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―　354　―点には、おそらく実在の収税吏の名が画中に書き込まれている（注24）。絵の含む意味の相違等は考慮すべきであるものの、この種の図像が金融業者自身により所有されたことを示唆する例と言えよう。このことからも、マセイスの両替商夫婦像が金融業者らのために制作された可能性が考えられることを最後に指摘したい。注⑴以下を参照。P. H. Schabacker, “Petrus Christusʼ Saint Eloy: Problems of Provenance, Sources andMeaning,” The Art Quarterly, vol. 35, no. 2, 1972, p. 108, note. 35.⑵来歴記録は以下を参照。A. de Bosque, Quentin Metsys, Brussels, 1975, Ill. 62; L. Silver, The Paintingsof Quinten Massys with Catalogue Raisonné, Oxford: Phaidon, 1984, cat. no. 16; J. Woodall, “Dewisselaer: Quentin Matsysʼs Man Weighing Gold Coins and His Wife, 1514,” Nederlands KunsthistorischJaarboek, vol. 64, 2014, p. 39.⑶Id.⑷Id.⑸K. L. Belkin and F. Healy, A House of Art: Rubens as Collector, exh. cat., Rubenshuis, Antwerp, 2004,no. 21.⑹M. J. Friedländer, Early Netherlandish Painting, vol. 7, trans. H. Norden, Leyden: A.W. Sijthoff, 1971,pp. 24－25; G. Marlier, Erasme et la peinture flamande de son temps, Damme: Ed. du Museé van Marlant,1954, pp. 239－241; S. Sulzberger, “Considérations sur le chef-dʼœuvre de Quentin Metsys: Le prêteur etsa femme,” Bulletin des musées royaux des beaux-arts de Belgique, 1965, pp. 27－31; Woodall, op. cit.,pp. 39－75.⑺Silver, op. cit., p. 136.⑻Marlier op. cit., p. 239; Woodall, op. cit., p. 47.⑼S. M. Stuard, Gilding the Market: Luxury and Fashion in Fourteenth-Century Italy, Philadelphia:University of Pennsylvania Press, 2006, p. 182.⑽近世初期のフランドルの両替商の活動については以下を参照。R. de Roover, Money, Banking andCredit in Mediaeval Bruges, Cambridge, Mass.: The Medieval Academy of America, 1948; J. M. Murray,“The Devilʼs Evangelists? Moneychangers in Flemish Urban Society,” in J. Vitullo and D. Wolfthal eds.,Money, Morality, and Culture in Late Medieval and Early Modern Europe, Farnham: Ashgate, 2010, pp.53－67.⑾De Roover, op. cit., p. 202.⑿注⑽参照。⒀“Een woeker, een molenaar, // Een wisselaar, een tollenaar, // zijn de vier evangelisten van Lucifaar.”Murray, op. cit., p. 53.⒁以下を参照。J. Wilson, “Self-representation and the Evolution of the Northern European OccupationalPortrait,” Dutch Crossing, vol.23, issue 2, 1999, pp. 29－55; J. Vitullo and D. Wolfthal, “Trading Values:Negotiating Masculinity in Late Medieval and Early Modern Europe,” in Vitullo and Wolfthal eds., op.cit., pp. 155－196.⒂H. Th. Colenbrander, “The Sitter in Jan Gossaertʼs ʻPortrait of a Merchantʼ in the National Gallery of Art,