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 wasted 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 the 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 Brussel 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 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 Janssens, he continued at Rome, which barely sufficed for his finishing those pictures for which he was engaged; nor could he have even then been at his liberty, had he not limited himself to a number, and determined not to undertake more.—Returning to Brussel, 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 expeditions, 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.

JANSEN, CORNELIUS, called Johnson, an eminent painter of portraits, was born at Amsterdam (though in the Chronological tables, and in Sandrart, it is improperly asserted that he was born in London), and he resided in England for several years; where he was engaged in the service of King James I. and painted several excellent portraits of that monarch, as also of his children and of the principal nobility of his court. He had not the freedom of hand, nor the grace of Van Dyck; but in other respects he was accounted his equal, and in the finishing his pictures superior. His paintings are easily distinguished by their smooth, clear, and delicate tints, and by that character of truth and nature with which they are strongly marked. He generally painted on board; and, for the most part, his draperies are black; probably because the opposition of that tint made his flesh colours appear more beautifully bright, especially in his female figures. It is said that he used a quantity of ultramarine in the black colours, as well as in his carnations; which may be one great cause of their preserving their original lustre even to this day. Frequently he painted in a small size in oil, and often copied his own works in that manner. His fame began to be somewhat obscured, on the arrival of Van Dyck in England; and the civil war breaking out some time after, induced him to return to his own country, where his paintings were in the highest esteem. He died in 1685.

ST JANUARIUS, the patron saint of Naples, where his head is occasionally carried in procession, in order to stay the eruption of Vesuvius. The liquefaction of his blood is a famous miracle at Naples. The saint suffered martyrdom about the end of the third century. When he was beheaded, a pious lady of Naples caught about an ounce of his blood, which has been carefully preserved in a bottle ever since, without having lost a single grain of its weight. This of itself, were it equally demonstrable, might be considered as a greater miracle than the circumstance on which the Neapolitans lay the whole stress, viz. that the blood which has congealed, and acquired a solid form,