Miel, Jan, called Giovanni della Vite, a most eminent painter, was born in Flanders in 1599. He was at first a disciple of Gerard Seghers, in whose school he made a distinguished figure; but he quitted that art, and went to Italy, to improve himself in design, and to obtain a more extensive knowledge of the several branches of his art. At Rome he particularly studied and copied the works of the Caracci and Correggio; and was admitted into the academy of Andrea Sacchi, where he gave such evident proofs of extraordinary merit and genius, that he was invited by Andrea to assist him in a grand design which he had already begun. But Miel, through some disgust, rejected those elevated subjects which at first had engaged his attention, refused the friendly proposal of Sacchi, and chose to imitate the style of Bamboccio, as having more of that nature which pleased his own imagination. His general subjects were huntings, car- nivals, gypsies, beggars, pastoral scenes, and conversations; of those he composed his easel pictures, which are the finest of his performances. But he also painted history in a large size in fresco, and in oil; which, though they seem to want elevation of design, and a greater degree of grace in the heads, yet appear superior to what might be expected from a painter of such low subjects as he generally was fond of representing. His pictures of huntings are particularly admired; the figures and animals of every species being designed with uncommon spirit, nature, and truth. The transparency of his colouring, and the clear tints of his skies, enlivens his compositions; nor are his paintings in any degree inferior to those of Bamboccio either in their force or lustre. His large works are not so much to be commended for the goodness of the design as for the expression and colouring; but it is in his small pieces that the pencil of Miel appears in its greatest delicacy and beauty. The singular merit of this master recommended him to the favour of Charles Emmanuel duke of Savoy, who invited him to his court, where he appointed Miel his principal painter, and afterwards honoured him with the order of St Mauritius, and made him a present of a cross set with diamonds of great value, as a particular mark of his esteem. He died in 1664.

Mieris, Francis, the Old, a justly celebrated painter, was born at Leyden in 1635; and was at first placed under the direction of Abraham Toorne Vilet, 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 Mieris 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. Besides portraits, his general subjects were conversations, persons performing on musical instruments, patients attended by the apothecary or doctor, chemists at work, mercers shops, 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 Piats, 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.

Mieris, William, called the Young Mieris, was son of 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 judgement to imitate her, he approached near to the merit of his father. At first 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 Lairesse, 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 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 1689. 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.