(Abraham), history-painter, was born at Antwerp in 1569. He was contemporary with Rubens, and also his competitor, and in many of the finest parts of the art was accounted not inferior to that celebrated master. It is reported, that having waited his time and his substance by a life of dissipation and pleasure, and falling into necessitous circumstances, which he imputed more to ill fortune than to his own neglect of his business, he grew envious at the grandeur in which Rubens appeared, and impatient at his merit and success; and with peevish insolence challenged him to paint a picture with him only for fame, which he was willing to submit to impartial judges. But Rubens rejected the proposal, answering with modesty, that he freely submitted to him, and the world would certainly do justice to them both.

Sandrart, who had seen several of his works, assures us, that he not only gave a fine roundness and relief to his figures, but also such a warmth and clearness to the carnations, that they had all the look of real flesh; and his colouring was as durable as it was beautiful, retaining its original lustre for a number of years. His most capital performance is said to be a resurrection of Lazarus, which is in the cabinet of the elector Palatine, and is an object of admiration to all who behold it.

(Victor Honorius), history-painter, was born at Brussels in 1664, and was a disciple of one Volders, under whose direction he continued for seven years; in which time he gave many proofs of a genius far superior to those who were instructed in the same school. He afterwards went to Rome, where he attended particularly to the works of Raphael; he designed after the antiques, and sketched the beautiful scenes around that city; and in a short time his paintings rose in esteem, and the principal nobility of Rome were desirous to employ him. He associated with Tempesta, the celebrated landscape painter, for several years, and painted the figures in the works of that great master as long as they resided together.

Janssens composed historical subjects, both in a small and a large size; but he found the demand for his small pictures so considerable, that he was induced to paint most frequently in that size. During 11 years he continued at Rome, which barely sufficed for his finishing those pictures for which he was engaged; nor could he have been even then at his liberty, had he not limited himself to a number, and determined not to undertake more.—Returning to Brussels, his performances were as much admired there as they had before been in Italy; but having married, and gradually become the father of 11 children, he was compelled to change his manner of painting in small, and to undertake only those of the large kind, as being more lucrative, more expeditious, and also more agreeable to his genius and inclination. He adorned most of the churches and palaces of his own country with his compositions.—The invention of this artist was fruitful; he designed correctly, his colouring is natural and pleasing, his pencil free, and the airs of his heads have beauty and elegance. As to the difference between his large and small paintings, it is observed, that in correctness and taste they had an equal degree of merit; but the colouring of the former appears more raw and cold than the colouring of the latter; and it is agreed, that for small historical pictures, he was preferable to all the painters of his time.