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, a lawyer, was born at Antwerp in 1486. He was educated under the care of the celebrated Erasmus, with whom he lived afterwards in close friendship, as he did with the illustrious sir Thomas More, and other eminent scholars of that age. More introduces him in the prologue to his Utopi with high praise, as “a man there in his country of honest reputation, and also preferred to high promotions, worthy truly of the highest. For it is hard to say whether the young man be in learning or in honesty more excellent. For he is both of wonderful virtuous conditions, and also singularly well learned, and towards all sorts of people exceeding gentle.” Sir Thomas adds, that “the charms of his conversation abated the fervent desire he had to see his native country, from which sir Thomas had been absent more than four months.” He occurs also with high praise in the life and writings of Erasmus. In 1510, on the death of Adrian Blict, first notary at Antwerp, he was unanimously elected into his place. He died Nov. 29, 1533. His works are, 1. “Threnodiain funus Maximiliani Caesaris, cum Epitaphiis aliquot et Epigrammatum libello,” Antwerp, 1519, 4to. 2. “Hypotheses, sive Spectacula Carolo V. Caesari ab S. P. Q. Antver.” ib. 4to. 3. “Enchiridion Principis ac Magistratus Christiani,” Colon. 1541. He edited also “Titulos Legum ex Codice Theodosiario,” Louvain, 1517, folio.

, a Flemish painter, was born at Antwerp in 1610, and was a disciple of Esaias Vandervelde, and under the guidance of so able a master, he became an excellent painter of landscape. His companions nicknamed him Crabbetje, from a crooked turn in his fingers and his hand, which caused him to hold his pallet with some degree of awkwardness. And yet, by the lightness, freedom, and spirit of his touch, it could not be supposed that his hand had the smallest imperfection. He was one of the first Flemish painters who adopted the clean and bright manner of landscape painting. He studied after nature in the country about Rome, improving his taste by the delightful situations of towns, villas, antiquities, figures, and animals, which he sketched upon paper, to make a proper use of them in his designs. In the style of his landscape he chose particularly to imitate Claude Lorraine but in other parts of his painting he seemed fond of making Bamboccio his model. He enriched his landscapes with the vestiges of noble buildings, and the views of such seats as he observed to be beautiful, by their situation or construction. His colouring is extremely bright and clear his skies are warm his touch is free and firm his figures and animals are w r ell drawn, and judiciously disposed and his pictures justly merit the approbation which they have always received.

, a painter, born at Antwerp in 1530, learned the principles of painting from his father, who was a much inferior artist. After his father’s death, he lived in the house of Jacomo Palermo, a dealer in pictures, who avariciously took care to keep him incessantly employed, and sent his paintings to Paris to be disposed of, where they were much admired. He had a clean light manner of pencilling, and a tint of colour that was extremely agreeable. The judicious were very eager to purchase them at high prices, of which, however, the poor artist was not suffered to avail himself; and although his merit was universally allowed, Palermo took care that his name and his circumstances should not be known. He died in this obscure and depressed condition in 1560, only 30 years old.

, an artist, was born at Antwerp, in 15GO, and was a disciple of Adam Van Oort; but he quitted that master, to acquire a better taste of design and composition, by pursuing his studies at Rome, where he resided for a considerable time. He copied the antiques, he attended to the works of the most memorable modern artists and at his return to his own country, the visible improvement of his taste recommended him to the favour and esteem of the ablest judges of the art. He distinguished himself by a good manner of designing, and his works are admitted into the cabinets of the curious, among those of the principal painters. He particularly excelled in the naked, and gave to his figures truth, roundness, and correctness of outline. Several fine portraits of his hand are at the Hague among which there is one adorned with allegorical figures of Widom and Justice. All the historical subjects painted by Van Balen have merit. His designs of the Deluge, of Moses striking the Rock, and the drowning of Pharaoh, are grand and noble compositions. Houbraken observes, that Van Balen, with great judgment, hath introduced the Israelites in a clear light in the back ground, but the Egyptians in a strong shadow in the fore ground, which had a very fine effect the figures being well designed, the attitudes and draperies well chosen, and the number of the figures being very considerable. Of this master’s hand also the Judgment of Paris is accounted a masterly performance in which the figure of Venus is so elegantly designed, so full of life, and so round, that it seems to stand forth from the surface. The landscapes and back grounds of the pictures composed by Van Balen, were generally painted by the Velvet Brueghel. Van Balen was the first master of Vandyck. He died in 1672. His son, John Van Balen, was born at Antwerp, in 1611, and derived his knowledge of the art, and his fine taste of drawing and design, from his father but, as soon as he had made a competent progress, he travelled to Rome, and lived for several years in that and other cities of Italy. There he acquired a good taste for design, though he was sometimes incorrect his particular merit was shewn in naked figures of boys, cupidfi, nymphs bathing or hunting, of which subjects he painted a considerable number, and he procured both praise and riches by his landscapes and histories. His pictures were well handled, his trees touched wiih spirit, and his herbage and verdure looked natural and lively. The carnations of his figures were clear and fresh, his colouring in general was transparent, and the airs of his heads were in the manner of Albano.

, who was also surnamed Monnoyer, a painter of some note, who resided many years in England, was born at Lisle, in Flanders, in 1635. He was brought up at Antwerp, where his business was 'history painting but finding that his genius more strongly inclined him to the painting of flowers, he applied his talents, and in that branch became one of the greatest masters. When Le Brim had undertaken to paint the palace of Versailles, he employed Baptist to do the flower part, in which he displayed great excellence. The duke of Montague being then ambassador in France, and observing the merit of Baptist’s performances, invited him over into England, and employed him, in conjunction with La Fosse and Rousseau, to embellish Montague house, which is now the British museum and contains many of the finest productions of Baptist. “His pictures (says Mr. Pilkington in his Dictionary of Painters) are not so exquisitely finished as those of Van Huysum, but his composition and colouring are in a bolder style. His flowers have generally a remarkable freedom and looseness, as well in the disposition, as in pencilling together with a tone of colouring, that is lively, admirable, and nature itself. The disposition of his objects is surp'risingly elegant and beautiful and in that respect his compositions are easily known, and as easily distinguished from the performances of others.” A celebrated performance of this artist is a looking-glass preserved in Kensington palace, which he decorated with a garland of flowers, for queen Mary and it is mentioned as a remarkable circumstance, that her majesty sat by him during the greatest part of the time that he was employed ia painting it. He painted, for the duke of Ormond, six pictures of East India birds, after nature, which were in that nobleman’s collection at Kilkenny in Ireland, and afterwards came into the possession “of Mr. Pilkington. He died in Pall Mall, in the year 1699. There is a print of Baptist, from a painting of sir Godfrey Kneller, in Mr. Walpole’s” Anecdotes." He had a son, named Anthony Baptist, who also painted flowers and, in the style and manner of his father, had great merit. There was also another painter known by the name of John Baptist, whose surname was Caspars, and who was commonly called Lely’s Baptist. He was born at Antwerp, and was a disciple of Thomas Willebores Boschaert. During the civil war he came to England, and entered into the service of general Lambert; but after the restoration he was employed by sir Peter Lely, to paint the attitudes and draperies of his portraits. He was engaged in the same business under Riley and sir Godfrey Kneller. The portrait of Charles II. in Painters’ Hall, and another of the same prince, with mathematical instruments, in the hall of St. Bartholomew’s Hospital, were painted by this Baptist, who died in 1691, and was buried at St. James’s.

