L. (Leonard) Forrer.

Biographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) online

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Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 46 of 49)
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des Beaux-Arts, 1892, pp. 3 12-326. Ibid., Medailleurs francais, 1902. Rondot
and De La Tour, op. cit. Blanchet, Les graveurs en Beam, Dax, 1888. Bulletin
NutnisHiatiqtie Serrure, 1903, p. 53. A. Barre, Gniveurs en me Jail Its de la
Renaissance francaise, 1867.

MARTIN, GUSTAVE JOSEPH (French}. Contemporary Sculptor and

Modeller in wax; pupil of Ch. Gautier. At the Salon of 1890 he

exhibited a wax medallion representing a Veiled Ladv; - 1892.

Portrait-medallion in wax of M me Martin; 1893. Mary Magdalene;

-Night; 1894. La Danse; - 1898. Dawn.

MARTIN, JEAN I (French), clrc. 1539- f 1542. Mint-engraver at
Montpellier.

MARTIN, JEAN II (French'), circ. 1546-1547. Mint-engraver at
Montpellier.

MARTIN, JEAN III (French}. Engraver, born in Saintonge, circ.
1633- By him are various jetons. In 1688 he was accused of
cutting dies for false coins.

BIBLIOGRAPHY. Rondot, op. at.

MARTIN, LOUIS (French). Mint-engraver at Angers, 1720.

MARTIN, RAOUL (French). Contemporary Sculptor, born at
Mehun-en-Berry (Cher). At the Salon ol 1902 he exhibited a
medallion in bronze " La Ravaudeuse".

MARTIN (or MARTYN), SIR RICHARD (Brit.). (1534-1617). The
following exhaustive account of Martin's life w r as contributed by
Mr. Warwick Wroth, to the Dictionary of National Biography
(Vol. XXXVI). " Master of the Mint and Lord Mayor of London
w r as born in 1534. He adopted the business of a Goldsmith, and
in 1594 i s mentioned as one of the goldsmiths to Queen Elizabeth
(Cal. State Papers, Dom. 1591-4, p. 559; 1603-10, p. 574). In 1559-
60 he was appointed Warden of the Mint, and held this office till
1594-5, and perhaps later. In 1580-1 he was appointed Master of
the Mint, and appears to have held this office till his death in 1617
(ib. 1611-18, p. 489; cf. ib. 1603-10, p. 566). In September 1597
he petitioned the Queen for sixteen pence on every pound weight
of silver coined, on account of his losses in connection with the
mint. He declared that he had done good service in apprehending
counterfeiters of the coin, and that the money made in his time was
richer by 30.000 /. at the least than the like quantity made by any
former Mint-master, ' by reason of his care to keep the just



596

standard ' (ib. 1595-7, p. 506). A manuscript tract by Martin,
entitled * A brief Note of those Things which are to be done by the
Warden of the Mint ', is in the Brit. Mus. (Harl. MS. No. 698,
fol. 13), and some extracts from it are given in finding's ' Annals
of the Coinage ', I, 71. About 1600 Martin made an offer to
improve the coinage of Ireland, and to make ' small copper moneys '




Portrait of Sir Richard Martin.

for currency in England (Cat. State Papers, Dom. 1598-1601,
pp. 516, 517). In May (?) 1601 he issued the report of himself
and eleven other commissioners appointed by the Queen ' to inquire
concerning the preservation and augmentation of the wealth of the
realm ' (ib. 1601-3, pp. 47, 48). On 11 Sept. 1610 Martin received




Pattern Halfcrown of Queen Elizabeth, 1602.

a warrant from James I. for the repayment of 410 /. still due to
him as warden of the mint under Elizabeth (ib. 1603-10, p. 632;
cf. Nichols, Progresses of James /., II, 411).

