historische feiten die niet te weerleggen zijn.
IK. BEN. KWAAD.

Dit boek is opgedeeld in twee grote delen: het Bourgondische en het Engelse deel. Enkel het eerste kon nog rekenen op een kleine hoeveelheid van mijn aandacht, het daaropvolgende deel heb ik schuin doorgenomen, want dat ging totaal van de politieke rails. Het voelt alsof deze auteur niet wist of hij iets over Memling wou schrijven of over de culminatie van de Rozenoorlog / Twee Prinsen mysterie, dus hij heeft het maar samen geduwd en Memling de 'autobiografische' en pseudo heroïsche verteller gemaakt (allebei compleet absurde keuzes). Memling is hier gepresenteerd als een schilder, maar ook als een politieke vertrouwelijk en redder van de Engelse prinsen / koningshuis. I mean...

Aangezien deze rage review eindeloos lang zou zijn moest ik alles uitschrijven, bij deze mijn grootste problemen met dit boek:

- Hoofdstuk 1 zet meteen de toon voor wat toch wel de meest misplaatste '''autobiografie''' ter wereld moet zijn. De claim dat een deel van portretten uit het atelier van Rogier van der Weyden eigenlijk puur van de hand van Memling geweest zijn omdat oude, kwade en door jicht getroffen Rogier geen talent meer had is een héél grote uitspraak. Als in, onmogelijk te onderbouwen.

- What's up met die diepgaand vreemde 'romantische' relatie tussen Memling en Maria van Bourgondië. Zij is een kind die niet weet wat te doen met haar tijd en emoties (uithuwelijken doet wat met een mens) terwijl hij al meer dan volwassen is en zich toch aangetrokken voelt tot haar...

- Er is geen enkel haar op mijn hoofd dat geloofd dat Hans Memling aanwezig was bij in 1477 in Nancy, laat staan dat hij diegene was die Karel de Stoute effectief heeft geïdentificeerd na zijn dood. BULLSHIT.

- En zo komen we bij wat mijn bloed het meeste deed koken, de 'plottwist' in het laatste hoofdstuk. Het is één ding om creatief te willen zijn met geschiedenis, het is iets anders om iemands zeer pijnlijke en goed gedocumenteerde dood te verdraaien om je eigen verhaaltje wat sensatie te geven. De val van Maria van Bourgondië is een van de meest doorslaggevende momenten uit de Bourgondisch-Habsburgse geschiedenis, maar nee hoor we zijn allemaal fout volgens Terence hier. Terence Morgan zal hier even de geschiedenis herschrijven en beweren dat Maria niet stierf door haar val van het paard, maar DAT HANS MEMLING HAAR GEDUWD ZOU HEBBEN UIT ROMANTISCHE JALOEZIE. SHUT UP. IK BEN FURIEUS.

En dit alles is nog niet gek genoeg, maar in het nawoord schrijft de auteur deze verantwoording:
"Zo zijn ook bijna alle scènes in dit boek echt gebeurd, hoewel karakterisering en motivering soms op vermoedens gebaseerd zijn." Shut up my man.
Het is uitermate lang geleden dat een boek zo veel emoties teweeg bracht, laat mij verklaren dat geen enkele daarvan positief was. Deze kanjer krijgt een one way trip naar de kringloopwinkel.

[Darkpool · Rating 4 out of 5]

Really very enjoyable. I found I liked the European half of the story better than the English, possibly because of the novelty value. Utterly shocked by the last chapter, and glad I'm not the sort of person who reads the last page ahead of time. Loved the interspersed reflections on the crafts of painting - a nice touch that allowed the character of the narrator to emerge.

[S.M. · Rating 2 out of 5]

I wanted to read this as I just got back from Bruges where I saw many works by Hans Memling. This book was okay, I finished it, but it wasn't particularly interesting or engaging and it didn't give me as much a sense of the period as I would have liked.

[Pauline Calkin · Rating 4 out of 5]

A trivial accident occurs in the Bruges workshop of Master painter Rogier van der Weyden, that changes the life of journeyman Hans Memling who, as a result, comes to the attention Charles of Charolais (later Duke of Burgundy) by sketching that latter’s little daughter Marie.

