_Quentin Metsys_ (Flemish: 1460-1530).
Metsys--whose name appears also in the forms Matsys, Massys,
and Messys--was the first of the great Antwerp painters and
the last who remained faithful to the traditions of the early
Flemish school. The gold background here recalls the earliest
Flemish pictures in the Gallery. "He retained," says Sir F.
Burton, "the technical method introduced by the Van Eycks, but
with a softer and broader handling, and with a wonderfully
subtle modelling which gave perfect relief and rounding
without dark shadows." Among the most important monuments of
his skill are the large altar-pieces in the public galleries of
Brussels and Antwerp respectively. There are in other galleries
pictures similar to the two figures here before us. Metsys was
also fond of depicting merchants or money-changers counting
their gains--a subject imitated by Marinus van Romerswael
(see 944). Metsys was a native of Antwerp, and a person of
consequence in his native town. A romantic legend was formerly
associated with his name. He was, it is said, a locksmith, but
became a painter to obtain the consent of his wife's father
to his marriage. Hence the inscription--_connubalis amor de
mulcibre fecit Apellem_. But this story, it now appears,
belongs to another Metsys, of Louvain. Our painter was twice
married. Portraits of himself and his second wife are in the
Uffizi at Florence.
These figures are remarkable for their serenity and dignity.
Characteristic also is the care lavished on the jewellery and edgings.
The figure of our Saviour somewhat resembles the "Salvator Mundi" of
Antonella da Messina (673)--the Italian painter who introduced the
Flemish influence to his country.