" Martin was elected Alderman of the city of London on 29. May
1578, and was sheriff in 1581. He was Lord Mayor for the remain-
der of the year, on the death of Sir Martin Calthorpe, on 5. May
1589, and again on the decease of Sir Cuthbert Buckle, on i. July
1594. He was a strenuous supporter of the city's rights. On
31. August 1602 he was removed from his aldermanship, the
reasons assigned being his poverty and imprisonment for debt,



597

and his refusal to surrender his office after having accepted one
thousand marks as a condition of his retirement (Renmnbrancia ,
1579-1664,20. Dec. 1602!

" Martin was knighted by Queen Elizabeth some time between
1562 and 1594... He died in July, 1617, and was buried in the
south chancel of Tottenham Church... One of his five sons, named
Richard (y i6i6)was citizen and goldsmith of London, and was
from about 1584 associated for several years with his father in the
mastership of the mint.

" A fine silver medal (obv. illustrated} in the British Museum,
cast and chased by Stephen of Holland in 1562, and believed to be
unique, bears the portraits of Martin and his wife (Vide Vol. II.

P- 530"-

Under Martin in 1582-3, the old standard and weight of the gold
coins, which had been slightly debased by Louison, his predecessor,
was restored, but in 1601, the weight of the money both of gold
and silver was somewhat reduced.

The curious and unique Pattern Halfcrown of Queen Elizabeth
reproduced here, which was originally in the cabinet of the Earl of
Oxford and is now in the National Collection, was supposed to have
been engraved at the Royal Mint, in the last year of the Queen's
reign, under the Mint-master, Sir Richard Martin.

Horace Walpole " Catalogue of Royal and Noble Authors ",
I st ed., I, 126, describing a fragment of one of the gold coins of
this Queen, says : " Vertue, the engraver, had a pocket book of
Isaac Oliver, in which the latter had made a memorandum that
the queen would not let him give any shade to her features, telling
him, ' that shade was an accident, and not naturally existing in the
face '. Her portraits are generally without shadow. I have in my
possession another strongly presumptive proof of this weakness; it
is a fragment of one of her last broad pieces, representing her
horridly old and deformed. An entire coin with this image is not
known ; it is universally supposed that the die was broken by her
command, and that some workman in the mint cut out this morsel
which contains barely the face. As it has never been engraved, so
singular a curiosity may have its merit in a work which has no other
kind of merit. " The fragment referred to was purchased by the
British Museum at the Strawberry Hill Sale, 1842, and is engraved
in Ruding, Suppl. part ii PL in, N 7.

The pattern Halfcrown shows no doubt a similar portrait of the
Queen *.

BIBLIOGRAPHY. W. Wroth, Richard Martyn, Diet. Nat. Biog. XXXVI. -
Ruding, op. cit. Hawkins's Medallic Illustrations, &c , ed. Franks and Grueber,

* Both the Halfcrown and the gold piece are now believed to be early nineteenth
century concoctions.



- 598 -

I, 107, 108. Calendars of Stale Papers. Overall's Remembrancia. Robinson's,
Tottenham. Grueber, Handbook, Sue. Kenyon, op. cit. Chaffers, Gilda
AttrifabrontHi, p. 51. Pinkerton, Medallic Hist., PI. x, i. Guide to English
Medals, PI. i, 35. R. Whitbourn, On an Unique and Unpublished Pattern for a
Half-crown of the last year of the reign oj Queen Elizabeth, Archaeologia, II, 169.

MARTINENGO, GOTTHARD, or GEORG (Germ.'). Mint-master at
Coblenz, 1762-1794 [Scblicl&ysen). A Conventionsthaler of Johann
Philipp, Archbishop of Treves, 1764 is signed G.M. ; also another
(on tyL) of Anton Ignaz, Prince ofElwangen, 1765.

MARTINENGO, GOTTHARD (Germ.). Provisional Mint-warden at
Wiirzburg, 1794; Assistant Mint-master, 1802; Provisional Mint-
superintendent, 1806-1813; died in 1857.

MARTINENGO, JOHANN NIKOLAUS (Germ.). Mint-master and coun-
cillor at Wiirzburg, 1762-1803, and previously, 1757-1762, Mint-
master at Coblenz. The initials N.M. occur on Conventionsthaler
and Half Thaler of Johann Philipp, Archbishop ofTreves, 1761.

