MASSONE MASSONE, GIOVANNI, of Alessandria, about 1490. Genoese school ; painted in 1490, in mortuary family cliapel erected at Savona by Sixtus IV., an altarpiece in three compartments, representing the Nativity in the middle, with St.Francis arid Pope Sixtus on one side, and St. Anthony of Padua and Cardinal Giuliano di Rovere, the pope's nephew, afterwards Julius II., on the other. It is now in the Louvre, having been bought for Louis XVIIL for 3,000 francs. Villot, Cat. Louvre ; Ch. Blanc, Ecole genoise ; Lauzi, iii. 234. MASSYS (Matsys, Messys, Metsys), JAN, born in Antwerp about 1509, died before Oct. 8, 1575. Flemish school ; son and pu- pil of Quin ten, whose realistic style and subjects he imitated, degenerating, how- ever, into coarser treatment and, into great feebleness in every respect, especially in his later pictures. Free of Antwerp guild in 1531. Was exiled for heresy in 1544, but returned to Antwerp a few years later. Works : The -Uixers (copy of Quinten), Windsor Castle ; Men and Women playing Cards, Wyudham Collection, Petworth ; The Virgin and St. Joseph refused Shelter at Bethlehem (1558), Healing of Tobias (15G4), Antwerp Museum ; Danai ; , Rotter- dam Museum ; Chaste Susanna, Lot and his Daughters (1565), Brussels Museum ; David and Bathsheba, Louvre ; Tax Col- lectors, Berlin Museum ; do., Hermitage, St. Petersburg ; Elijah and the Widow of Sarepta (1565), Carlsruhc Gallery; The Two Moneychangers (1551), Leipsic Muse- um ; St. Paul (1565), Schleissheim Gallery; St. Jerome (1537), Jolly Company and Bag- piper (1564), Lot and his Daughters (1563), JOANNES /A.ASSHS PiNGLBAT
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Vienna Museum ; The Saviour, The Vir- gin in Contemplation, Madrid Museum ; Bathsheba, Stockholm Museum. Kugler (Crowe), i. 247 ; Kramni, iv. 1073 ; Riegel, Beitrage, i. 22 ; ii. 14 ; Rooses (Reber), 91; Van den Brauden, 138 ; Meiio, Nachrichten, 289. MASSYS, QUINTEN, born in Antwerp before 1460, died there be- tween July 13 [and Sept. 16, [1530. Flemish school ; history, genre, and por- trait painter, per- il a p s pupil of Dierick Bouts. The current story of his having begun life as a blacksmith, and turned to art in order to win a painter's daughter for his wife, is not well authenti- cated. What we know is, that he married about 1480, and again in 1508-9 ; that he entered the painters' guild at Antwerp in 1491, lived there mostly, and perhaps at Louvaiu temporarily ; and that his friends were Egidius, Erasmus, and Diirer. While the painters of the Van Eyck school had for ! the most part painted figures of small size, Massys painted them of life-size, showing in his treatment of religious subjects an j intense and sometimes exaggerated senti- ment. His ilesh tones are clear, his dra- peries harmonious in colour, and his execu- tion is careful and elaborate. His style, which marks the close of the early Flemish school and inaugurates a new period, is dis- tinguished by more independence of thought and greater artistic freedom than that of any previous painter in the Low Countries, excepting the Van Eycks. Works : Trip- tych with Legend of St. Ann (1509), Brus- sels Museum ; Triptych with Pitta (1508- 11), Bust Figures of Christ and the Virgin, Magdalen, Tax Collector, Antwerp Muse- um ; jl/om'/y-Changer and his Wife (1518), Descent from the Cross (attributed), Louvre; Bust Figures of Christ and the Virgin, Na- tional Gallery, London ; Death of Lucre- tia, Berne Museum ; Madonna, St. Jerome, Portrait of a Young Man, Museum, Berlin ; Madonna with the Lamb, Raczyuski Gal- 217