, a modern Latin poet of great reputation, was born at Antwerp, 1584, and studied eight years at Leyden. Bertius, the sub-principal of his college, having been appointed principal, recommended Barlseus to be his successor, who was accordingly named sub-principal, and some time after made professor of logic in the university of Leyden; but he interested himself so much in the disputes of the Armiaians, that he lost his professorship as soon as the opposite party prevailed in the synod of Dort. He now applied himself to physic, and in two years took a doctor’s degree at Caen, but scarce ever practised. In 1631, the magistrates of Amsterdam having erected a seminary, offered him the professorship of philosophy, which he accepted, and discharged with great honour. He pubiished several sharp controversial pieces against the adversaries of Arminius; and being looked upon as a favourer of that sect, many people murmured against the magistrates of Amsterdam for entertaining such a professor. He was continued, however, in his professorship till his death, which happened in 1648. We have a volume of orations of his, which he pronounced on different occasions, and which are admired for their style and wit but his poetical compositions are what chiefly raised his reputation. His letters were published after his death in two volumes. The following are the dates of his principal works, 1. “Britannia triumphans,” Leyden, 1626, fol. 2. “Poemata,” ib. 1631, 12mo. 3. “Mercator sapiens,” Amst. 1632, fol. 4. “De Cceli admirandis, oratio,” ib. 1636, fol. 5. “Oratio de victa Hispanorum regis classe,” ib. 1639, fol. 6. “Laurus Flandrica,” ib. 1644, fol. 7. “Mauritius Redux,” ib. 1644, fol. 8. “Hist. Rerum in Brasilia et alibi nilper gestarum, sub praefectiira Mauritii principis Nassoviae,” “ib. 1647, fol. 9.” Orationes,“ib. 1661^ 12mo. 10.” Faces Sactae," Lond. 4to.

Another de Bie (Jacob or James), who was born at Antwerp, in 1581, was an eminent engraver of antiquities, coins, &c. and published, 1. “Imperatorum Roman. Numismata,” from Julius Caesar to Heraclius, Ant. 1615, 4to. 2. “Numismata Graecise,” ibid. foi. 3. “La France Metallique, &c.” Paris, 1636; also the portraits for Mezeray’s history, and other works of a similar kind. His style resembles that of the Collaerts, and he drew correctly, and executed his plates entirely with the graver, in a neat clear determined manner, and upon the whole, his prints may rank with those of the best early Flemish masters.

, an artist, was born at Antwerp, in 1675, and was placed under the care of one Thomas, whose subjects were apartments with figures, in the manner of Teniers; and he decorated the insides of those apartments with bustos, vases, pictures, and other curiosities, which sort of subjects were at that time in great request. Bosch studied the same manner of painting, and with great success; but the connoisseurs and his friends advised him to employ his pencil on subjects of a more elegant and elevated kind; because it seemed a little absurd, to see apartments designed with so much magnificence, and so richly ornamented, occupied by persons so mean and vulgar in their appearance as the figures generally represented. Bosch profited by the advice, and soon acquired a different style of design and elegance in his composition, which afforded more pleasure to the eye, and more value to his productions. He also painted portraits with a great deal of reputation, particularly a portrait of the duke of Marlborough on horseback, which gained him all the applause that he could possibly desire. The horse was painted by Van Bloemen. His paintings rose to a most extravagant price, and were at that time more dear than those of Teniers or Ostade. Some of his works have true merit, being very good in the composition and design, and also in respect of the colouring; and the forms of his figures were more elegant than most of his contemporaries. His subjects were judiciously chosen, and for the most part they were sculptors or painters, surrounded with pictures or bustos of marble, brass, or plaster, to which he gave abundance of variety, and a great degree of truth. His pencil is light, his touch spirited, and his figures are dressed in the mode of the time. However, notwithstanding he possessed so much merit, as is generally and justly ascribed to him, his works cannot enter into competition with those of Ostade or Teniers; nor is he now esteemed as he formerly had been, even by hi own countrymen. He died of excess, in 1715.

, or Brantz, a learned philologer, was born at Antwerp in Sept. 1554, and after receiving the early part of his education at home, studied philosophy at Louvain. The troubles in the Netherlands obliging him to remove to France, he took that opportunity to study law at Orleans under John and William Fournier, and then at Bourges under the celebrated Cujacius. After travelling for some time in Italy, he settled at Brussels, and for five years practised as an advocate; but in 1591 was invited to Antwerp, and appointed secretary to the city, which office he discharged for more than thirty years with much reputation, and there he died iti 1639. He was considered as a man of great learning, modesty, and candour, laborious in his own studies, and always desirous of assisting others in theirs. His motto was “Libenter, Ardenter, Constanter,” not inapplicable to a man of studious industry. His principal works were, 1. “Notae cum Politico turn CriticiE in C. Julii Cæsaris et A. Hirtii Commentaries,” with the text of Cæsar in Greek and Latin, &c. Francfort, 1606, 4to, the same year in which Jungerman’s edition appeared, which is said to have been the first in which theGreek translation of the commentaries was published, but none of our bibliographers have noticed this contemporary edition by Brandt. 2. “Elogia Ciceroniana llomanoruni domi militiaque illustrium,” Antwerp, 1612, 4to. This contains biographical notices of the eminent political and military Romans, extracted from the works of Cicero, and in his words. Brandt intended to have compiled a volume on the same plan, respecting the orators, poets, and philosophers mentioned by Cicero, but this, if ever executed, has not been printed. 3. “Vita Philippi Rubenii,” with Rnbenius* posthumous works, 1615, 4to. 4. “Senator, sive de perfect! et veri Senatoris officio,” ibid. 1633, 4to. 5. “Spicilegium Criticum in Apuleium,” 1621, &c.

, a painter of landscapes and cattle, was born at Antwerp in 1630; studied landscape after nature, and adorned his designs with figures, correctly drawn and judiciously grouped. His icenes are generally enriched with elegant Roman buildings, fountains, monuments, and ruins. His style, though, inferior, resembled that of John Brueghel. He died in. 1681.

, a painter of history, landscape, and conversations, was born at Antwerp in 1683, and instructed by his father Alexander Van Breda, who was much esteemed as an artist, with whom he continued, profiting by good example and advice, till he was 18 years of age. Having established his reputation in Holland, he accompanied Rysbrack the sculptor to London, where he was highly esteemed and obtained considerable patronage, and particularly that of the earl of Derwentwater, who was beheaded for rebellion in 1715. In London he was much employed by the court and nobility, and was hardly able to supply the demands for his performances. From London, after a residence of five years, he returned to Antwerp, much enriched; and in 1746, when Louis XIV. visited that city, he honoured this master by purchasing four of his pictures; viz. “Christ at the sea of Tiberias,” “Christ performing miracles,” and “two landscapes.” He certainly approached nearer to those great masters whose manner he imitated, Brueghel and Wouwermans, than any other artist of his time. His landscapes are in the style and taste of the former; and his conversations, historical figures, fairs, and battles, are in the manner of the latter. He died in 1750.

, brother of the above, was born at Antwerp, in 1679, and it is generally supposed that he was a disciple of old Rysbrack, as well as his brother Charles; but he chose very different subjects; for, at an early time of life he painted portraits with so great success, that he was appointed painter to the court of Hesse-Cassel, where his works were very much esteemed. He also painted conversations, feasts, assemblies, and carnivals, subjects very pleasing to the lovers of the art, and on that account he was induced to paint a great many in that style. However, from a levity of temper, he quitted the court of Hesse, where he was exceedingly caressed, and went to England, where, probably, he found sufficient encouragement, as he continued there for several years along with his friend Vandermyn. His conversations and other compositions are finely executed, agreeably coloured, and well disposed; and those pictures of his band are most preferred where he has endeavoured to give a proper variety to his figures. In those the dresses are usually in the mode of the time; the persons represented are of different ranks and occupations, mixed with some of the military order; and through the whole there is an appearance of nature, truth, and a great deal of spirit. He died in 17 So.

, an artist of whom very few particulars are mentioned; the most material are, that he was born at Antwerp, in 1550, and learned the rudiments of his art in that city; that he went to study at Rome, and in a very few years manifested so much merit in landscape and history, that Pope Gregory XIII. employed him to work in the Vatican, and allowed him an honourable pension as long as he lived. He died in 1584, aged thirtyfive.

