See also:

• MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)

MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)  , Flemish artist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LOUVAIN (Flem. Leuven)

Louvain, where he first learned a See also:

• MECHANICAL

mechanical See also:

• ART

art . During the greater See also:

• PART

part of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century the centres in which the painters of .the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries most congregated were See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent and See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels . Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the same See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period Louvain took a prominent part in giving employment to workmen of every See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft . It was not till the opening of the 16th century that See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp usurped the See also:

• LEAD
• LEAD (pronounced iced)

lead which it afterwards maintained against Bruges and Ghent, Brussels, Mechlin and Louvain . Quintin See also:

• MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)

Matsys was one of the first men of any See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note who gave repute to the gild of Antwerp . A See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend relates how the See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

smith of Louvain was induced by See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection for the daughter of an artist to See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change his See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade and acquire proficiency in See also:

• PAINTING

painting . A less poetic but perhaps more real version of the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story tells that Quintin had a See also:

• BROTHER

brother with whom he was brought up by his See also:

• FATHER

father Josse Matsys, a smith, who held the lucrative offices of clockmaker and architect to the See also:

• MUNICIPALITY

municipality of Louvain . It came to be a question which of the sons should follow the paternal business, and which carve out a new profession for himself . Josse the son elected to succeed his father, and Quintin then gave himself to the study of painting . We are not told expressly by whom Quintin was taught, but his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style seems necessarily derived from the lessons of Dierick Bouts, who took to Louvain the mixed art of See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc and See also:

• VAN

Van der See also:

• WEYDEN, ROGIER VAN DER

Weyden . When he settled at Antwerp, at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twenty-five, he probably had a style with an impress of its own, which certainly contributed most importantly to the revival of Flemish art on the lines of Van See also:

• EYCK, VAN

Eyck and Van der Weyden . What particularly characterizes Quintin Matsys is the strong religious feeling which he inherited from earlier See also:

• SCHOOLS

schools .

But that again was permeated by See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism which frequently degenerated into the See also:

• GROTESQUE

grotesque . Nor would it be too much to say that the facial peculiarities of the boors of Van See also:

• STEEN, JAN HAVICKSZ (1626-1.679)

Steen or See also:

• OSTADE

Ostade have their counterparts in the pictures of Matsys, who was not, however, trained to use them in the same homely way . From Van der Weyden's example we may trace the dryness of outline and shadeless modelling and the pitiless finish even of trivial detail, from the Van Eycks and Memlinc through Dierick Bouts the See also:

• SUPERIOR

superior glow and richness of transparent See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments, which See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the pictures of Matsys . The date of his retirement from Louvain is 1491, when he became a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in the gild of painters at Antwerp . His most celebrated picture is that which he executed in 15o8 for the joiners' See also:

• COMPANY

company in the See also:

• CATHEDRAL

cathedral of his adopted See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Next in importance to that is the Marys of Scripture See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child, which was ordered for a See also:

• CHAPEL

chapel in the cathedral of Louvain . Both See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces are now in public museums, one at Antwerp, the other at Brussels . They display See also:

• GREAT

great earnestness in expression, great minuteness of finish, and a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• ABSENCE (Lat. absentia)

absence of effect by See also:

• LIGHT

light or shade . As in See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Flemish pictures, so in those of Matsys, superfluous care is lavished on See also:

• JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word)

jewelry, edgings and See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . To the great defect of want of See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere such faults may be added as affectation, the result of excessive straining after tenderness in See also:

• WOMEN

women, or See also:

• COMMON

common gesture and grimace suggested by a wish to render pictorially the brutality of gaolers and executioners . Yet in every instance an effort is See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest to develop and See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express individual See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . This tendency in Matsys is chiefly illustrated in his pictures of male and See also:

• FEMALE

female See also:

• MARKET (Lat. mercatus, trade or place of trade)

market bankers (Louvre and See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor), in which an See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt is made to display concentrated cupidity and avarice .