Memling becomes a master painter himself and here he reflects upon his art and his life. It begins with musing about mixing colors, observing that one can never achieve a color that matches one’s inner vision of that color. “Everything is different from the imagining of it.” The difference between truth and reality, between lies and illusions applies to personal and political relationships as well as to art.

With Duke Charles as a patron, Memling establishes his workshop and meets many influential people including the Englishman William Cakkeston (Caxton). One night in October 1470, Caxton asks him to shelter several political refugees from England, including Ned and Dick Plant. Memling agrees to take the risk, knowing full well that the the two are Edward IV and his younger brother, Richard of Gloucester. Memling develops a friendship with both men, especially Dick whom he admires as a witty, loyal, urbane man.

Memling overhears a conversation between the two in which Ned expresses fear for his newborn son’s life in case of his own early death. He says that “the best protection for my baby might be that you should declare him illegitimate and claim the land for yourself.” Dick balks at this idea, but Ned persists that “if you won’t declare my boy illegitimate, then declare me illegitimate instead if it has come to that,” adding that their mother will go along with the idea. (Seems implausible given the fact that Edward never seems to have been able to look beyond his own lifetime at any point.) That conversation will be important years later when Edward IV dies at the age of forty and his 12 year-old son is set to become king, but the scheme does not play out as planned due to another twist of fate. Again the divergence between truth and reality.

Meanwhile, Memling is receiving many commissions, and it was customary to include portraits of the patron and members of his family in paintings. Duke Charles puts pressure on Memling’s clients to insist that his daughter Marie’s portrait be included in their commissioned works. This was an inexpensive marketing trick by Charles, and the clients were not about to say no to the Duke. As a result, Memling comes into contact with Marie over a period of years, and hears her complaints about various prospective bridegrooms that her father proposes. Memling falls in love with this willful, sometimes petulant young girl, and fancies that she reciprocates her feelings.

Duke Charles dies at the siege of Nancy, and Memling’s description of the battle and the discovery of his body is the most unsettling, albeit memorable section of the book. With Duke Charles’s death, Mary becomes duchess and able to choose whom she shall marry. Memling proposes, mistakenly believing that she had once implied that he was her secret love. Mary responds that as a duchess she cannot possibly marry a commoner. Anyway, she was not referring to Memling when she had earlier confessed she was in love with someone who was unavailable to her—she meant Richard of Gloucester! (That’s our Richard for you—leaving a trail of broken hearts in his wake.)

After Marie marries Maximillian, the son of the Holy Roman Emperor, Memling does continue to be involved with the Burgundian court and is present when Marie takes a fatal tumble from her horse.

At this point, the scene shifts to England where he intends to complete a long delayed triptych for Sir John Donne. (The Donne triptych is on display in the National Gallery.) Before he can complete this commission, he is reunited with his old friends Ned and Dick Plant, aka Edward IV and Richard of Gloucester. He is waylaid into doing portraits of Edward, Queen Elizabeth, and Richard. His eager assistant is the king’s younger son, Richard of Shrewsbury, who displays a knack for sketching. Memling wants to return home after he completes the Donne work, but by this time Edward has died and Dick asks him to stay on and be a companion to the young princes with whom he has formed an attachment. Dick means to implement the plan to declare his nephews illegitimate in order to keep them safe. When he explains this to the young Edward, Memling plays a crucial role in supporting Dick when he remembers the conversation he overheard long ago. Actually, it was sort of refreshing that Edward was quite reasonable and not at all spiteful toward his uncle, that is until events reveal another basis for the illegitimacy claim which forces Dick’s hand. It seems improbable that the disappearance of the princes happened in exactly the manner suggested in the book, but the proposed solution is just as tenable as many others.

A final irony occurs when the usurper Henry Tudor destroys the portrait that Memling painted of Richard. “But what Henry did to Dick’s portrait was nothing compared to what he did to his character. …Dick—loving, gentle, loyal, honest Dick- became a creature to frighten children with.” (Yes, Dick was pretty darn near a saint in this book, but I lapped it up.)

At the end when Memling faces his own mortality, he reveals that Marie’s death was not what it first appeared to be—giving the reader a last lesson on perspective and that nothing is at it appears.

Despite some historical inaccuracies (e.g., Dick having a battle wound when he first came to Bruges in 1470), this was a thoroughly entertaining read with enough twists and turns that kept me turning the pages.