, an excellent artist, brother to Matthew Brill, was born at Antwerp, in 1554, but bred to the profession of painting under Daniel Voltelmans. From the time of his quitting that master till he went to Italy, his manner was rather stiff, his pictures had a predominant brown and yellow tinge, and his design and colouring were equally indifferent. But when he visited his brother Matthew at Rome, and saw the works of Titian and Caracci, he altered his Flemish manner entirely, and fixed upon a style that was abundantly pleasing, with a charming tone of colour. The pension and employment which his brother possessed at the Vatican were conferred upon Paul; and he so far surpassed him, that he daily rose in his reputation, till he was considered as the first in his profession. Annibal Caracci generally painted the figures in his landscapes, and by that means increased their value to a very high degree. His manner of painting is true, sweet, and tender; the touchings of his trees are firm, and yet delicate; his scenery, his situations, and distances, are admirable, most of them being taken from nature; and the masses of his light and shadow are strong, and very judicious; though, in some of his small easel-pictures, he may be sometimes accounted rather too green, or at least more greenish than could be wished. It is remarked of him, that, in the latter part of his life, his landscapes were always of a small size; but they are beautiful and exquisitely finished, and frequently he painted them on copper. The genuine works of this eminent master are now rarely to be met with, especially those of the larger size, and they afford prices that are extremely high in every part of Europe. Sandrart observes, that in his time the pictures of Paul Brill were eagerly coveted in all countries where the polite arts are encouraged; that abundance of purchasers appeared at the public sales, ambitious to possess them; and that very large sums of money were given for them whenever they could be procured. And it seems that their intrinsic value is not diminished, since, a very few years ago, one of the landscapes of this master sold in Holland for 160l. and another, at an auction in London, for 120 guineas or upwards, and yet they were deemed to be cheaply purchased. He died in 1626, aged seventytwo.

, an artist, was born at Antwerp in 1553, and first painted landscapes, having accustomed himself to retire to groves and fields, to study such scenes and objects after nature, as might be useful to him in that branch of his profession. But being desirous to obtain a better manner of designing figures, to adorn his landscapes, he determined to travel to Italy. In his journey he stopped at Bologna, where he unexpectedly met with many inducements to detain him in that city for some time; and became the disciple of Prospero Fontana, who had every qualification requisite for the improvement of his pupils, as well by his precepts as his performances. In such a situation Calvart applied himself diligently to his studies, not only carefully examining, but also copying the works of Coreggio and Parmigiano; and when he afterwards quitted the school of Fontana, he placed himself with Lorenzo Sabattini, with whom fie travelled to Rome, where he perfected himself in design, in perspective, architecture, and anatomy. At his return from Rome to Bologna, which city he now considered as the place of his nativity, he there opened an academy; and his style of colour procured him a large number of disciples, among whom were some of the first rank for genius; he is celebrated as the first instructor of Guido, Albano, and Domenichino, as well as of several other excellent painters. He died in 1619. In the Palazzo Ranuzzi, at Bologna, there is a fine picture by Calvart, representing two hermits, which is correctly designed, beautifully coloured, and delicately pencilled and in the Pembroke collection, at Wilton, there is a Nativity painted by him.

, an artist, born at Antwerp in 16S4, painted birds and flowers with some success, and in 1726, he published twelve plates of birds and fowls which he had designed and etched himself. He had been settled in England many years, when he retired in 1735 to Tooting, to design for callico-printers. He died at Richmond, May 16, 1749.

, an esteemed painter of portraits and conversations, was born at Antwerp in 1618, and was a disciple of the old David Ryckaert, under whose direction he applied himself diligently to cultivate those promising talents which he possessed, not only by practising the best rules administered to him by his instructor, but also by studying nature with singular attention. He was a great admirer of Vandyck; and fixing on the manner of that great artist as his model, had the happiness of so far succeeding, that next to him he was esteemed equal to any other painter of his time. In the school of Ryckaert, he had been accustomed to paint conversations, and he frequently composed subjects of fancy, like Teniers, Ostade, and his master; and by that habit he introduced a very agreeable style of portrait-painting in a kind of historical conversations, which seemed much more acceptable to persons of taste than the general manner of painting portraits, and procured him great reputation and riches. In that way he composed several fine pictures for Charles I. and likewise several for the archduke Leopold and the prince of Orange; which latter prince, as a mark of respect, presented Coques with a rich gold chain, and a gold medal, on which the bust of that prince was impressed. He died in 1634. He had an excellent pencil; his portraits were well designed, with easy natural attitudes; he disposed the figures in his composition so as to avoid confusion and embarrassment; he gave an extraordinary clearness of colour to his heads and hands; and his touch was free, firm, and broad a circumstance very uncommon in works of a small size.

, orCORDERUS (Balthasar), a learned editor, was born at Antwerp in 1592, belonged to the society of Jesuits in the Low Countries, and was doctor of theology at Vienna, where he attained a considerable share of celebrity, as professor of that faculty. He was a man of great learning, particularly in Greek literature. He died at Rome June 24, 1650. His principal works, as editor and author, were “S. Dionysii Areopagitae Opera omnia, Gr. et Lat. cum Scholiis, &c.” 1634, in 2 torn. fol. “Expositiones Patrum Graecorum in Psalmos,” 1643, in 3 torn, fol. “S. Cyrilli Homilise in Jeremiam,” 1648, 8vo, &c. &c.

, an eminent artist, was born at Antwerp in 1585, and was a disciple of Raphael Coxis, the son of that Coxis who had studied under Raphael; but Crayer soon shewed such proofs of genius, that he far surpassed his master, and therefore quitted him. Afterwards he made judicious observations on the particular excellencies of the most renowned masters, and taking nature for his constant guide, formed for himself a manner that was extremely pleasing. The first work which established him in the favour of the court of Brussels, was a portrait of cardinal Ferdinand, brother to the king of Spain, a full length, as large as life, in which he succeeded so happily, that when it was viewed by the court at Madrid it laid the foundation of his fame and fortune. The king sent him a gold chain with a medal; and added, as a farther instance of his favour, a considerable pension. The testimony of Rubens was also highly in his favour, who went to Antwerp to visit Crayer, and after examining attentively a picture of his painting in the refectory of the abbey of Affleghem, he publicly declared that no painter could surpass Crayer. Nor was he less distinguished by Vandyck, who always expressed a friendship for him, and painted his portrait. It has been said that he had somewhat less fire in his compositions than Rubens; but that his design was frequently more correct. Yet, says Mr. Fuseli, let not this high strain of commendation seduce the reader to imagine that Crayer was a painter of the same rank with Rubens. If he was more equal, the reason lay in his inferiority. Rubens had the flights, the falls, and the neglects of genius. Crayer steered a middle course, and preserved dignity by caution. His composition generally consisted of a small number of figures; and he very judiciously avoi ded the encumbering his design with superfluous particulars, or loading his subject with any thing that seemed not to contribute to its elegance. He grouped his figures with skill, and his expressions have all the truth of nature. There is a remarkable variety in his draperies, and an equal degree of simplicity in their folds; and his colouring is admirable. Of all his contemporaries he was reckoned to approach nearest to Vandyck, not only in history, but in portrait. He principally painted religious subjects, and was continually at work; and although he lived to a great age, yet his temperance and regular habits preserved the full use of his faculties; and to the last month of his long life his pencil retained the same force and freedom which it possessed in his most vigorous days. He died in 1669, aged eighty-four. The subject of the picture which was so highly honoured by the approbation of Rubens, is the centurion alighting from his horse to prostrate himself at the feet of Christ. Yet sir Joshua Reynolds says of it, that though it cannot be said to be defective in drawing or colouring, it is far from being a striking picture. There is no union between his figures and the ground; the outline is every where seen, which takes away the softness and richness of effect; the men are insipid characters, and the women want beauty. The composition is something on the plan of the great picture of Rubens in the St. Augustins at Antwerp: that is, the subject is of the same kind, but there is a great difference indeed in their degree of merit.

, or Danckerts, is the name of a family of engravers of considerable reputation in Holland. Cornelius Danckkkts, who was born at Amsterdam in 1561, established himself at Antwerp as a print-seller; but he did not suffer this employment to engross his whole time, as he engraved many portraits, landscapes, and historical pieces, as well from his own compositions as from the designs of Berghem, Rembrandt, and others. His son, Danckert Danckerts, who was born at Antwerp about 1600, also engraved different subjects, as well from his own designs as from those of other artists; and though his pieces are not so numerous as his father’s, they surpass them in merit. Danckert combined the point and the graver with very great success, and the pieces from Berghem and Wouvermanns, which he has wrought in this manner, are much esteemed.

