lections in Holland and Germany. He painted various subjects besides history, and it is apprehended that the similarity of names has caused some confusion in accounts of cabinet pictures by this artist and the scholar and imitator of Poelemburg. The Jan van Lys now noticed, died of the plague at Venice in 1629.

MAAS, or MAES, GODFREY, born at Antwerp in 1660, was the son and pupil of a painter of no repute, but the splendid examples of Rubens, Van Dyck, and other masters of the Flemish school, by which he was surrounded, awakened in the young student a desire to excel, and furnished him with lessons by which that desire might be accomplished. By assiduous application he became one of the most celebrated historical painters of his time. The churches in the Netherlands bear ample testimony of his ability; but it is at Antwerp he is seen to the greatest advantage. In the cathedral is the Death of St. Lucie; in the church of St. George, the Martyrdom of that saint; and in the church of the hospital, an Assumption of the Virgin, painted in the grand style of Rubens. His compositions are copious, his design more correct than is usual with the generality of his countrymen, and his colouring excellent. It is supposed that he died about 1722.

Very

MABUSE, JAN DE. See Early Flemish and Dutch Masters. MANDER, KArl van. See Vanmander. MARIENHOF, A- was born at Gorcum in 1650. little is known of him, except as a copyist of Rubens, Rembrandt, and other eminent masters, and in some instances he succeeded most happily. These copies are of the cabinet size, as are others that are more imitations than copies of the manner of Rubens. He died young, but the date is uncertain.

MIEL, JAN, (called also Bicker, and by the Italians Giovanni della Vite,) was born at a village near Antwerp in 1599. He was a scholar of Gerard Seghers. He afterwards went to Rome and attached himself to Andrea Sacchi; disagreeing with him, he visited Bologna and Parma to study the works of the Caracci and Correggio. He again returned to Rome an accomplished painter, and was employed by the pope on several pictures of importance, in which he showed himself capable of treating historical subjects with dignity, though

his inclination was more for the familiar scenes of Bamboccio and Michael Angelo delle Battaglie. He was patronized by Charles Emanuel, Duke of Savoy, who conferred on him the honour of knighthood. He died at Turin in 1664.

See Exteriors, Fairs and Market-places.

MINNEBROER, FRANZ, flourished at Malines about 1540. He painted some pictures for the churches there that are considered remarkable productions.

MOL, PETER VAN, a scholar of Rubens, was born at Antwerp in 1580. He painted subjects for the churches in Flanders, and had considerable reputation in his day. The colouring is perhaps the best part of his pictures; in many other respects they are coarse imitations of Rubens. He died at Paris in 1650.

See Scholars of Rubens.

MOSTAERT, JAN, born at Haerlem in 1499, painted historical pictures in the churches and public edifices of that city, but of which little or nothing is now known. Two celebrated pieces by him were at the Hague; they represented Abraham and Sarah, and Hagar and Ismael. His most esteemed production was a feast of the heathen gods, which was a favourite subject with the painters of Haerlem at the period when he flourished. He went to Spain, where he died in 1555.

NECK, JAN VAN, born at Naarden in 1636, was a scholar of Jacob de Backer, whose style he followed. He painted scriptural subjects, one of which in the French Church at Amsterdam is finely composed, and correctly drawn. He was, perhaps, more successful in fabulous subjects, such as Bacchanalian revels, but these are now not much regarded, though he exhibits considerable taste, and a perfect knowledge of the nude in the female forms. He died at Amsterdam in 1714.

See Portrait Painters.

OORT, ADAM VAN, born at Antwerp in 1557, would have been the greatest historical painter of his time, according to Rubens, if he had visited Rome and been more temperate in his habits. As it was, he reached an elevated rank among the artists of his country. He was employed in several of the churches and public edifices in Flanders, and his early pictures were studied and his drawing tolerably correct. He

X

opened a school of painting, and numbered Rubens, Jordaens, Franck, and Van Balen among his scholars; but his brutal behaviour caused all of them to leave him, with the exception of Jordaens, who married his daughter. The honour of having had such scholars has perhaps perpetuated the name of Van Oort longer than the merit of his works. His love of the art and his ability to execute diminished as his intemperance increased, and his latter pictures were the productions of negligence and manner. He died at Antwerp

in 1641.

Oost, Jacob van, the Elder, was born at Bruges about 1600; it is not known from whom he received his first instruction in the art, but at the age of twenty-one he painted for one of the churches of his native city, an altar which excited the surprise and admiration of contemporary artists. This success induced him to go to Italy to study the works of Annibal Caracci, by which he considerably improved his style both in design and composition. After an absence of five years he returned to his own country, and was immediately fully employed in painting for churches and private collections. The number of altar-pieces he produced is immense. To the design of the Caracci school he added the colouring of Rubens and Van Dyck, by which his works are particularly distinguished. His compositions are studied and simple; he avoided crowding them with figures unessential to his subjects. The back-grounds of his pictures are frequently embellished with architecture, which he perfectly understood. His easel pictures are rare, but his sketches are sometimes met with under the name of Rubens. He continued to reside at Bruges, where some of his altar-pieces are to be seen, and died there in 1671.

