The sitter here is of the Flemish national type, but the Italian influence may be seen in the Renaissance architecture of the background.
657. A DUTCH GENTLEMAN AND LADY.
Jacob Cornelissen (Dutch: about 1475-1555).
This painter was the master of Jan Schorel (720), and is mentioned by Van Mander as a great artist. Most of his altar-pieces for the churches of Holland perished during the Reformation. He was also an engraver, and his woodcuts were as much admired as the copperplates of his contemporary, Lucas van Leyden. He had a son, Dirk, who was also a good painter, especially of portraits.
Presumably a husband and wife—the donors, we may suppose, of an altar-piece. Their patron saints attend them. St. Peter lays his hand approvingly on the man's shoulder. The woman, as "the weaker vessel," seems to be supported by St. Paul. It should be noticed that in sacred and legendary art these two saints are almost always introduced together—St. Peter, with the keys, representing the church of the converted Jews, St. Paul that of the Gentiles: his common attributes are a book (denoting his Epistles), and a sword, signifying the manner of his martyrdom, and being emblematic also of "the good fight" fought by the faithful Christian with "the sword of the Spirit, which is the word of God."
658. THE DEATH OF THE VIRGIN.
After Schongauer. (German-Swabian: 1450-about 1488).
See also (p. xix)
A picture, painted perhaps by Hugo van der Goes, on the lines of a print by Martin Schongauer, who was known to his contemporaries as "the glory of painters" and "Martin the Beautiful." He was born at Colmar, but probably studied under Roger van der Weyden. By some the picture is ascribed to the anonymous "Master of Flémalle," a contemporary of Roger van der Weyden: for whom see a little picture in Room XVI., now (1908) lent to the Gallery by Mr. Salting.