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A treck-schuyt, with market-women, by Albert Cuyp, quite characteristic of that artist and his school, a tavern fireside by Ostade, and two of Quintin Matsys' studies of single figures, are the most important. "I must not omit to mention a remarkable old cabinet in one of these state rooms, which Perry recognized as a specimen of Bruges carving of the fifteenth century.
In front of the cathedral is the well, and the fine canopy of iron-work, by Quentin Matsys, the blacksmith of Antwerp, some of whose pictures we saw in the Museum, where one sees, also some of the finest pictures of the Dutch school, the "Crucifixion" of Rubens, the "Christ on the Cross" of Vandyke; paintings also by Teniers, Otto Vennius, Albert Cuyp, and others, and Rembrandt's portrait of his wife, a picture whose sweet strength and wealth of color draws one to it with almost a passion of admiration.
The character, moreover, of the villains is Northern of the Quentin Matsys, Martin Schongauer type, rather than Italian; the same sub-Rubensesque feeling which is apparent in more than one chapel at Varallo is not less evident here especially in the Journey to Calvary and Crucifixion chapels.
She saw at the corner of the square the old cobbler drawing his string with his eternal gesture. He smiled, bearing his sparrow on his shoulder. She went into the shop, and sat on a chair. She said in French: "Quentin Matsys, my friend, what have I done, and what will become of me?" He looked at her quietly, with laughing kindness, not understanding nor caring. Nothing astonished him.
Here we have not a mere manual effort, however admirable; this is not merely a spiritual and truly religious picture such as Roger van der Weyden and Quentin Matsys could create; it is quite another thing. With Angelico an unknown being appears on the scene, the soul of a mystic that has entered on the contemplative life, and breathes it on the canvas as on a perfect mirror.
The paintings of this mother-apse are neutral, its glass has no claim to sumptuousness, and the stalls are very unpretending; but above them hang tapestries ascribed to Matsys, splendid hangings of the Flemish school that were once in old Saint Paul's. With these beautiful details the rich treasure-trove of the interior is exhausted, and one passes out to study the details of the exterior.
The sculpture is properly subordinated to the architectonic principle, and one can understand how it is not only the work of a goldsmith, but of a painter. Of all bronze workers, perhaps Peter Vischer is the best known and is certainly one of the best deserving of his wide fame. Peter Vischer was born about the same time as Quentin Matsys, between 1460 and 1470.
And then we went to Brussels, where we had Dierick Bouts and all the later Flemings; and to Antwerp for Rubens and Vandyck and Quentin Matsys; and the Hague, after that, for Rembrandt and Paul Potter; and Amsterdam, in the end, for Van der Heist and Gerard Dow and the late Dutch painters.
It is said that this was not constructed until 1470, while Quentin was born in 1466. The iron work of the tomb of the Duke of Burgundy, in Windsor, is supposed to be the work of Quentin Matsys, and is considered the finest grille in England. It is wrought with such skill and delicacy that it is more like the product of the goldsmith's art than that of the blacksmith.
Morel is portrayed as in prayer, his hands clasped, his expression rapt. A landscape is seen at the back. It has a nuance of the Byzantine and of the hieratic, but the portraits are enchanting in their crystalline quality. Quentin Matsys' Legend of St. Anne is much admired, though for sincerity we prefer The Passion of the Master of Oultremont.
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