, a very learned Jesuit, was born at Antwerp of Spanish parents, in 1551. The progress he made in letters, while a very boy, is recorded with wonder. He was taught grammar in the Low Countries, and then sent to Paris to learn rhetoric and philosophy under the Jesuits. Afterwards he went to study civil law in the new university of Do way; but removing from thence to Louvain, he laid aside that pursuit, and applied himself to polite literature, which he cultivated with so much ardour and success, that he surprised the public, when he was only nineteen years of age, with some good notes upon the tragedies of Seneca. “What is more,” says Baillet, “he cited in this work almost 1100 authors, with all the assurance of a man who had read them thoroughly, and weighed their sentiments with great judgment and exactness.” The reputation he acquired by this first essay of his erudition was afterwards increased. He is said to have understood at least ten languages, and to have read every thing, ancient and modern, that was thought worth reading. He was admitted LL. D. at Salamanca in 1574; and was afterwards a counsellor of the parliament of Brabant, and an intendant of the army. In 1580 he became a Jesuit at Valladolid; from whence going into the Low Countries, he taught divinity and the belles lettres, and contracted a firm friendship with Lipsius. He taught also at Liege, at Mentz, at Gratz, and at Salamanca. He died at Louvain, in 1608, about two years after his friend Lipsius.

, an eminent engraver, was born at Antwerp in 1641, and there learnt the first elements of drawing and engraving; but it was in France that he made the full display of his talents, being invited thither by the munificence of Louis XIV. about 1665. He was made choice of to engrave two pieces of the highest reputation; the picture of the Holy Family, by Raphael, and that of Alexander in the Tent of Darius, by Le Brim. Edelinck surpassed expectation in the execution of these masterpieces; and the copies were as much applauded as the originals. It is impossible not to a.-lmire in them, as in all his other productions, a neatness of touch, a plumpness, and a shade that are inimitable. The ease and assiduity with which he worked procured the public a great number of estimable pieces. He succeeded equally well in the portraits of the most famous personages of his time, among whom he might reckon himself. This excellent artist died in 1707, at the age of sixty-six, in the hotel royal of the Gobelins, where he had apartments, with the title of engraver in ordinary to the king, and counsellor in the royal academy of painting. In the list of his plates may be noticed that of Mary Magdalen renouncing the vanities of the world, from a painting by Le Brun, remarkable for the beauty of the work, and the delicacy of the expression. He had a son and a brother, both engravers, briefly noticed by Mr. Strutt, but inferior in reputation.

, a native of Antwerp, and secretary to the duke of Florence, was born at Antwerp in 1584, of protestant parents, said to be of the same family with Peter the Hermit, so celebrated in the history of the crusades. In his youth Scaliger had a great esteem for him, and recommended him in the strongest terms to Casaubon; who procured him employment, and endeavoured to get him into Mr. de Montaterre’s family, in quality of preceptor, and was likely to have succeeded, when Eremita found means to ingratiate himself with Mr. de Vic, who was going ambassador into Switzerland. In the course of their intimacy De Vic, a man of great bigotry, and fired with a zeal for making converts, soon won over Eremita, by means of a conference with a Portuguese monk; and fre became a Roman catholic, which gave Casaubon great uneasiness. Eremita, however, still retained a veneration for Scaliger, and, after his death, defended him against Scioppius, who in his answer, speaks with very little respect of Eremita, and informs us that after being at Rome in 1606, he disappeared for some time after, as it was supposed at first from poverty, but it afterwards was discovered that he had retired to Sienna, where he made his court to archbishop Ascanio Piccolomini, who recommended him to Silvio Piccolomini, great chamberlain to the great duke of Florence. By this means he obtained a pension from that prince, as a reward for a panegyric written on the nuptials of the great duke with Magdalen of Austria, and published in 1608, and at his earnest request he was sent into Germany with the deputy, to acquaint the several princes of the empire with the death of the great duke’s father. At his return to Florence, he affected to be profoundly skilled in allairs of government; and promised a commentary which should exceed whatever had been written upon Tacitus. As he looked upon the history of our Saviour as fabulous, so he took a delight in exclaiming against the inquisitors and the clergy; and had many tales ready upon these occasions, all which he could set off to advantage.

, or Eykens, called the Olp, was born at Antwerp in 1599, and became eminent for his historical paintings. His compositions are full of spirit; his figures have some degree of elegance; his draperies are broad, and the hack-grounds of his pictures are enriched with architecture and landscape in a good taste. As he always studied and copied nature, his colouring was warm, agreeable, and natural; and to his carnations he always gave a great deal of delicacy, particularly to the carnations of hrs nymphs and boys. He painted subjects in one colour, such as basso-relievos and vases of marble, extremely well; and was frequently employed to insert figures in the landscapes of other masters, as he designed them correctly, and adapted them to the different scenes with propriety and judgment. The principalpaintings mentioned as his productions are, a “Last Supper,” in St. Andrew’s church at Antwerp; “St. John preaching in the Desert,” in another church; “St. Catherine,” in the cathedral of Antwerp, &c. The time of his death is not known. Descamps has strangely divided him into two persons, in both which the dates are erroneous.

, a physician of eminence, was born at Antwerp, March 28, 1567. His father, who was a physician at Antwerp, and who died at Dort in 1585, was the author of a treatise entitled “Commentarius de flatibus humanum corpus infestantibus,” Antwerp, 1582. His son, Thomas, studied medicine at Leyden, and afterwards at Bologna, which he visited in 1590. On his return to his native country his talents were soon made known, and in 1593 he was invited to Louvaine, in order to fill one of the vacant professorships of medicine in that university, in which he took the degree of doctor about the end of that year. After seven years of residence, he was appointed physician to Maximilian, duke and afterwards elector of Bavaria; but this he resigned at the end of one year, and returned to Louvaine, where the archduke Albert immediately increased his salary to a thousand ducats, in order to secure his services, and here he remained until his death, March 15, 1631, at the college of Breughel, of which he had been for a long time president. Besides being an able Greek and mathematical scholar, he was regarded as an intelligent and able physician; and had fewequals among his contemporaries in natural history and surgery. His works, which contributed greatly to advance his reputation, were, 1. “De Cauteriis libri quinque,” Louvaine, 1598. 2. “Libri Chirurgici XII., de praecipuis Artis Chirurgicre controversiis,” Francfort, 1602, which passed through many editions. 3. “De viribus Imaginationis Tractatus,” Louvaine, 1608. 4. “De Cometa anni 1618,” Antwerp, 1619, against opinions of Copernicus respecting the motion of the earth. 5. “De vi formatrice foetus liber, in quo ostenditur animam rationalem infundi tertia die,” ibid. 1620. This work was attacked with considerable success, by Louis du Gardin, a professor of Douay, and Fienus replied in, 6. “De formatrice foetus adversus Ludovicum du Gardin, &c.” Louvaine, 1624. His opinion was also impugned by Santa Cruz, the physician of Philip IV. which produced, 7. “Pro sua de anijnatione fcetds tertia die opinione Apologia, adversus Antonium Ponce Santa Cruz, Regis Hispaniarmn Medicum Cubicularem, &c.” Louvaine, 1629. 8. “Semiotice, sive de signis medicis Tractatus,” Leyden, 1664.

, a painter of history, was born at Antwerp in 1520, but practised the art of sculpture till he was twenty years of age, when he changed his profession, and studied painting under Lambert Lombard. He afterwards went to Rome, and copied the works of the ancients; but was particularly struck with the works of Michel Angelo Buonaroti, which he imitated with great zeal, particularly his Last Judgment; but, probably from want of a comprehensive genius, attended more to the parts than die whole. Such was his success, however, in his general improved style of painting on his return to his native city, that it acquired for him the honourable appellation of the “Raphael of Flanders,” though his style of design is certainly more in imitation of M. Angelo than of Raphael. He painted for the contrafestivity hail of St. Michael, at Antwerp, a large picture, now at the Louvre, at Paris. The subject is, " The Fall of Lucifer and his Angels/' It is highly celebrated for the goodness of the composition and handling, for the variety of attitudes in the fallen angels, and for the strong expression of the muscles in the naked figures. In fact it is a very curious picture, painted with great capacity, and exhibits a powerful, though eccentric, imagination. The fiends in M. Angelo’s Last Judgment are not more horrible, or nearly so grotesque. The power of colour also is admirable, and in some parts has been rarely surpassed. He had a strong and bold manner, and, like his great model Buonaroti, marked the muscular parts too full for a just imitation of nature. He invented and composed with ease, but in a dry and gothic manner; and though sometimes his figures have an agreeable air, yet in general they possess a reprehensible degree of the stiffness and formality peculiar to the age and country he lived in. There are some etchings by him, which, though slight, are bold and spirited. He died in 1570, aged 50.

