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commonly called Young Francks, the son of the preceding, and of both

, commonly called Young Francks, the son of the preceding, and of both his names, was born in 1580, and instructed in the art of painting by his father, whose style and manner he imitated in a large and small size; but when he found himself sufficiently skilled to be capable of improvement by travel, he went to Venice, and there perfected his knowledge of colouring, by studying and copying the works of those artists who were most eminent. But it seems extraordinary that a painter so capable of great things in his profession, should devote his pencil to the representation of carnivals and other subjects of that kind, preferably to historical subjects of a much higher rank, which might have procured for him abundantly more honour. At his return, however, to Flanders, his works were greatly admired and coveted, being superior to those of his father in many respects; his colouring was more clear, his pencil more delicate, his designs had somewhat more of elegance, and his expression was much better. The taste of composition was the same in both, and they seemed to have the same ideas, and the same defects’, multiplying too many historical incidents into one subject, and representing a series of actions, rather than one principal action or event. The subjects of both painters were usually taken from the Old and New Testament, and also from the Roman history (except the subjects of young Francks while he continued in Italy); and it might have been wished that each of them had observed more order and propriety in the disposition of their subjects.