(Francis), the Old, a justly celebrated painter, was born at Leyden in 1635; and was at first placed under the direction of Abraham Toome Vliet, one of the best designers of the Low Countries, and afterwards entered himself as a disciple with Gerard Douw. In a short time he far surpassed all his companions, and was by his master called the prince of his disciples. His manner of painting silks, velvets, stuffs, or carpets, was so singular, that the different kinds and fabric of any of them might easily be distinguished. His pictures are rarely to be seen, and as rarely to be sold; and when they are, the purchase is extremely high, their intrinsic value being so incontestably great. Before portraits, his general subjects were conversations, persons performing on musical instruments, patients attended by the apothecary or doctor, chimney sweeps, workmen, shopkeepers, and such like; and the usual valuation he set on his pictures was estimated at the rate of a ducat an hour. The finest portrait of this master's hand is that which he painted for the wife of Cornelius Plaats, which is said to be still preserved in the family, although very great sums have been offered for it. In the possession of the same gentleman was another picture of Mieris, representing a lady fainting, and a physician applying the remedies to relieve her. For that performance he was paid (at his usual rate of a ducat an hour) so much money as amounted to fifteen hundred florins when the picture was finished. The grand duke of Tuscany wished to purchase it, and offered three thousand florins for it, but the offer was not accepted. However, that prince procured several of his pictures, and they are at this day an ornament to the Florentine collection. One of the most curious of them is a girl holding a candle in her hand, and it is accounted inestimable. This painter died in 1681.

(John), son of the former, was born at Leyden in 1660, and learned the art of painting from his father. The young artist unhappily was severely afflicted with the gravel and stone; and by those complaints was much hindered in the progress of his studies. But, after the death of his father, he travelled to Germany, and from thence to Florence, where the fame of his father's merit procured him a most honourable reception from the grand duke, who, when he saw some of his paintings, endeavoured to retain him in his service. But Mieris politely declined it, and proceeded to Rome, where his great abilities were well known before his arrival, and his works were exceedingly coveted. In that city his malady increased; yet at the intervals of ease he continued to work with his usual application, till the violence of his distemper ended his days in 1690, when he was only thirty years old. He was allowed to have been as eminent for painting in a large size as his father had been for his works in small.

(William), called the Young Mieris, was brother to the former, and born at Leyden in 1662. During the life of his father, he made a remarkable progress; but, by being deprived of his director when he was only arrived at the age of nineteen, he had recourse to nature, as the most instructive guide; and by studying with diligence and judgment to imitate her, he approached near to the merit of his father. MIG

Art he took his subjects from private life, in the manner of Francis; such as tradesmen in their shops, or a peasant selling vegetables and fruit, and sometimes a woman looking out at a window; all which he copied minutely after nature, nor did he paint a single object without his model. As Mieris had observed the compositions of Gerard Laireffe, and other great historical painters, with singular delight, he attempted to design subjects in that style; and began with the story of Rinaldo sleeping on the lap of Armida, surrounded with the loves and graces, the fore-ground being enriched with plants and flowers; a work which added greatly to his fame, and was sold for a very high price. This master also painted landscapes and animals with equal truth and neatness; and modelled in clay and wax, in so sharp and accurate a manner, that he might justly be ranked among the most eminent sculptors. In the delicate finishing of his works, he imitated his father; as he likewise did in the lustre, harmony, and truth, of his paintings, which makes them to be almost as highly prized; but they are not equal in respect of design, or of the striking effect, nor is his touch so very exquisite as that of the father. The works of the old Mieris are better composed, the figures are better grouped, and they have less confusion; yet the younger Mieris is acknowledged to be an artist of extraordinary merit, although inferior to him, who had scarcely his equal. He died in 1747.

Mieris (Francis), called the Young Francis, was the son of William, and the grandson of the celebrated Francis Mieris; and was born at Leyden in 1680. He learned the art of painting from his father, whose manner and style he always imitated; he chose the same subjects, and endeavoured to resemble him in his colouring and pencil. But with all his industry he proved far inferior to him; and most of those pictures which at the public sales are said to be of the young Mieris, and many also in private collections ascribed to the elder Francis, or William, are perhaps originally painted by this master, who was far inferior to both; or are only his copies after the works of those excellent painters, as he spent abundance of his time in copying their performances.