, a Flemish painter of the 17th century, born at Antwerp in 1580, was one of the most learned and celebrated of landscape painters. Some have placed him so near Titian, as to make the difference of their pictures consist, rather in the countries represented, that) in the goodness of the pieces. The principles they went upon are the same, and their colouring alike good and regular. He painted for Rubens, of whom he learned the essentials of his art The elector palatine employed him at Heidelberg, and from thence he went to Paris, where, though he worked a long time, and was well paid, yet he grew poor for want of conduct, and died 1659, in the house of an ordinary painter called Silvain, who lived in the suburbs of St. Jaques.

, a painter in miniature, was born at Antwerp in 1592. He was employed by Charles I. but is far more conspicuous as having been engaged, in conjunction with Rubens, to negociate a treaty with Spain; and for having been for a time British resident at Brussels. His being in the suite of Buckingham in Spain was the means of this elevation; for which he does not appear to have been duly qualified. He was somewhat acquainted with architecture, and was employed by lord Craven to give designs for Ilempsted-hall, which has since been burnt. Being neglected by the court, he in 1648 appeared as an author, and founder of an academy at Bethnal-green; and in 1649 published his first lecture on geography. This was followed by others, and by various pamphlets respecting quackish schemes and projects, with which his head appears to have been full. He afterwards went to Cayenne, and settled with his family at Surinam; where, by order of the Dutch, he was seized and sent back to Holland, from the jealousy of that government, which regarded him since his naturalization in England as an agent of the king. On the restoration of Charles II. hereturned to England, and prepared triumphal arches for; his honour. Here he practised various means of riving forsome years, with no great respect or profit, and at last died in 1667, having passed his latter days in all the expedients of quackery. Lord Orford has bestowed a long article upon sir Balthasar, but has not much exalted his merit as a man or an artist.

, a learned critic, was the son of an eminent lawyer, and born at Antwerp, Aug. 6, 1593. Many authors have called him simply John Caspar, and sometimes he did this himself, whence he was at one time better known by the name of Caspar than of Gevartius. His first application to letters was in the college of Jesuits at Antwerp, whence he removed to Louvain, and then to Douay. He went to Paris in 1617, and spent some years there in the conversation of the learned. Returning to the Low Countries in 1621, he took the degree of LL. D. in the university of Douay, and afterwards went to Antwerp,' where he was made town-clerk, a post he held to the end of his life. He married in 1625, and died in 1666. He had always a taste for classical learning, and devoted a great part of his time to literary pursuits. In 1621 he published at Leyden, in 8vo, “Lectionum Papinianarum Libri quinque in Statii Papinii Sylvas;” and, at Paris in 1619, 4to, “Electorum Libri tres, in quibus plurima veterum Scriptorum loco obscura et controv.ersa explicantur, illustrantur, et emendantur.” These, though published when he was young, have established his reputation as a critic. He derived also some credit from his poetical attempts, particularly a Latin poem, published at Paris, 1618, on the death of Thuanus. He kept a constant correspondence with the learned of his time, and some of his letters have been printed in the “Sylloge Epistolarum,” by Burman. Our Bentley mentions Caspar Gevartius as a man famous in his day; and tells us, that “he undertook an edition of the poet Manilius, but was prevented by death” from executing it.

, an eminent antiquary, was born at Antwerp in 1549, and gained a reputation by collecting medals and other antiques. He was chiefly fond of the rings and seals of the ancients, of which he published a prodigious number in 1601, under this title, “Dactyliotheca, sive Annulorum Sigillarium, quorum apud priscos tarn Grsecos quam Romanes usus ex ferro, aere, argento, & auro, Promptuarium.” This was the first part of the work; the second was entitled “Variarum Gemmarum, quibus Antiquitas in signando uti solita, sculpturae.” This work has undergone several editions, the best of which is that of Leyden, 1625; which not only contains a vast mumber of cuts, but a short explication of them by Gronovius. In 1608 he published a collection of medals; which, however, if we may believe the “Scaligerana,” it is not safe always to trust. Some have asserted, that he never studied the Latin tongue, and that the learned preface prefixed to his “Dactyliotheca,” was written by another. Peiresc, as Gassendus relates, used to say, that “though Gorleeus never studied the Latin tongue, yet he understood all the books written in Latin concerning medals and coins;” but this cannot be reconciled with the accounts of him in other authors, nor indeed with probability. Gorlaeus resided principally at Delft, and died there April 15, 1609. His collections of antiques were sold by his heirs to the pirnce of Wales.

, an excellent artist, was born at Antwerp in 1569, with a wonderful genius for painting, and in his youth executed some pieces which set him above all the young painters of his time; but becoming enamoured of a young woman at Antwerp, whom he obtained in marriage, he gave himself up to a dissipated course of life, which soon impoverished him, and affected his temper. He grew jealous of Rubens, and sent a challege to that painter, with a list of the names of such persons as were to decide the matter, so soon as their respective works should be finished; but Rubens, instead of accepting the challenge, answered that he willingly yielded him the preference, leaving the public to do them justice. There are some of Janssens’ works in the churches at Antwerp. He painted a descent from the cross for the great church of Boisleduc, which has been taken for a piece of Rubens; and is thought no ways inferior to any of the works of that great painter; but his chief work is his resurrection of Lazarus, in the Dussldorf gallery.

, a painter of history and portraits, possessed of very superior abilities in his art, was born at Antwerp in 1594. He first studied with Adam Van Oort, whose daughter he married at an early period of his life but it was to Rubens he stood indebted for the principal part of his knowledge; though it is dubious whether he ever was admitted into the school of that master. Certain it is, however, that he more forcibly carried into effect his principles than any of his disciples, except Vandyke. It is said by Sandrart, that Rubens was jealous of him, but this assertion is generally thought to be unfounded; yet if so great a man were capable of that mean passion, certainly the talents of Jordaens might well excite it. He painted with almost incredible force and brilliancy. Neither Rubens nor Tintoretto, in that respect, excel him; his compositions are full of bustle, and designed with great truth, even grandeur of form. His defect (and it must be allowed that it is a great one, in an art whose principal end is to adorn, to improve, to please mankind) is grossness of subject and of form; not indecent, but vulgar, low common life. His power to give rotundity and relief to his figures, is amazing; and his execution is of the most masterly kind. The French have possessed themselves of many of his principal works; two are particularly noticeable in the gallery of the Louvre, the Flemish celebration. of Twelfth night, known by the appellation of “L'e Roi boit,” and Christ driving the money-changers from the temple. He was remarkable for the rapidity of his execution, and appears to have studied his figures and effects by candle-light, or in bright sun-shine. Having obtained great renown and success, he died in 1678.

, an author of the seventeenth century, distinguished by his knowledge in history and geography, was born at Antwerp, and died there in 1640, leaving some very useful works behind him 1. “Novus Orbis,” Leyden, 1633, folio. He translated it himself into French and it was printed again at Leyden in 1640, in folio. 2. “Historia Naturalis Brasilia,” in folio, with cuts. 5. “De Regis Hispanise Regnis et Opibus,” in 8vi. 4. “Respublica Belgarum.” 5. “Gallia.” 6. “Turcici Imperii Status.” 7. “Persici Imperil Status.” The four last works are part of the little books called “Respublicse,” amounting to about forty volumes, printed by Elzevir in 24to, and treat in a general way of the climate, produce, religion, manners, civil and political government, of these several states; and have served at least as a good model for future improvements. A more considerable work employed the last years of Laet’s life; an edition of “Vitruvius,” which was printed also by Elzevir, 1649, in folio; accompanied with the notes of learned men, and pieces of other writers upon the same subject. Laet was engaged at one time in a controversy with Grotius, which gave the latter, according to Burigny, a good deal of uneasiness. The dispute was respecting the origin of the Americans, on which subject Grotius wrote with less knowledge of it than might have been expected. Laet printed his work with notes in 1643, and showed that his conjectures were illfounded, and that he had even advanced some facts which were not strictly true. Grotius answered, in a piece written without temper, entitled “Adversus obtrectatorem, opaca quern bonum facit barba,” but Laet’s positions were not to be refuted.