MARTINESI, VIRGIL (ltd.}. Medallist at Naples, circ. 1731. His
initials V M. are said to occur, in conjunction with an A (Mint-master
Ariani's signature) on medals of about that date (Nagler, Mono-
Zrammisten, V, 1303).

MARTINET, AIME ACHILLE (French). Contemporary Sculptor,
born at Paris; pupil of his father and J. Gautherin, and d'Echerac.
He exhibited at the Salon of 1880, a Portrait-medallion, entitled
" Portrait de maman Simon d'Ablon", and in 1881, another, cast
in bronze, ot M me Martinet.

BIBLIOGRAPHY. Chavignerie et Auvray, op. cit.

MARTINEZ, B. (Span.). Medallist of the last quarter of the eighteenth
century and early part of the nineteenth. His signature : MARTINEZ
occurs in full on a Proclamation medal of Charles IV. and Louise,
at Soria, 1789 (Herrero, n 100).

MARTINEZ, DOMINGO (Span.}. Line-engraver, born at Valencia,
1816; died 14. November 1898 at Madrid. He obtained great
notoriety as a copper-plate Engraver, and from 1868 to 1898 he
was Chief-engraver to the Bank of Spain. By him are some Medals
and Portrait-medallions, as well as Patterns for coins.

MARTINI, FRANCESCO (ltd.}. Sienese Painter, Sculptor, and
Architect, 1439-1502. According to Vasari, he executed a Portrait-
medal of Federigo del Montefeltro, first duke of Urbino, which
has not been identified hitherto.

MARTINI (Swiss). Goldsmith of Lucerne and Fribourg, who in
1 60 1 -2 was engaged in cutting dies for Uri.



599

MARTINIC, ZDISLAW BORITA VON (Bobem.}. Mint-master-general
for Bohemia, 1572-1575.
BIBLIOGRAPHY. E. Fiala, op. cit.

MARTINO BERGAMASCO. Vide MO.B.

MARTINO DA BERGAMO (Ital.}. Medallist, who was working at
Bergamo, circ. 1565. By him are probably the Portrait-medals,
which exist in two sizes (87 and 29 mill.) of the Paduan lawyer,
Marco Mantova Benavides (1489-1582); ty,. FESSUS LAMP AD A
TRADO Bull. Vide also M - M.B M.BO. infra.

BIBLIOGRAPHY. Armand, op. cit., I, 248. Blanchet, op. cit. Morelli,
.V0//-/V J 'opt' re di disegno. \lus. Mu - uch., I, LXXXIV, 3.

MARTINO DA SAVONA (Ital.}. This Medallist's signature: MART.
SA. OP. occurs on the obv. of a Portrait-medal ofGirolamo Cones-
taggi, dated 1590.

BIBLIOGRAPHY. Armand, op. cit., I, 299; III, 145. Blanchet, op. cit.

MARTINUZZI, PRATER GEORGIUS (Hung."). Hungarian State Treas-
urer, whose initials F.G. and symbol, unicorn, are found on Ducats
of John I. Zapolva, for Transsylvania, 1538-1540.

BIBLIOGRAPHY. Adolf Resch, SiehenbfirgiscJx Mnn~en mid Medaillen, 1901.

MARTYN, RICHARD. Vide SIR RICHARD MARTIN supra.

MARX, LUCIEN (French}. Contemporary Sculptor, born at Vesoul
(Haute-Saone) ; pupil of M. Tranchant. By him are numerous
Portrait-medallions, amongst which I have noticed : 1896. A. Cou-
tard ; J. Lavigayrie.

MARTYN, T. (Brit.}. Designer of a medal, engraved by T. Wyon,
commemorating the Centenary of the Union of England and
Scotland. 1807 : obv. Busts of George III. and Queen Charlotte.
^6. Three female figures, etc.