The other tendency to excessive emphasis of tenderness may be seen in two replicas of the " Virgin and Child " at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, where the ecstatic See also:

• KISS

kiss of the See also:

• MOTHER

mother is quite unreal . But in these examples there is a remarkable glow of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour which makes up for many defects . Expression of despair is strongly exaggerated in a See also:

• LUCRETIA

Lucretia at the museum of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . On the whole the best pictures of Matsys are the quietest; his " Virgin and See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " or " Ecce Homo " and " Mater Dolorosa " (See also:

• LONDON

London and Antwerp) display as much serenity and dignity as seems consistent with the master's art . He had considerable skill as a portrait painter . Egidius at See also:

• LONGFORD

Longford, which See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew from See also:

• SIR

Sir See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas More a eulogy in Latin See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, is but one of a numerous class, to which we may add the portrait of See also:

• MAXIMILIAN
• MAXIMILIAN (1832—1867)

Maximilian of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of Amsterdam . Matsys in this See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of practice was much under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of his contemporaries See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas of See also:

• LEIDEN

Leiden and See also:

• MABUSE, JAN (d. 1532)

Mabuse . His tendency to See also:

• POLISH

polish and smoothness excluded to some extent the subtlety of modulation remarkable in See also:

• HOLBEIN, HANS

Holbein and See also:

• DURER, ALBRECHT (1471-1528)

Durer . There is See also:

• REASON (Lat. ratio, through French raison)

reason to think that he was well acquainted with both these See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German masters . He probably met Holbein more than once on his way to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . He saw Durer at Antwerp in 1520 . Quintin died at Antwerp in 1530 .

The puritan feeling which slumbered in him was fatal to some of his relatives . His See also:

• SISTER

sister See also:

• CATHERINE
• CATHERINE, SAINT

Catherine and her See also:

• HUSBAND

husband suffered at Louvain in 1543 for the then See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital offence of See also:

• READING

reading the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, he being decapitated, she buried alive in the square fronting the cathedral . Quintin's son, See also:

• JAN

Jan Matsys, inherited the art but not the skill of his See also:

• PARENT, SIMON NAPOLEON (1855– )

parent . The earliest of his See also:

• WORKS

works, a " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome," dated 1537, in the gallery of Vienna, the latest, a " Healing of Tobias," of 1564, in the museum of Antwerp, are sufficient See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of his tendency to substitute See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation for See also:

• ORIGINAL

original thought . MA'I'TEAWAN, a See also:

• VILLAGE

village of Fishkill township, Dutchess See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county, New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, U.S.A., on the eastern See also:

• BANK

bank of the See also:

• HUDSON
• HUDSON, GEORGE (180o-1871)
• HUDSON, HENRY
• HUDSON, JOHN (1662–1719)

Hudson See also:

• RIVER

river, opposite See also:

• NEWBURGH
• NEWBURGH, or NEWBURG

Newburgh and 15 M . S. of See also:

• POUGHKEEPSIE

Poughkeepsie . Pop . (1890), 4278; (1900), 5807 (1044 See also:

• FOREIGN

foreign-born); (1905, See also:

• STATE
• STATE, GREAT OFFICERS OF

state See also:

• CENSUS (from Lat. censere, to estimate or assess; connected by some with centum, i.e. a count by hundreds)

census), 5584; (1910), 6727 . The village is served by the Central New England railway, and is the seat of the Matteawan state See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital for the criminal insane, the Highland hospital, and the Sargeant See also:

• INDUSTRIAL

industrial school . The See also:

• TELLER, WILHELM ABRAHAM (1734-1804)

Teller See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House See also:

• DATES

dates back to the beginning of the 18th century . Near Matteawan is See also:

• BEACON (from the O. Eng. beacn, a sign, cf. " beckon," another form of the same word)

Beacon See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill, the highest of the See also:

• HIGHLANDS, THE

highlands, which has an electric railway to its See also:

• SUMMIT

summit . There are manufactures of hats, See also:

• RUBBER, INDIARUBBER

rubber goods, machinery (notably " See also:

• FUEL (O. Fr. feuaile, popular Lat. focalia, from focus, hearth, fire)

fuel-economizers "), &c., See also:

• WATER

water-See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power being furnished by Fishkill See also:

• CREEK
• CREEK (Mid. Eng. crike or creke, common to many N. European languages)

Creek .

The village owns its water-works, the See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply for which is derived from Beacon Hill . Matteawan was incorporated as a village in 1886 .