, an eminent artist, was born at Antwerp, in 1460, and for several years followed the trade of a blacksmith or farrier, at least till he was in his twentieth year. Authors vary in their accounts of the cause of his quitting his first occupation, and attaching himself to the art of painting, some attributing it to his falling in love with the daughter of a painter; others to the accidental sight of a piece of art. Whatever may have been his motive, it is certain that he appears to have had an uncommon talent: his manner was singular, not resembling the manner of any other master; and his pictures were strongly coloured, and carefully finished, though somewhat dry and hard. By many competent judges it was believed, when they observed the strength of expression in some of his compositions, that if he had been acquainted with the great masters of the Roman school, he would have proved one of the most eminent painters of the Low Countries. But he only imitated ordinary life, and seemed more inclined, or at least more qualified, to imitate the defects than the beauties of nature. Some historical compositions of this master deserve commendation particularly a Descent from the Cross, which is in the cathedral at A ntwerp, justly admired for the spirit, skill, and delicacy of the whole. Sir Joshua Reynolds says there are heads in this picture not excelled by Raphael. But the most remarkable and best known picture of Matsys, is that of the Two Misers in the gallery at Windsor, which has been engraved. Of this there is a duplicate at Hagley, the seat of lord Lyttleton. Matsys died in 1529, aged sixty-nine. — He had a son, John Matsys, who was born at Antwerp, and became his father’s disciple. He painted in the same style and manner, but not with a reputation equal to his father; though many of his pictures are sold to unskilful purchasers, for the paintings of Quintin. His most frequent subject was the representation of misers counting their gold, or bankers examining and weighing it, very common occurrences when Antwerp was in her glory.

a protestant historian, was born at Antwerp July 9, 1535. His father, Jacob de Meteren, was of Balda; his mother, Ortelia, was the daughter of William Ortelis, or Ortelius, of Augsburgh, grandfather of the celebrated geographer, Abraham Ortelins. He was carefully educated in the languages and sciences, and when a youth, is reported to have attempted to translate the Bible into English, which, says Bullart, made his religious principles to be suspected. His father, who had embraced the protestant religion, being obliged to take refuge in England, took this son with him, and gave him the choice of continuing his studies, or embarking in commerce. Emanuel, having preferred the latter, was sent to Antwerp, and engaged with a merchant in that city, where he continued about ten years, but his father had not the happiness to witness his progress, as he and his wife were drowned in their passage from Antwerp to London. Emanuel, during his residence at Antwerp, after this disaster, employed his leisure hours in collecting information respecting the history of the Netherlands; and having acquired the confidence of various persons of eminence in the government, he succeeded in obtaining much secret history of the times, which he published under the title of “Historia rerum potissimum in Belgio gestarum,” &c. It appears that he had sent some copies of this work in German to a friend, who was to procure engravings for it, but who caused it to be printed for his own benefit in Latin and German, yet with the name of the author, whose reputation he did not value so much as the profits of the work. Meteren, on hearing this, procured an order from the States to suppress this edition, which is dated 1599, and afterwards published it himself. He was enabled to revisit London again in the reign of James I. as consul for the Flemings. In this office he acquitted himself with spirit and ability, and wrote an ample volume of the treaties of commerce which formerly subsisted betwixt the English nation, the house of Burgundy, and the states of Holland. He died at London, April 8, 1612, and was interred in the church of St. Dionis Back-Church, Fenchurch-street, where his relict erected a monument to his memory, which was destroyed in the great fire.

, born at Antwerp, aboqt 1580, became a celebrated grammarian. His family was originally from Augsbourg. When he was only twenty-one, he published Sallust, with fragments and good notes. He then published the celebrated collection of thirty-three ancient grammarians, in 4to, at Hanau, in 1605. He was preparing other learned works, and had excited a general expectation from his knowledge and talents, when he died at Stade, in 1606, being only twenty-six years of age.

, an eminent painter, was born at Antwerp in 1607. He studied the belles-lettres and philosophy for some time; but his taste and inclination for painting forced him at length to change his pursuits. He learned his art of Rubens, and became a very good painter. History, landscape, and some architecture, were the principal objects of his application, and his learning frequently appeared in his productions. He painted several grand pictures in Antwerp, and the places thereabouts, for churches and palaces; and though he aimed at nothing more than the pleasure he took in the exercise of painting, yet when he died he left behind him a very great character for skill and merit in his art. He died in 1678, aged seventy-one. He left a son, John Erasmus Quellinus, called young Quellinus a painter whose works were esteemed, and may be seen in different parts of Flanders and a nephew, Artus Quellinus, who was an excellent artist in sculpture, and who executed the fine pieces of carved work in the town-hall at Amsterdam, engraved first by Hubert Quellinus. Young Quellinus was born in 1630, and died in 1715 and having studied at Rome, is generally thought to have surpassed his father.

, in German Sterck, an eminent Flemish philosopher and mathematician, was born at Antwerp, and first studied in the emperor Maximilian the First’s palace, and afterwards at the university of Lou vain, where he acquired the learned languages, philosophy, and the mathematical sciences. He became a public professor in that university, and taught various sciences; and in 1528 went into Germany, and taught the mathematical sciences and the Greek tongue in various seminaries of that country, and afterwards at Parig, Orleans, and Bourdeaux, and other places. He died about 1536. Among his most esteemed works were, “De Ratione Studii,” Antwerp, 1529, in which are many particulars of his own studies; various treatises on grammar; Dialectica, et Tabulae Dialectics,“Ley den, 1547;” De conscribendis Epistolis Lib.“” Rhetoricae, et quat ad earn spectant“” Sententiae“” Sphiera, sive Institutionum Astronomicarum, Lib. III.,“Basil, 1528, 8vo;” Cosmographia“” Optica“” Chaos Mathematicum“”Arithraetica" all which were collected and published at Leyden, in 1531.

He left a son Albert Rubens, who was born at Antwerp in 1614, and succeeded his father in his post as secretary to the council, devoting his leisure to literary pursuits. He died in 1657, leaving behind him many works, as monuments of his great learning and sound judgment, of which the following may be mentioned. “Regum et Imperatorum Romanorum Numismata,” which is a commentary on the medals of the duke of Arscbot: “De Re Vestiaria Veterum:” “Dissertatio de Gemma Tiberiana et Augustea de Urbibus Neocoris de natali Die Caesaris Augusti,” which were published by Graevius in the “Thesaurus Antiq. Roman.”

, the first of a family of distinguished engravers, the son of a founder and chaser, was born at Brussels in 1550. He applied early in life to drawing and engraving, and published some prints at Antwerp, which did him great honour. Encouraged by this success, he travelled over Holland that he might work under the inspection of the best masters, and found a generous benefactor in the duke of Bavaria. He went afterwards into Italy, and presented some of his prints to pope Clement VIII. but receiving only empty compliments fram that pontiff, retired to Venice, where he died 1600, in his fiftieth year, leaving a son named Juste or Justin, by whom also we have some good prints. Raphael Sadeler, John’s brother, and pupil, was born in 1555, and distinguished himself as an engraver, by the correctness of his drawings and the natural expression of his figures. He accompanied John to Rome and to Venice, and died in the latter city. Raphael engraved some plates for a work entitled “de opificio mundi,” 1617, 8vo, which is seldom found perfect. The works executed by him and John in conjunction, are, “Solitudo, sive vitas patrum eremicolarum,” 4to “Sylvse sacrae,,” “Trophaeum vitae solitaries” “ Oraculum anacboreticum,” “Solitude sive vitae feminarura anachoreticarum;” “Recueil d‘Estampes, d’apres Raphael, Titien, Carrache,” &c. amounting to more than 500 prints, in 2 vols. fol. Giles Sadeler was nephew and pupil of John and Raphael, but excelled them in correct drawing, and in the taste and neatness of his engraving. After having remained some time in Italy, he was invited into Germany by the emperor Rodolphus II. who settled a pension upon him; and Matthias and Ferdinand, this emperor’s successors, continued also to esteem and honour him. He died at Prague in 1629, aged fifty-nine, being born at Antwerp in 1570, leaving “Vestigi dell' antichita di Roma,” Rome, 1660, fol. obi. These engravers employed their talents chiefly on scripture subjects. Mark Sadeler, related to the three above mentioned, seems to have been merely the editor of th^ir works.