BIBLIOGRAPHY. Cochran-Patrick, Medals of Scotland, p. 31.

MARYON, MISS EDITH (Brit.}. Contemporary Sculptor and
Modeller, whose works, exhibited at the Royal Academy since 1899
" show taste and elegance, and are full of promise ". Amongst
these I may mention : Mother and child, medallion in bronze ;
Religion, plaque; May Morning, relief for a fire-place, etc.

BIBLIOGRAPHY. M. H. Spielman, British Sculpture and Sculptors of To-day.

MASBARREAUX or MASBEREAUX, THE BROTHERS (French}. Gold-
smiths, Chasers, and Medallists of Limoges, first quarter of the seven-
teenth century. Vide MABAREAUX supra.

MASCARON, ANTOINE (French). Mint-master at Marseilles, 1593-
1594-



600

MASCARON, JEAN (French). Mint-master at Sisteron, who struck
coins in the name of Henry IV., 1593-1594.

MASER, RENEDIKT (Germ.). Mint-administrator and Warden at
Michelstadt, 1561.

MASINI, LORENZO (Ital.). Venetian Gem-engraver of the eighteenth
century, whose signature MASINI or MASINOS occurs on some
intagli executed by him. He also imitated antique gems : Diana ot
the Mountains, in amethyst, signed: AnOAAHNiOY; - - Diana
with a bow in her hand, carnelian, equally signed; Head of
Syrius, with a collar, on which is inscribed : FAIOC EPOIEI
(a copy). Masini is said to have engraved his name on this
gem in the presence of Baron Stosch in whose possession it was;
- Head of Sextus Pompeius (a copy), etc.

Masini is the author of a work entitled : Consideration sopra
Mariette, Venice, 1756, 4 to .

BIBLIOGRAPHY. Babclon, op. cit. Raspe, Tassie Gems, 1791.

MASINOS. Vide AGATHANGELOS (Vol. I, A 7 . E., p. 29), A Portrait-
intaglio in carnelian of Sextus Pompeius, copied from the well-known

ArAOANrEAOT
gem bearing Agathangelos's signature, is signed : MACINOC

enoiei

and is no doubt the work of Lorenzo Masini.

MASIO, JEAN DE (Ital.). Mint-master at Chambery, 1421. He
was a native of Asti, and filled a similar office at Turin, I4i8(under
Louis of Achaia), and Embrun, 1420.

MASLITZER, HANS (Germ.). Goldsmith and Medallist of Nurem-
berg, circ. 1538-1574, of whom however very little is known. The
late Alfred von Sallet suggested that he may have been the author
of the medal reproduced here, which bears his portrait on obv.

Neudorffer in \\isNachrichten von Kiinstlern und IVerkleuten, 1547,
gives the following particulars of this artist: " dieser Maslitzer ist
eine Zeit lang Rechenmeister gewesen und ein zierlicher Schreiber,
wohl gegrundet und beruhmt. Seinen Anfang im Giessen hat er
von Herrn MelchiorPfinzing, Propst, aber sein Fleiss und Uebung
hatihn mit gottlicher Hilf dahin bracht, dass er alien Goldschmiden
genug zu giessen hatte. Er geusst aber von Gold und Silber und
durchbrochen so rein, als ware es verseubert (ciselirt) hohl gegossen
oder getrieben.

"In Probieren allerlei Erz Bergwerk, und Silber auch im Scheiden,
ist er ganz gewiss(&r ersti) und alles das so an ein Miinz gehort,
kann er verrichten, und weiss im Pra'gen der Miinz solche Vortheil,
wie wenig Miinzmeister noch erfunden werden. Die Probierung



