LEONARD, history-painter, was born at Delft in 1596; but learned the art of painting in the school of Rembrandt, and imitated the manner of his master in small. In the 18th year of his age he went to Rome for his improvement; but although he continued in Italy for some years, and acquired somewhat in his style rather more graceful than Rembrandt, yet he could never divest himself of the Flemish gout. Pilkington. He had a fine taste of design; his expression is generally good, and in some of his compositions truly noble. His pencil is delicate, and his colouring very peculiar in the tints, being also remarkably thin in many parts, so as barely to cover the panel; yet, by great skill in the management of the chiaro-scuro, his colouring is bright, bold, and full of lustre; particularly in the vases, which he was fond of introducing in every subject that could admit them, as he knew how to give them a rich and fine relish. He had accustomed himself to paint with a very thin body of colour, especially in the browns and shadowy parts, in order to give his pictures a greater transparency. At Venice, Naples, Florence, Mantua, and other cities of Italy, as well as at Rome, he left many proofs of his extraordinary merit, which rendered his name deservedly famous; and his works are rarely to be met with out of Italy, where he painted most; but whenever they are to be purchased they are bought at considerable prices, if they are entire and undamaged. One of the most capital pictures of Bramer is the Raising of Lazarus, in which there is a charming opposition of light and shadow; and another is the Denial of St Peter: They are both painted in his best manner; they are bright, transparent, and finely penciled, and are still preserved at Rome. Likewise at the palace of Rytwick, there are several valuable paintings by this master; in which the invention and execution are highly commendable. But none of his works can be more admired than a small picture on copper representing the story of Pyramus and Thisbe.