OOST, JACOB VAN, the Younger, was born at Bruges in 1637, and was instructed by his father. After the age of twenty he went to Rome, and remained there several years. He returned to Flanders an accomplished designer, and painted several pictures for the churches at Bruges; he then established himself at Lisle, where are the greater part of his works. Two of his best compositions are, the Martyrdom of St. Barbara in the church of St. Stephen, and the Transfiguration in that of St. Saviour, in the same city. His subjects from history are admirably composed, and his design partakes more of the

Roman than the Flemish school. As a colourist he has been compared with Van Dyck, but this must be confined to his portraits. He died in 1713.

OPSTAL, GASPAR JACQUES VAN, born at Antwerp in 1660, copied the Descent from the Cross by Rubens, and also the wings, which, it is said, he did with great ability. There was also a picture by him at St. Omer, representing the Doctors of the Church. He also painted portraits.

ORLEY, BERNARD VAN. See Early Flemish Masters.

ORLEY, RICHARD VAN, born at Brussels in 1652, painted historical subjects of a small size, which in composition and design are more in the Italian than Flemish style. He is better known as an engraver than as a painter. He died in 1732..

ORLEY, JAN VAN, born at Brussels in 1656, painted several pictures for churches at Brussels and Asch, and some of the monasteries in the neighbourhood; that in the refectory of the abbey of Dillighem, the Adoration of the Magi, is considered his best. He died in 1740.

PEPIN, or PEPYN, MARTIN, was born at Antwerp in 1574. It is not said under whom he first studied, but he went to Italy when young and remained there several years. It is said that he distinguished himself by his extraordinary ability as an historical painter, to such a degree as to cause some uneasiness to Rubens; an assertion that may be received for what it is worth. Pepin was a good artist; in the church of the hospital at Antwerp are two altar-pieces by him, one representing the Baptism of St. Augustine, and other circumstances relating to that Saint, and the other the Charities of St. Elisabeth, with her death and ascension to heaven. The compositions are ingenious, the drawing correct and in a grand style, and the colouring remarkably good. These two are the best works of Martin Pepin, on a large scale, that he painted in Flanders; the greater part of his productions are in Italy, and they are said to be of a still more elevated character than those he produced in his own country. It is supposed that he died in 1641.

PINAS, JAN. There is very little certainty respecting the historical works of this master, as what is attributed to him by one writer is by another said to be by his brother Jacob, or by the two conjointly. He went to Italy in company with

Peter Lastman, but whether as his master or scholar is not clear; their style of painting has affinity both in design and colouring. Lastman has the credit of being the master of Rembrandt, and so has Pinas, and it is said that in his early pictures Rembrandt imitated both. The matter must be left in the same state of uncertainty till a picture appears with the name of either, and also a date, to settle the question as to which the credit is due. In 1623, a landscape with the story of Salmacis and Hermaphroditus, by Jan Pinas, was engraved by Magdalen Passe, which shows that he was then eminent.

PORBUS, or POURBUS, PETER, was born at Gouda either in 1510 or 1513. He was an architect as well as a painter. He married the daughter of Lansloot Blondeel, and like him, it is said, marked all his pictures with a trowel, to show that he was not ashamed of his original profession, that of a He established himself at Bruges, and painted several altar-pieces for the churches there, some of which are still preserved. Michiel gives a description of about fifty pictures by Peter Porbus in different places. There were three by him in the private collection of the late king of Holland. He died in 1584. See Portrait Painters.

mason.

PORBUS, or POURBUS, FRANCIS, the Elder, was the son of Peter Porbus, and born at Bruges in 1540. He received his first instructions in art from his father, and studied afterwards under Francis Floris. He painted history, portraits, landscapes, and animals. He resided chiefly at Antwerp, and there are several of his pictures in the churches of that city. His colouring is clear and chaste, but retains something of the dry manner of his predecessors. His greater excellence is in portraiture, and some of his compositions contain not only the portraits of his employers, but of some of his especial friends. He died in 1580. See Portrait

Painters.

PORBUS, or POURBUS, FRANCIS, the Younger, was born at Antwerp in 1570. After receiving some instruction at home, he left with the intention of visiting Italy, but meeting with great patronage at Paris, he continued there for the rest of his life. He painted several pictures for the churches, in some of which there is grandeur and simplicity, correctness in the design, and rich colouring. His chief occupation,