- 6oi

zu machen, hat ereinen grossen Beruf, aber die Strcichnadel von
Gold und Silber zuzurichten, wird seines gleichen wenig gefunden.
Erhat a. 1538 die goldene und bleierne Munz gegossen, die zum
Gedaechtniss an dem Bau zwischen dem Vestner und Thiergartner
Thor gelegt worden. Ward Genannter des grosseren Raths 1532 ".
Maslitzer died, according to Lochner, in 1574. The medal attrib-
uted to him, by NeudorrFer, of the Building above-mentioned, is
not by him, but by Peter Flotner, whose initials it bears ; and it is
more likely that Maslitzer was not a modeller, but only a clever
founder, who may have been employed to cast medals as well as
other decorative and sculpture works' His Portrait-medal however
is signed which characteristic mark occurs on his tombstone,
where we find his name as Hans M<ic~lic^er. It seems possible
therefore that this interesting medal is by him, and that it may





Portrait-medal of Hans Maslitzer, 1532.

have been executed to commemorate his election to the Gross Rath
in 1532. Bolzenthal expressed the same opinion, and states : " It is
said of Hans Maslitzer that in 1538 he cast medals in gold, silver,
copper and lead, which were laid as a memorial under the Building
between the Vestner and Thiergartner Gates. As Maslitzer was
celebrated for his cast works in gold and silver, so do his medals
belong to the most remarkable works of the kind, and as he lived
until 1574, we may conclude that he executed many. Perhaps his
own likeness at the age of 27 may have been his own production. "
Ammon adds that Maslitzer did not sink irons, but on the other
hand von Sallet connects his name with seal-engraving.

BIBLIOGRAPHY. A. von Sallet, Deutsclx Gussmedaillen, Zeits. fur Num., XI,
pp. 124-8. Doppelmayr, op. cit. Neud&rffer, ot>. cit. Bolzenthal, op. cit.
Ammoti, op. cit.

MASLITZER, TOBIAS (Germ.}. Mint-master at Nuremberg, 1575-
1585. He was a clever artist, and in 1593 the Nuremberg city
council entrusted him with the execution of Seals in silver.

BIBLIOGRAPHY. Gebert, Gesclricbteder Mimistdtte der Reicbstadt Nurnberg , 1892.



602

MASNAGO. ALESSANDRO (ltd.}. Son of Antonio Masnago of
Milan, and Gem-engraver in the service of the Emperor Rudolph II.,
end of the sixteenth century. Arneth, Die Cinque cento Canteen,
p. 29-30, mentions the following cameos as having been executed
>y this artist: Jupiter killing the Titans; - - Psyche; Rape of
Proserpina by Pluto; Virgin and child.
BIBLIOGRAPHY. Babelon, op. cit.

MASNAGO, ANDREA DI (ltd.}. Gem- and Seal-engraver to Ferdi-
nand of Aragon, King of Naples, circ. 1487.

MASNAGO, ANTONIO (ltd.}. Milanese Gem-engraver of the second
half of the sixteenth century, whose son Alessandro attained great
notoriety at the imperial court of Vienna.

MASO. Vide FINIGUERRA. Vol. II, p. 93.

MASON, MABEL (Brit ). Contemporary Sculptor and Modeller ;
pupil of M lle Genevieve Granger; residing in London; exhibited
at the Royal Academy in 1904 some Portrait-plaquettes and a
Medallion: Maggie; and previously, at the Salon of 1902, and
1903, two Portrait-plaquettes.

MASSACHUSETTS AND CALIFORNIA Co. Issuers of a Californian
5 dollar piece, 1849, with Arms on obv. and Wreath on tyL.

MASSALIN, PIERRE (French}. Mint-master at St. Palais, i6i4;Pau,
1612-1618.
BIBLIOGRAPHY. J. A. Blanchet, Histoire monetaire dtt Beam.

MASSARA, MARCHESE (ltd.}. Chief-Inspector at the Mint of
Naples, circ. 1756.

MASSAULT, JEAN (French}. Mint-engraver at La Rochelle, circ .
1454-1458.

MASSAUX, GHISLAIN JOSEPH (Belg.}. Goldsmith of the first halt
of the nineteenth century, who is said to have produced some
medallic work. He was born at Bois-de-Villers, near Namur,
7 February 1772; died at Ghent, 9 September 1851. Pupil of Van
Pouche.