[Liz]

A pre-travel read for an upcoming trip to Bruges, I loved learning a little about the medieval Flemish primitive painter Hans Memling. I say a little because I was not clear how much of this historical fiction was speculative and how much was based on recorded history. Memling is portrayed in this novel as something of a 15th century Forrest Gump, turning up at major historical events and as an integral part of the War of the Roses. Still, I found the book to be engrossing and feel like I am a little more prepared to enjoy and better appreciate his work when we encounter it on our trip through Flanders.

[Kathy · Rating 5 out of 5]

The Master of Bruges by Terence Morgan
Reviewed January 26, 2021


The Master of Bruges is the story of 15th century portrait painter Hans Memling, told in the first person by the artist himself. Sprinkled throughout the story are short chapters in which Memling gives lessons in art.

Nothing is as it appears. Nothing ever can be as it appears. Everything is different from the imagining of it.
That is the first lesson to be learned. Reality is the first victim.
Although truth may remain.

This is Memling’s first lesson to the reader. Although he is talking about how a portrait can never be the real thing, his comments also apply to events throughout the story

Memling’s story, told in the first person, is in two parts. Part one follows him from Brussels to Bruges, from assistant to master painter. In part two, Memling accepts an invitation to England where he finds himself caught up in the events that have nothing to do with painting.

Part one. The story opens in December 1460 in the city of Brussels. Young Memling is a journeyman painter in the workshop of master painter Rogier van der Weyden. Accompanying his master on a call to Charles, Count of Charolais and heir to the duchy of Burgundy, Memling makes a sketch of the count’s daughter, Marie, which impresses her father. This encounter will prove beneficial to Memling in many ways.

Following Rogier’s death in 1464, Memling finds that establishing himself as a master painter is harder than he thought. With money and food scarce, he temporarily gives up painting and enlists as a pikeman. When he and several comrades are arrested for looting a church, it is Count Charles, one of the army’s commanders, who recognizes Hans as the promising young artist who drew the sketch of his beloved Marie that he carries with him all the time. Charles helps commute Memling’s sentence for looting from death to something much less harsh. Charles also arranges for Memling to move to Bruges where, as his patron, Memling establishes himself as a master. During these years, a relationship blossoms between Memling and Marie, as she grows from a precocious 10-year-old into a beautiful if at times willful and headstrong young woman.

Being portrait painter to now Duke Charles bring Memling many commissions, and introduces him to a number of interesting and influential people, including Englishman William Cakkeston (whose name these days is usually spelled Caxton). It is through Cakkeston that Memling meets, on an October night in 1470, Ned and Dick Plant, countrymen of Cakkeston’s who have had to flee England and are in need of a place to stay for a few days.

One night, Memling inadvertently overhears a conversation between the brothers as they discuss their situation. Then Ned talks about his baby that’s just been born, and his concerns for the child’s welfare.

“I think that if I were to die early, the best protection for my baby might be that you should declare him illegitimate and claim the land for yourself.”

Dick dismisses the idea, but Ned continues.

“Listen – you know what was said at my birth, about me?”
“Yes, but it was nonsense.”
“I know, but use it; if you won’t declare my boy illegitimate, then declare me illegitimate instead if it has to come to that.”
“Defame our father and our mother?
“If it is the only way, yes. We can let mother into the secret. You are the best of us, Dick, the only one that could see it through – and also the only man I could trust to do it right.”

This conversation will play an important role in future events, for Ned and Dick are, in fact, Edward IV and his youngest brother, Richard of Gloucester. And it turns out Memling wasn’t deceived, either. When it’s revealed to him who his guests really are, Hans is like, ‘Yeah, I kinda figured that out,’ only much more eloquently than I’ve put it. A deep friendship forms between the three men, especially between Memling and Richard, and when it’s time for the brothers to return to England and reclaim Edward’s throne, Richard says to Memling, “Friendship takes precedence over title. I shall always be Dick to you.”

Although it will be twelve years before these men meet again, when they do it will be during a time a great events, and that conversation that night in Bruges comes into play.

In the mean time, Memling’s workshop prospers. During this time, Hans sees Marie on a regular basis, as her father insists that her portrait be included in all of Memling’s religious paintings – usually as a saint or, more often, as the Virgin Mary – all to make sure her beauty is well known by all would-be suitors. During the numerous sittings, Marie often confides in Memling, especially when she’s unhappy.

