(Caspar de), was born at Antwerp in 1585, and was a disciple of Raphael Coxius, the son of that Coxius who had studied under Raphael; but he soon showed such proofs of genius, and of an elevated capacity, that he far surpassed his master, and therefore quitted him. Afterwards he made judicious observations on the particular excellencies of the most renowned masters to which he had any access; and taking nature for his constant director and guide, he formed for himself a manner that was exceedingly pleasing. The first work which established him in the favour of the court at Brussels, was a portrait of Cardinal Ferdinand, brother to the King of Spain, which he painted at full length, and as large as life. In that picture he succeeded so happily, that it was sent to Madrid, and received there with such concurrent approbation of the king and the whole court, that it laid the foundation of the fame and fortune of Crayer. For the king, as an acknowledgment of the painter's merit, sent him a gold chain with a medal; and added, as a farther instance of his favour, an appointment for a considerable pension. But nothing places the talents of Crayer in a stronger light, than the testimony of so excellent an artist as Rubens. That great man went to Antwerp particularly to visit Crayer, and to see his work; and after examining attentively a picture of his painting, in the refectory of the abbey of Afflegem, he publicly declared that no painter could surpass Crayer. Nor was this matter less distinguished by Van Dyck, who always expressed a real esteem and friendship for him, and painted his portrait. He had somewhat less fire in his compositions than Rubens, but his design is frequently more correct. His composition generally consisted of a small number of figures; and with discreet judgment, he avoided the encumbering his design with superfluous particulars, or loading his subject with anything that seemed not to contribute to its elegance or probability. He grouped his figures with singular 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 as to his colouring, it is admirable. Of all his contemporary painters, he was accounted to approach nearest to Van Dyck, 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 constant regularity preserved to him the full use of all his faculties; and to the last month of his life his pencil retained the same force and freedom which it possessed in his most vigorous time. The subject of that picture which was so honoured by the approbation of Rubens is the Centurion alighting from his horse to prostrate himself at the feet of our Saviour. It is a capital design of Crayer; and although it consists of a great number of figures, the harmony and union are well preserved.