, an eminent topographer and antiquary, was born at Antwerp, in Sept. 1586. He was first taught Latin at Oudenarde, and pursued his classical studies at the Jesuits’ college in Ghent. He then studied philosophy at Douay, and in 1609 obtained the degree of master of arts. After some stay in his native country, he entered on a course of theology at Louvain, which he completed at Douay, and in 1619, or 1621, took the degree of doctor in that faculty. Being ordained priest, he officiated for several years in various churches in the diocese of Ghent, was remarkably zealous in the conversion of heretics, i. e. protestants, and particularly contended much with the anabaptists, who were numerous in that quarter. Having, however, rendered himself obnoxious to the Hollanders, by some services in which he was employed by the king of Spain, their resentment made him glad to enter into the service of cardinal Aiphonso de la Cueva, who was then in the Netherlands, and made him his almoner and secretary. Some time after, by the cardinal’s interest, he was made canon of Ipres (not of Tournay, as father Labbe asserts) and finally theologal of Terouanne. He died in 1664, in the seventy-eighth year of his age, at Afflingham, an abbey of Brabant in the diocese of Mechlin, and was interred there, with a pious inscription over his grave, written by himself.

, a very learned German, to whom the republic of letters has been considerably indebted, was born at Antwerp, Sept. 12, 1552; and educated at Louvain. Upon the taking and sacking of Antwerp in 1577, he retired to Douay; and, after some stay there, went to Paris, where Busbequius received him into his house, and made him partner of his studies. Two years after, he went into Spain, and was at first at Madrid; then he removed to Alcala, and then in 1580 to Toledo, where his great reputation procured him a Greek professorship. The cardinal Gaspar Quiroga, abp. of Toledo, conceived at the same time such an esteem for him, that he lodged him in his palace, and entertained him as long as he remained in that place. In 1584, he was invited to Saragossa, to teach rhetoric and the Greek language; and, two years after, entered into the society of Jesuits, and was called by the general of the order into Italy to teach rhetoric at Rome, He continued three years there., and then returned to his own country, where he spent the remainder of a long life in study and writing books. He was not only well skilled in Latin and Greek learning, but had also in him a candour and generosity seldom to be found among the men of his order. He had an earnest desire to oblige all mankind, of what religion or country soever and would freely communicate even with heretics, if the cause of letters could her served: hence protestant writers every where mention him with respect. He died at Antwerp Jan. 23, 1629, after having published a great number of books. Besides works more immediately connected with and relating to his own profession, he gave editions of, and wrote notes upon, several of the classics; among which were Aurelius Victor, Pomponius Mela, Seneca Rhetor, Cornelius Nepos, Vale* rius Flaccus, &c. He wrote the life of Francis di Borgia, and “Hispania illustrata,” 4 vols. folio, hut there are reasons for doubting whether the “Bibliotheca Hispana,” $ vols. in one, 4to, was a publication of his own; it seems rather to have been compiled from his Mss. He published, however, an edition of Basil’s works, and is said to have translated Photius; but this has been thought to be so much below the abilities and learning of Schott, that some have questioned his having been the author of it.

, an eminent painter, was born at Antwerp in 1.589. Under the instructions of Henry van Balen, and Abraham Janssens, he had made considerable progress in the art before he went to Italy. On his arrival at Rome, he became the disciple of Bartolommeo Manfredi; and from him adopted a taste for the vigorous style of Michael Angelo Caravaggio, to which he added somewhat of the tone and colour he had brought with him from his native country; producing the powerful effect of candle-light, though often falsely applied in subjects which appertain to the milder illumination of the day. He at length accepted the invitation of cardinal Zapara, the Spanish ambassador at Rome, to accompany him to Madjrid, where he was presented to the king, and was engaged in his service, with a considerable pension. After some years he returned to Flanders, and his fellow-citizens were impatient to possess some of his productions; but they who had been accustomed to the style of Rubens and Vandyke, were unable to yield him that praise to which he had been accustomed, and he was obliged to change his manner, which he appears to have done with facility and advantage, as many of his latter pictures bear evident testimony. His most esteemed productions are, the principal altar-piece in the church of the Carmelites at Antwerp, the subject of which is the marriage of the virgin; and the adoration of the magi, the altar-piece in the cathedral of Bruges. The former is much after the manner of Rubens. Vandyke painted his portrait among the eminent artists of his country, which is engraved by Pontius. He died in 1651, aged sixty-two. His son Daniel, who was born at Antwerp in 1590, was a painter of fruit and flowers, which he, being a Jesuit, executed at his convent at Rome. He appears, indeed, to have painted more for the benefit of the society to which he had attached himself, than for his private advantage: and when he had produced his most celebrated picture, at the command of the prince of Orange, it was presented to that monarch in the name of the society, which was munificently recompensed in return. He frequently painted garlands of flowers, as borders for pictures, which were filled up with historical subjects by the first painters. He died at Antwerp in 1660, aged seventy.

, a Flemish painter, was born at Antwerp in 1579, and bred up under his countryman Henry Van Balen. His genius first displayed itself only in painting fruit. He afterwards attempted animals, hunting, fish, &c. in which kind of study he succeeded so greatly, as to surpass all that went before him. Snyders’s inclination led him to visit Italy, where he stayed some time, and improved himself considerably. Upon his return to Flanders, he fixed his abode at Brussels: he was made painter to Ferdinand and Isabella, archduke and duchess, and became attached to the house of the cardinal Infant of Spain. The grand compositions of battles and huntings, which he executed for the king of Spain, and the arch-duke Leopold William, deserve the highest commendation: and besides hunting-pieces, he painted kitchens, &c. and gave dignity to subjects that seemed incapable of it; but his works, sir Joshua Reynolds observes, “from their subjects, their size, and we may add, their being so common, seem to be better suited to a hall or ante-room, than any other place.” He died in 1657. Rubens used to co-operate with this painter, and took a pleasure in assisting him, when his pictures required large figures. Snyders has engraved a book of animals of sixteen leaves, great and small.

, a German painter, was the son of a merchant, and born at Antwerp in 1546. He was brought up under variety of masters, and then went to Rome, where cardinal Farnese took him into his service, and afterwards recommended him to pope Pius V. He was employed at Belvidere, and spent thirty-eight months in drawing the picture of “The Day of Judgment;” which picture is said to be still ovtr that pope’s tomb. While he was working upon it, Vasari told his holiness that “whatever Sprangher did was so much time lost;” yet the pope commanded him to go on. After a great number of pictures done in several parts of Rome, he returned to Germany, and became chief painter to the emperor Maximilian II. and was so much respected by his successor Rodolphus, that he presented him with a gold chain and medal, allowed him a pension, honoured him and his posterity with the title of nobility, lodged him in his own palace, and would not suffer him to paint for any body but himself. After many years continuance in his court, he obtained leave to visit his own country; and accordingly went to Antwerp, Amsterdam, Haerlem, and several other places; and having had the satisfaction of seeing his own works highly admired, and his manner almost universally followed in all those parts, as well as in Germany, he returned to Prague, and died at a good old age, in 1623. Fuseli says that Sprangher may be considered as the head of that series of artists who, disgusted by the exility and minuteness of method then reigning in Germany, imported from the schools of Florence, Venice, and Lombardy, that mixed style which marks all the performances executed for the courts of Prague, Vienna, and Munich, bv himself, John ab Ach, Joseph Heinz, Christopher Schwartz, &c. Colour and breadth excepted, it was a style more conspicuous for Italian blemishes than beauties, and in design, expression, and composition, soon deviated to the most outrageous manner.

, a Flemish historian and antiquary, was born at Antwerp in 1567. We have no particulars of his literary progress, but a general character that he was a man of science and learning, of an amiable disposition, and occasionally a wit, a poet, and a man of business. He devoted much of his time to study, and published a great many works which brought him considerable reputation. Saxius says he does not know whother he married or lived single, nor, he acids, “is it of much importance. This, I know, that he does not speak very respectfully of the ladies and their company. He says of Janus Dousa, the father, that when he returned home, he married that necessary evil, a icife” Whatever reason Swert had for using this expression, Saxius might have known from Valerius Andreas, or from Foppen, that he married Susanna Van Erp, and had a family of six children. He died at Antwerp in 1629, aged sixty- two.