Always discreet and circumspect, Memling begins to believe that Marie has feelings for him. When her father is killed in a siege, Marie’s situation changes. She is no longer a young girl who day dreams of things that cannot be, but the heiress to Burgundy and must marry appropriately. When Memling makes the mistake of openly declaring his affections for her, Marie lets him know in no uncertain terms that this is totally unacceptable, cutting Memling to the quick. It’s several years before he sees Marie again, and shortly after she marries Maximilian, son of the Holy Roman Emperor.

The rest of part one continues with Memling’s time at the Burgundian court, with its ups and downs, heartbreak and tragedy. I won’t go into more detail than that, so as not to spoil things for you.

Part two. It is now 1482 and Memling accepts an invitation to visit English where he can complete a commission begun years ago, and become reacquainted with his friends, Ned and Dick. At the English court, Memling paints portraits of members of the royal family and forms an attachment with young Richard of Shrewsbury, who shows some talent in sketching. Life is pleasant enough in England for the next few months, but when he’s finished with the commission, he’d like nothing better than to return home to his own family in Bruges…but isn’t meant to be.

Ned dies unexpectedly, and Memling’s friendship with Dick and the one he’s formed with the young princes gives him a front row seat to many of the events surrounding the succession crisis, and where, for me, the story got really good (not that it previously hadn’t been). Memling’s early caution “Nothing is as it appears” comes into full play, as does that conversation overheard twelve years ago.

Well known events, such as the fateful council meeting that led to Lord Hastings’ execution, are offered in a way that is both familiar yet different, and presents us with an alternate way in which events might have played out. There’s also a solution to the mystery of what happened to the “Princes in the Tower” that, while unlikely to have happened this way, is different yet still recognizable with we know from the history books.

I won’t go into further detail because that would spoil all the fun, but I will tell you that Memling ends up with a poor opinion of the new king, Henry Tudor, that he explains in a chapter titled “Of the Evil That Men Do” (which pretty much says it in a nutshell).

“It is the most complete of ironies – that Dick should be considered a traitor – for the truth is that King Richard III was the best and finest of men, the flower of English chivalry and a man who unfailingly lived by his motto, ‘Loyaulté me lie’ – ‘Loyalty guides me’ – and I love and honour his memory this side of idolatry.”

And just when you think the story is over, Memling reveals one more twist that confirms the adage that history is a matter of perspective.

I debated between giving this book 4 stars or 5. I ended up with 5 because any book that keeps me up reading until after 3 am deserves that ultimate rating.

[Anna · Rating 3 out of 5]

An interesting book as I knew nothing about Memling before and I found myself looking up his paintings on the Internet while reading. His observations on the artifices used by painters was enlightening too. As far as the historical narrative goes, I had to suspend my unbelief as it is all just a touch too unlikely; while a well-regarded court painter will have a certain amount of exposure to his noble/royal patrons , this was taking it a bit too far! Still, it enabled the story to roll along.
I particularly liked the narrative as relating to Richard III, and had no idea on beginning this book how timely this issue would be (I refer of course to the unearthing of RIII's remains in a Leicester car park very recently). It was fascinating to get a positive view of Richard; as they say, it is the winners who write the history books, ie the Tudors, who had every reason to tarnish the reputation of their predecessor.

[Leylim · Rating 1 out of 5]

This has to be the maddest thing I’ve ever read. It’s basically a late medieval Forrest Gump with Hans Memling inserted into every major event that happened during his lifetime, none of which is even remotely possible. One might be tempted to forgive the author’s astonishingly far-fetched scenarios given his book’s fictional nature, yet he emphasises in the afterword that “almost all of the scenes in the story are real events”!!!!! Equally disturbing is his seemingly-obsessive Ricardianism. Absolute lunacy - enjoy the story if you will but please don’t take anything you read here as historical fact.

[Amy Jane · Rating 2 out of 5]

I've given two stars, but it might actually deserve one and a half. Not that it was awful, but I think it could have been a lot better. You can tell the author is passionate about Hans Memling (the main character) and that period of European history, but the people and dialogue elements of the book were lacking. I am hard to please when it comes to historic novels, and although I enjoyed the parts concerning art and the facts about Memling's paintings, it was a disappointment.