MASSELIN, JOSEPH EDOUARD (French}. Contemporary Sculptor
and Medallist, born at Paris; pupil of Levasseur.

At the Salon of 1888 this artist exhibited a bronze medal bearing
a Head of the French Republic; 1889. Two Portrait-medallions;

- 1892. H. H. Pope Leo Xm.

MASSON (French}. Mint-engraver at Bourges, circ. 1576.



603

MASSON (French). Medallist of the first quarter of the nineteenth
century. He was Logistem 1812 ; subject of the medal: The French
Hercules. By him are the following medals: Alexis Piron, poet,
1817; - J. Hardouin Mansart, architect, 1817; - Jean Rotrou,
1818; Marc Guelon ofTroyes, hostage of Louis XVI.

MASSON, AUGUSTS (French). Sculptor and Medallist, arc. 1842-
1870; born at Paris; pupil of the Brothers Fannieres. Amongst his
medallic productions I may mention: 1842. Richard Lucas;
Louis Malleray; 1848. Eugene Saint-Amand ; Auguste B***;
1870. Horace Vernet. All these are bronze Medallions, cast.

BIBLIOGRAPHY. Chavignerie et Auvray, op. cit.

MASSON, SEBASTIEN (French). Contemporary Sculptor, born at
Rheims (Marne). Chavignerie et Auvray mention two Portrait-
medallions by him: 1866. M. D***; 1870. R. P. Jacquier.

MASSONNET (French). Editor of medals, whose signature :
MASSON NET EDIT, occurs on Prize Medals, Badges, Tickets, etc.,
engraved by various artists; for instance: Medal of the conseil
municipal of Bordeaux (1890), by A. Borrel; J. P. Beranger,
1856; Isabel II., of Spain, War against Morocco, 1859, by
A Gerbier; - - Isabel II., African campaign, 1859-1860; Prize
Medal of the Argentine Agricultural Society, 1874; Landing of
Garibaldi at Marsala 1860; Landing of Garibaldi in Calabria,
1860; Ambulances duXI e arrondissement, 1834; Compagnie
des lits militaires, 1866; - Proclamation to the Italian Nation,
1859, &c.

MASSOULLE, ANDRE ARTHUR PAUL (French). Sculptor and
Medallist, born at Epernay (Marne), died at Paris, 19. June 1901, at
the age of fifty. He was a pupil of Salmson and Cavelier. His prin-
cipal works are a Statue of Madame de Sevigne, which was purchased
by the State and which now decorates the Legion of Honour Board-
ing School at Saint-Denis; two Water-genii on the Alexander III.
Bridge, and the Tomb of Carnot at Chalons-sur-Marne. He obtained
a medal of the second class and a purse in 1882, a silver medal at
the Universal Exhibition of 1889, and was created a Knight of the
Legion of Honour in 1894.

His medallic productions are few in number: 1881. Portrait-
medallion of M. X***, barrister; - 1886. Henry J***; - 1886.
M me H. J.***; 1898. Plaquette, representing on one side the
the Republic covering with her shield a child reading, and on the
other, a cock.

BIBLIOGRAPHY. Chavignerie et Auvray, op. cit. Catalogue du Salon, 1880-
1900. LArt, 1894. p. 321. Gazette numismatiqut Jranfaise, 1899, p. 98.



604

MASSYS or METSYS, QUENTIN (Belg.). Also QUINTIJN MESSIJS
or QUINTIN MATSYS, a celebrated Smith and Painter of Antwerp,
born at Lou vain about 1460, is said to have died in the Carthusian
convent at Antwerp, during the second half of 1530, between
July 13 and September 16. He was brought up by his rather as a




Portrait of Quentin Massys.

smith, "a pursuit then often requiring artistic knowledge and
manipulative skill. " The early years of his life were spent at Lou-
vain, where he began to distinguish himself, then he settled at
Antwerp, and there, falling in love with a painter's daughter, in
order to gain her hand, he took to painting, removing for a time



605 -

to Brussels to learn the art of Roger van der Weyden. In a short
time he was able to handle the brush as \vell as the hammer. In 1491
he was admitted a master into the Antwerp guild of St. Luke, and
shortly afterwards he married Adelaide van Tuylt, by whom he had
six children; after her death, he married again in 1508-9, and had
by his second wife seven children. In the well-known portrait at
Florence, Massys is represented with his second wife, Catherine
Heyens ; it is dated 1520.