, a landscape painter, was born at Antwerp, about 1630, and brought up in that city under his father. He was a close imitator of nature in all his landscapes; and in his younger days went upon the Rhine and other adjacent places, where he drew several pleasant views in water-colours. Having spent more of his life in that way, than in painting, his drawings were more valued than his pictures. The duke of Buckingham, passing through the Netherlands, in his way home from his embassy into France, stayed some time at Antwerp; where, meeting with some of this master’s works, he was so well pleased with them, that he invited him over to England, and employed him at Cliefden. Sybrecht continued in his service three or four years, and then worked for the nobility and gentry of England, continuing in vogue a long time. He drew several sorts of cattle remarkably well, and usually contrived to place some of them in his landscapes. He died in London about 1703, and was buried in St. James’s church. There are some of his pictures at Newstede-abbey, lord Byron’s, and in other houses belonging to the nobility. In 1686 he made several views of Chatsvvorth.

, a Flemish painter, was born at Antwerp, in 1582, and received the first rudiments of his art from the famous Rubens, who considered him, at length, as his most deserving scholar. On leaving Rubens, he began to be much employed; and, in a little time, was in a condition to take a journey to Italy. At Rome he fixed himself with Adam Elsheimer, who was then in great vogue; of whose manner he became a thorough master, without neglecting at the same time the study of other great masters, and eiKleavouring to penetrate into the deepest mysteries of their practice. An abode of ten years in Italy enabled him to become one of the first in his style of painting; and a happy union in the schools of Rubens and Elsheimer formed in him a manner as agreeable as diverting. When Teniers returned to his own country, he entirely employed himself in painting small pictures, filled with figures of persons drinking, chemists, fairs, and merrymakings, with a number of country men and women. He spread so much taste and truth through his pictures, that few painters have ever produced a juster effect. The demand for them was universal; and even his master Rubens thought them an ornament to his cabinet, which was as high a compliment as could be paid them. Teniers drew his own character in his pictures, and in all his subjects every thing tends to joy and pleasure. He was always employed in copying after nature, whatsoever presented itself; and he accustomed his two sons to follow his example, and to paint nothing but from that infallible model, by which means they both became excellent painters. These are the only disciples we know of this David Tenters, styled the elder, who died at Antwerp in 1649, aged sixty-seven.

, son of the preceding, was born at Antwerp in 1610, and was nick-named “The Ape of Painting;” for there was no manner of painting that he could not imitate so exactly, as to deceive even the nicest judges. He improved greatly on the talents and merit of his father, and his reputation introduced him to the favour of the great. The archduke Leopold William made him gentleman of his bedchamber; and all the pictures of his gallery were copied by Teniers, and engraved by his direction. Teniers took a voyage to England, to buy several pictures of the great Italian masters for count Fuensaldegna, who, on his return, heaped favours on him. Don John of Austria, and the king of Spain, set so great a value on his pictures, that they built a gallery on purpose for them. Prince William of Orange honoured him with his friendship; Rubens esteemed his works, and assisted him with his advice. In his thirty* fifth year he was in his zenith of perfection. His principal talent was landscape, adorned with small figures. He painted men drinking and smoking, chemists, and their laboratories, country fairs, and the like: his small figures are superior to his large ones. The distinction between the works of the father and the son is, that in the son’s you discover a finer touch and a fresher pencil, and a greater choice of attitudes, and a better disposition of figures. The father retained something of the tone of Italy in his colouring, which was stronger than the son’s, but his pictures have Jess harmony and union; besides, the son used to put at the bottom of his pictures, “David Teniers, junior.” He died at Antwerp in 1694, aged eighty-four. Sir Joshua Reynolds says, that the works of this artist are worthy the closest attention of a painter who desires to excel in the mechanical knowledge of his art. His manner of touching, or what we call handling, has perhaps never been equalled: there is in his pictures that exact mixture of softness and sharpness, which is difficult to execute. His brother Abraham was a good painter; equal, if not superior, to his father and brother in the expression of his characters, and knowledge of the chiaro-scnro, though inferior in the sprightliness of his touch, and the lightness of his pencil.

, a landscape-painter, who has left works that sustain their character even in capital collections, was born at Antwerp about 1684, and made himself a painter^ though he studied under very indifferent masters. In 1708, he was brought to England, with his brother-in-law, Casteels, by one Turner, a dealer in pictures, and was employed by him in copying Bourgognon and other masters, in which he succeeded admirably, particularly Teniers, of whom he preserved all the freedom and spirit. He generally painted landscapes with small figures, sea-ports and views, but when he came to be known, he was patronized by several men of quality, and drew views of their seats, huntings, races, and horses in perfection. In this way he was much employed, both in the west and north of England, and in Wales, and drew many prospects for Bridges’s History of Northamptonshire. The duke of Devonshire, in whose collection is a fine view of Chatsworth by Tillemans, and lord Byron, were his chief patrons. He also instructed the latter in his art, who did great credit to his master. After labouring many years under an asthma, for which he chiefly resided at Richmond, he died at Norton in Suffolk, Dec. 5, 1734, and was buried in the church of Stow-Langtoft.

, a most illustrious portraitpainter, whose works, lord Orford remarks, are so frequent in England, that the generality of our people can scarcely avoid thinking him their countryman, was born at Antwerp, March 22, 1598-9. His father was a merchant, and his mother, Cornelia Kersboom, was an admired flower-painter. He was first placed with Van Balen, who had studied at Rome, but afterwards with Rubens, under whom he made such progress as to be able to assist in the works from which he learned. While at this excellent school, the following anecdote is told of him: Rubens having left a picture unfinished one night, and going out contrary to custom, his scholars took the opportunity of sporting about the room; when one, more unfortunate than the rest, striking at his companion with a maul-stick^ chanced to throw down the picture, which not being dry acquired some damage. Vandyck, being at work in the next room, was prevailed on to repair the mischief; and when Rubens came next morning to his work, first going at a distance to view his picture, as is usual with painters, and having contemplated it a little, he cried out suddenly, that he liked the piece far better than he did the night before.

, an eminent landscape-painter, was born at Antwerp in 1595, and learned the art of painting from his father; but he derived his chief excellence from a diligent observation of nature. Every hour that was not employed at his easel was spent abroad in the fields, where he noticed, with curious exactness, the variety of appearances perpetually occurring from the dawn to the evening over the face of nature. He watched the different effects of light on different objects, nor suffered any incident to escape his observation. His pictures are agreeably pencilled, and the distant objects in particular delicately touched. So perfectly was his style of colouring suited to that of Rubens, that this great painter often had recourse to him in finishing the back-grounds of his pictures, particularly when they consisted of landscape. Strange engraved two of these, in which the figures are by Rubens. There are also several etchings by Vanuden, in a spirited and masterly style, and among them a set of landscapes, small plates, length-ways, inscribed “Lucas Vanuden pinx. inv. et fee.” He died about 1663. He had a brother, Jacques Vanuden, also a painter, and in his manner, but far inferior to Lucas.

, a Flemish painter of the sixteenth century, was born at Antwerp in 1520, and was first entered in his profession under his father. Having made himself somewhat eminent in Flanders, he travelled to Venice, Home, and Florence, where he made a collection of curious drawings of several sorts of vases made use of by the old Greeks and Romans at their entertainments, funerals, and sacrifices. At his return into Flanders he painted some of these old festival-solemnities, in which the disposition and lively representation of these vases were very ornamental to his performance. He excelled in most branches of the art, but his drawings in particular, were reckoned some of the best and most serviceable for beginners. His colouring was strong and lively; his design natural and free, and his disposition judicious. He had so much fame in his profession, that, when the prince of Parma made himself master of Antwerp, he made De Vos a visit, and sat to him. He died at Antwerp in 1604, being eighty-four years of age.

There was a Simon de Vos, born at Antwerp in 1603, who painted history equally well in large and in small sizes, with a free pencil, and a touch light and firm; his colouring being in general lively and agreeable, produced a good effect. His figures were well designed, although sometimes a little too much constrained in the attitudes; and he often wanted elegance and dignity in his ideas, as well as grace in the airs of his figures. But he shewed extraordinary force and nature in his pictures of the chase; and one of his compositions in that style is in the cabinet of the Elector Palatine. Houbraken says that Simon de Vos was alive in. 1662. At Antwerp, there is a picture by him of St. Norbert receiving the sacrament, in v.hich are introduced a great number of portraits extremely well painted. De Vos, sir Joshua Reynolds remarks, particularly excelled in portraits. In the poor-house at Antwerp, there was, when sir Joshua visited it, his own portrait by himself, in black, leaning on the back of a chair, with a scroll of blue paper in his hand, so highly finished, in the broad manner of Corregio, that nothing could exceed it.