[Charley Walker · Rating 1 out of 5]

Personality-void painter protagonist lusts over a girl he's known since she was 5 (oh and there's an English war happening in the distance).

This feels like 2 books smashed into one. It should've either been a tragic romance or a historical thriller, never both.

As with a lot of historical fiction it feels like events are happening at the protagonist, not due to action by them. S W Perry is a great example of someone who does historical fiction where the action is  because  of the protagonist. Another reviewer said this felt like Forrest Gump and I'm inclined to agree.

Having been to Bruges it was nice to recognise areas described but the text left much to the imagination. It felt rushed and the time skips were diabolical. Between sentences we were suddenly in different countries which doesn't help with understanding the length of those journeys.

And I'm sorry but the twist at the end did absolutely nothing to serve the narrative. It changes nothing and reveals nothing other than a writer's abstract ideas of what could've been.

[Bhavya Pandit · Rating 3 out of 5]

A decent one-time read for fans of Historical fiction x Suspense. Morgan is quite obviously gifted when it comes to words and to that effect, there were quotable quotes at regular intervals but in the end, I wasn't able to love the book as I intended to, especially seeing as how thoroughly researched it is. Still, an engaging glimpse into the world of Art, Nobility and Diplomacy from an era gone by.

[Gill · Rating 3 out of 5]

I bought this book because of a trip to Bruges and wanting to read something set in such a lovely, interesting place. I ended up enjoying the book for different reasons, getting into the history of the boys in the tower. This book went in a different direction than I expected. Enjoyable read though!

[Leslie · Rating 4 out of 5]

I read this on a trip to Belgium. It’s a fun easy read that helps you get into the mindset of the painters whose gorgeous paintings you will see in museums there. I learned about Hans Memling and Roger van de Weyden. This book is fiction but is helps give you perspective and understand the complicated history of the region. This is a good book to read for art lovers visiting Belgium.

[Robert Van Rensselaer · Rating 5 out of 5]

Outstanding

A compelling story written in the first person by a Master Artist whose life was intertwined with the those in power during the final years of the Plantagenet and the beginning of the Tudor Dynasties.

[Frances · Rating 3 out of 5]

Much enjoyed

[Lisbeth · Rating 4 out of 5]

I bought this book because of the title with Bruges in it. This is one of the several, beautiful, medieval cities here in Belgium. At the time it was the Duchy of Burgundy. The book is a historical fiction about the german painter Hans Memling, who spent most of his life in Bruges.

We follow him from his apprentice years with the painter Rogier van der Weyden, his struggle to survive once van der Weyden dies, and how his luck is changed when Charles the Bold, Duke of Burgundy becomes his patron. He falls in love with the beautiful daughter of the Duke, Mary, and uses her as a model for many of his painted Virgin Marys. His life is forever entwined with the Duchy and it nearly cost him his life when the Duke insists on him painting the battle of Nancy which in the end was lost. By chance, he get's involved in hiding Edward and Richard, two York gentlemen who had to flee from England. Later on, he goes to England to finish a painting, started man years earlier for Sir John Donne, and gets involved in the intricate affairs of Edward IV, Richard III and the Princes of the Tower.

Hans Memling seems to be a man who is everywhere. As far as I can see, from reading about him, his life was not nearly as exciting as this book tells us. But it is an interesting historical touch and incorporates historical events happening at the time of Memling. The book also made me look a little bit more on his paintings, which seem fantastic. There is a Memling museum in Bruges and some of his paintings are also exhibited in the Art Museum in Antwerp. Two trips to do when the weather turns nicer.

It is funny how, sometimes, when you hear a name for the first time, it tends to pop up somewhere else rather quickly. This happened with Rogier van der Weyden, which seems to have been a rather well-known painter. This weekend me and my husband went to Leuven for a stroll in the old city. In the treasure chamber of the St Peter's church there was a triptych which was made after van der Weyden by an anonymous painter. I am sure he will ask for my attention soon again!

From my blog: thecontentreader.blogspot.com

[Deborah Swift · Rating 5 out of 5]

The Master of Bruges is the story of Hans Memling, a fifteenth century portrait painter whose voice is masterfully brought to life in this debut novel.

