Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 4) (London: Smith and Son, 1833)

72

GABRIEL METSU.

parents, nor of whom he learnt the rudiments of the
art; but as he lived in an age distinguished for talent
in its exercise, it is probable that he formed his style
on that of several distinguished masters, to whose works
his bear some analogy:—such as Gerard Dow, Francis
Mieris, Gerard Terburg, and Jan Steen. It is recorded
that he was on the most friendly terms with Jan Steen,
and there is little doubt that to him he was indebted
for much valuable information. The frank and liberal
nature of Jan Steen would induce him to communicate
all he knew, unbiassed by any narrow feeling of jea-
lousy, too frequently found among artists in the same
line. That Jan Steen was greatly superior to Metsu
in the more difficult attainments of the art—as in
invention, expression, and ready execution—no one
acquainted with their productions will deny ; but in its
more attractive charms,—as a tasteful selection of sub-
ject, graceful expression, and elegance of demeanour,
Metsu is without a rival.
Nor were his countrymen insensible to his superior
merits ; for, with the exception of the pictures by Gerard
Dow, and Francis Mieris (whose high-finishing alone
seduced the amateurs of that period), his works stood
the highest in estimation; a reference to the prices for
which they have since sold, will show that posterity
have been equally alive to the charms of his pencil. It
is but justice to the good taste of the present age, to
add, that the free and artist-like style of Metsu, is now
preferred, both by the skilful practitioner in art, and the
learned connoisseur, before all the elaborate finishing
which the above-cited painters ever effected.