Quentin Massys was undoubtedly one of the most celebrated
painters of his time at Antwerp. His master-piece, the " Taking
down from the cross", painted in 1508, for the altar of the chapel
of the Joiners' company in the cathedral, is now one of the principal
attractions of the Antwerp Museum. It is most carefully and elabor-




1^^**-



Portrait-medal of Erasmus of Rotterdam, by Jean Second, and probably modelled
from Quentin Massys's original, now lost.

ately executed, and is an admirable work, in spite of its Gothic
taste. The painter received only three hundred florins for it,
about 25 ; and the city purchased it of the Joiners' company for
fifteen hundred florins in 1577. Queen Elizabeth wished to possess
it, and is said to have offered in vain forty thousand florins for it.
The careful works of this painter are well-known in this country,
from the so-called " Misers " at Windsor, the picture in the National
Gallery, and other examples. Quentin enjoyed the friendship of the
municipal secretary, Peter Gillis (Egidius), of B. Thomas More,
of Diirer. and Holbein.

The painter was originally buried in the convent of the Carthu-
sians, and when this convent was suppressed his remains were
reburied in front of the cathedral at Antwerp, with the following
inscription placed in the wall of the cathedral, to commemorate the
circumstance and his history: "Quintino Matsys, incomparabilis



606 -

artis pictori, admiratrix grataque Posteritas anno post obitum
saeculari CO. IDC. XXIX. posuit. Connubialis amor de muliebre
fecit Apellem" (Diet, of Univ. Biog., Ill, p. 333).

On Erasmus of Rotterdam's own testimony, we learn that
Massys executed a Portrait-medal of himself (...Unde statuarius
iste nactus sit effigiem mei demiror, nisi Jortasse habet earn quarn Quin-
tinus Antverpiae fudit xre). The medal, reproduced here (p. 605),
has been hitherto attributed to Quentin, but recent research has
led D r Simon is (L 'Art du Medailkiir en Belgiqite, 1900) to conclude





Portrait-medallion of Quentin Massys, by himself.

that it is the work of the medallist Jean Second, who probably
modelled it from Massys's medallion (Fide, op. cit., pp. 31 and 83).
But there are at least two other Portrait-medallions, which are
ascribed to the celebrated painter; one with his own portrait
(illustrated), and the other with that of his sister Christine Massys
(in the possession of M. le Chevalier Van den Bergh, of Antwerp).
These medals are absolutely different in style and treatment to that
of Erasmus, who probably knew of the work of Jean Second, as he
says in a letter to Botteus : " Where did this sculptor procure
my portrait ? Perhaps he possesses that which Quentin Metsys
cast in bronze at Antwerp ?"



607

Commenting on Christine Massys's portrait, D r Simonis observes :
" Quentin Metsys a donne au portrait de sa soeur un fort relief; ii
la presente de face avec un talent et une surete de main que n'ont
pas atteints les artistes italiens, qui n'ont en general laisse que des
profils, et qu'atteindront vingt-cinq ans plus tard seulement les
medailleurs allemands dans leurs magnifiques medailles en bois ou
en pierre. La figure de Christine est captivante dans sa modestie,
elle se presente avec la meme grace naive que les saintes femmes de




Portrait-medallion of Christina Massys, by Qutntin Massys

rensevelissement du Christ du tableau du musee d'Anvers. C'est le
grand art de la medaille iconique, sans ornements, sans details qui
deparent la grandeur et la simplicite de 1'oeuvre. Nous connaissions,



Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 46 of 49)