In his newly-inherited position as portrait painter to the nobility at home and abroad Memling is privy to the lives of the rich and the powerful. He is also able to observe the political and personal machinations that motivate them. The story moves Memling from Bruges to England and includes insights into Memling's role in the War of the Roses and the mystery of the Princes in the Tower.


Talking of a portrait of the Madonna, Memling says the "red rose she wears at her breast is painted from a compound of alum and powdered wood, lye and urine. If you could smell it, the odour would be the stale of horses." He tells us that in the world of painting, "all is artifice", nothing is as it seems. And so it is too with the life and loves of Memling. He has his own dark secrets, and they are not just the secrets of the mixing of paint.


This is refreshingly unlike any other historical novel I have read. It has the scholarship of non-fiction combined with a character that will hold your interest as he tells his true story.


At the heart of this book is the loving recreation in words of Hans Memling's art. In one respect I found it frustrating not to have the illustrations there in front of me, but in another it allowed Morgan to do his job and create them through the writing - a job he does remarkably well. Morgan sticks rigorously to the known facts of Memling's life whilst introducing a plausible sub-text of Memling's own fascinating opinions of those he paints.

This book will delight anyone who paints, anyone who likes fifteenth century history, or indeed anyone who likes a period skilfully brought to life.

[Paul Trembling · Rating 4 out of 5]

This is a fascinating look into the life of an artist in fifteenth century Europe. Not just art, either, for the main character and narrator rub shoulders with (and paints portraits of) some of the most important people of his day. Inevitably, he is caught up in the great events that surround them. Hans Memling was a real person, as were many of the other characters, and many of the events occurred as well. The author has achieved such a smooth blend between fiction and fact that it would take an expert in the period to separate them out. The writing is well paced throughout, though the narrative does seem to lose direction at times. To me, it seemed to lack a clear thread throughout. Instead, it followed several: Hans' progression from journeyman to master painter, his impossible love for the Count's daughter, and his friendship with Ned and Dick, two English refugees who, as it happened, both became English Kings! Each one interesting in their own right, but with tenuous connections between them, and between one thread finishing and another starting the story meanders. I would also have liked more physical description of places. The people, the rooms, the art - all those are clear enough, but there's no mental picture created of Bruges in the fourteen hundreds. The twist at the end is a surprise, but the fact that that thread was finished in an early part of the book and has not been revisited for several chapters made it feel a little contrived and out of place. Overall, though, an interesting and well written narrative, worth reading in spite of its shortcomings. The portrayal of Richard the Third, so different from Shakespeare's picture of him, is especially good!

[Shirley · Rating 5 out of 5]

I thoroughly enjoyed The Master of Bruges even though it was not quite what I had expected. I had saved reading it until just before we were due to visit Bruges, thinking it would include some descriptions of the medieval city and the work of the artist and central character, Hans Memling.
There were however none of the descriptive and biographical passages I'd expected to find, although there were some minimal references to Memlings famous works of art. Instead the book is a very well researched history. Initially this told of the Burgundian court of Charles the Bold and his strong willed daughter Marie and latterly of the English courts of the late Plantagenet monarchs Edward lV and Richard lll. The mystery of the Princes in the Tower is very plausibly told with an interesting twist in the tale based on some lesser told theories, including the fictitious involvement of Memling. Periodically throughout the novel the artist pauses and reflects, speaking from the viewpoint of the painter who sees much but learns to employ tact and wisdom with his sitters and in his craft.
Towards the end of the book, when he is once again back in Bruges, Memling writes: 'Not all of the painting needs to be confined to the frame. The truth sometimes lies outside.' A comment which is surely about considerably more than his painterly craft.
Despite my initial confusion I was happy to give this book 5 stars. It is both well written and informative, if a little short on description. I look forward to reading more historical books by Terence Morgan.

[Jakeyfatdog · Rating 4 out of 5]

I would like to give this 4.5. Not a life changing book but a damn good read that I really enjoyed. The characters were well portrayed and sympathetic and the plot strong.

