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Never has the Nativity been so gloriously set forth, nor, it may be said, more artlessly and simply expressed. The masterpiece of the Christmas festival is at Berlin, just as the masterpiece of the Deposition is at Antwerp, in the agonized and magnificent work of Quentin Matsys.
Also at Thomar, but in the parish church of São João Baptista, are some pictures ascribed by Justi to a pupil of Quentin Matsys. Now it is known that a Portuguese called Eduard became a pupil of Matsys in 1504, and four years later a Vrejmeester of the guild. So perhaps they may be by this Eduard or by some fellow-pupil.
"Ah," she said, "I have forgotten his name. When we talk with Monsieur Choulette we call him Quentin Matsys, because he resembles the old men of that painter." As they were turning the corner of the church to see the facade, she found herself before the post-box, which was so dusty and rusty that it seemed as if the postman never came near it.
Matsys' beautiful wrought-iron well cover, still standing in front of the cathedral at Antwerp, and Rukers's steel or iron chair exhibited at South Kensington in 1862, are examples of the beautiful hammer work turned out by the artisans of the middle ages. The railings of the tombs of Henry VII. and Queen Eleanor in Westminster Abbey, the hinges and iron work of Lincoln Cathedral, of St.
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.
"This picture, a work of marvellous beauty, with the 'Descent from the Cross' by Quentin Matsys, are the inestimable glory of the Belgium gallery; but I will not linger over a full description of this work; I will omit any reflection suggested by the supreme art of the painter, and restrict myself to recording that part of the work which bears on the symbolism of colour."
The style of Quentin Matsys, of the Van Eycks, was the mode at the end of the Fifteenth Century and the beginning of the Sixteenth, and after all this lapse of time it seems to us a sweet and natural expression of admirable human attributes. In the new wing of the Metropolitan Museum of Art, New York, the labels of certain exhibits, purchases and loans allude briefly to "studio of Jean de Rome."
We can not concede a Tintoretto for a Rubens. Yet, as Antwerp was the home of Matsys, of Rubens, Van Dyck, and the Teniers, the home also of Christopher Plantin, the great printer, her glory is not to be sought in trade alone. She is still remembered as a mother of art and letters, while her mercantile preeminence belongs to a buried past.
As it was the birthplace of Quentin Matsys, the blacksmith who for love of an artist's daughter studied until he became a great painter, the boys asked their host if he had seen any of Matsys' works. "Yes, indeed," he replied, "and excellent they are.
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.
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