See also (p. xx)
Patinir (born at Dinant, but settled in Antwerp) was styled by Albert Dürer, who stayed with him when in Antwerp, drew his portrait and attended his wedding, "Joachim the good landscape painter." What distinguishes his landscape is its greater expanse, as compared with earlier works. The Flemish painters preceding him were mostly content with the narrow domestic scenery of their own Maas country. But Patinir's pictures "embrace miles of country, and open on every side.... Some far-away cottage by the river-side, some hamlet nestling against a remote hill-slope, some castle on a craggy peak, blue against the transparent sky—such objects were a joy to him.... Moreover, with Patinir the fantastic element was of much importance. He wished his landscapes to be romantic.... He would have precipitous rocks.... His river must pass through gorges or under natural archways; his skies must be full of moving clouds; his wide districts of country must present contrasts of rocky mountain, water, and fertile plains.... He saw also the grandeur of wild scenery, and strove, though not with perfect success, to bring that into his pictures, showing thereby the possession of a foretaste of that delight in nature for her own sake, the full enjoyment of which has been reserved for the people of our own century" (Conway's Early Flemish Artists, pp. 299, 300). "His figures," says Sir F. Burton, "while retaining old Netherlandish characteristics, are good, expressive, and even noble in conception." Most of the Galleries contain pictures by Patinir. Madrid is particularly rich in them.
"A high authority on early Flemish art, M. Henri Hymans, has stated that the figures in the 'Crucifixion' given to Joachim Patinir, and of which the landscape is undoubtedly his, are by the painter's friend, Quentin Matsys. Unquestionably these figures differ much in colour and execution from those contained in such other examples of Patinir in the National Gallery as the 'Nun' (945), or 'The Visit of the Virgin to St. Elizabeth' (1082)" (Claude Phillips in the Academy, September 28, 1889).
716. ST. CHRISTOPHER.
Joachim Patinir (Early Flemish: died 1524). See 715.
One of the earliest attempts in painting to tell the beautiful legend of Christopher (the Christ bearer), the hermit ferryman, who, "having sustained others in their chief earthly trials, afterwards had Christ for companion of his own." The best account of the legend of St. Christopher is to be found in Miss Alexander's Roadside Songs of Tuscany, edited by Ruskin, illustrated with "the most beautiful and true designs that have ever yet been made out of all the multitude by which alike the best spiritual and worldly power of Art have commended to Christendom its noblest monastic legend."
717. ST. JOHN ON THE ISLAND OF PATMOS.
Joachim Patinir (Early Flemish: died 1524). See 715.
The evangelist on the island of Patmos, writing the revelations out of an ink-horn held by an eagle, which an imp is attempting to steal. In the sky above are the revelations themselves: "And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.... And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads" (Revelation xii. 1, 3).