[Venetia Green · Rating 3 out of 5]

A very interesting setting (the beautiful city of Bruges in late-medieval Belgium) and interesting topic (art) somehow failed to hold my attention. The result was I stopped reading just after halfway through. Why?
The writing was clear, showing touches of humour and beautiful phrasing, but it lacked narrative drive. I simply had no reason to continue wandering along in Hans Memling's shoes. The two possible points of intrigue - English royalty in hiding, courtesy of the Wars of the Roses, and Memling's love for his lord's daughter - were not shown as pursued in any active way by the protagonist. Nor was Hans driven by any obvious love of art or ambition. In fact, I really wasn't sure what made Memling tick - or if, in fact, anything did. Possibly this is a reflection of reality. How many of us just float through life, pushed passively by greater forces of circumstance? Normal as it may be, I don't want to spend time in such a character's head.
The other factor in my loss of interest was a feeling that Hans was too-conveniently placed to view a number of major political events. I really wasn't convinced, for example, by Hans's last-minute enrollment as 'war artist' by his lord, just in time to observe his army's total destruction and lord's death. Memling painted religious scenes, not battles!

[Susan · Rating 3 out of 5]

I very much enjoyed the early part of the book which gets into Memling's life as a painter and his connection with Bruges. I found the latter part of the book far-fetched. I can buy Ned and Dick being in Bruges when Ned was out of power in England because we know they went to continental Europe, but I can't buy Memling's English adventures. The last chapter I found ridiculous. All that being said, I did like the style of writing and wished Morgan had focused entirely on Memling's life as a painter and what life was like in Bruges at that time.

Some historical quibbles: Morgan says Edward IV was buried at "the Abbey." He wasn't. He was buried at St. George's Chapel at Windsor Castle. Edward IV's sons at Richard III's coronation and in "honored places at the ceremony"??? Many people would have seen them there if it had happened.

[Bronwyn Mcloughlin · Rating 4 out of 5]

I picked this one up on a bargain day at Book Depository, simply because we were in Bruges last year and stayed at the Hans Memling hotel, and it seemed like a good idea to read something, however fictional, about him. So I did. And it was quite enjoyable, although probably a bit fanciful as to his involvement with the princes in the tower, but there must be some basis in fact, and now I want to know more about him - as this proved to be just enough to pique my interest. It explained all sorts of connections in 15th century Europe quite well, besides the fictional story lines, and was easy to read. Memling himself tells the story as a series of extended vignettes across his life, in a fairly simple style, interspersed with his explanation of artistic techniques for which he became renowned. I liked it, quite simply.

[bookishbat · Rating 2 out of 5]

This book was a gift and I was really happy about it, it looked interesting and it's something I would have bought for myself.

I expected something along the lines of but from the artist's PoV, but that isn't the case.
Unfortunately, while it is well written, I didn't find that it grabbed me at all. It wasn't a difficult read, I did enjoy the parts set in Bruges, but I found the chapters taking place in Britain not to my taste, they just seemed a little too far-fetched for me.
I really wanted to love this story, but for me it just never really lived up to its potential.

[Soumyabrata Sarkar · Rating 2 out of 5]

A light read over the weekend, fifteenth century England, thrown into chaos by Tudors, from a master painter's POV, it read like water for me. A good debut novel.

The characters are simple and seems like one-dimensional, except at the end, where we find a climax from the narrator. Conversations seems elegant and simple from their point of view. The author had bring in his own myths to the pre-exisitng circle of "legends" and have quite succeeded(at least for me) to prove his point.

I am soon going to forgot this book though, as it don't pack that much a punch.
Or perhaps, only a faded memory of a painter will remain.

[Elizabeth · Rating 3 out of 5]

An interesting take on the life of a (real) Dutch painter, Hans Memling, done as an autobiography with interludes from the painter on the nature of portraiture and the techniques of painting and making sure the client pays up. Also an odd shoe-horned insertion of the story of Richard III and the Princes in the Tower with an ingenious if rather dubious explanation of what happened to them

[Alison · Rating 3 out of 5]

Have seen Memling pictures at the gallery in Bruges so this was interesting factionalised account of his life. Reading the catalogue of his works later I realised that a lot more was conjecture but the story is told well ( though lots of big gaps in the time scale) and the accounts of his adventures connected with his patrons and their demands sort of hangs together. Beautiful pictures!

[Jo · Rating 3 out of 5]

An historical interpretation of the life of the fifteenth century painter Hans Memling. As I know nothing about this figure, I can't judge it for accuracy. But as a novel I did find it rather enjoyable and would recommend it for fans of general historical or medieval fiction