or Lys, John Vander, painter of history, landscapes, and conversations, was born at Oldenburgh in 1570, but went to Haerlem to place himself as a disciple under Henry Goltzius; and as he was endowed with great natural talents, he soon distinguished himself in that school, and imitated the manner of his master with great success. He adhered to the same style till he went to Italy; where, having visited Venice and Rome, he studied the works of Titian, Tintoretto, Paolo Veronefe, and Domenico Fetti, so effectually, that he improved his taste and judgment, and altered his manner entirely. He soon received marks of public approbation; and his compositions became universally admired for their good expression, for their lively and natural colouring, and the sweetness and delicacy of his pencil: although it must be acknowledged, that he could never totally divest himself of the ideas and taste peculiar to the Flemings. His subjects usually were histories taken from the sacred writings, or the representations of rural sports, marriages, balls, and villagers dancing, dressed in Venetian habits; all which subjects he painted in a small as well as a large size, with a number of figures, well designed, and touched with a great deal of delicacy. He was likewise accounted to paint naked figures admirably, with natural and elegant attitudes, and a very agreeable turn of the limbs. A capital picture of this master is, Adam and Eve lamenting the death of Abel; which is extremely admired, not only for the expression, but also for the beauty of the landscape: and in the church of St Nicholas at Venice is another of his paintings, representing St Jerome in the desert, with a pen in his hand, and his head turned to look at an angel, who is supposed to be sounding the last trumpet. The colouring of this picture is rather too red; but it is designed in a fine style, and charmingly penciled. The paintings of this master are very rarely to be purchased. He died in 1629.

John Vander, of Breda, historical painter, was born at Breda about the year 1601, and became a disciple of Cornelius Polemberg, whose manner he imitated with extraordinary exactness, in the tint of his colouring, his neatness of penciling, and the choice of his subjects. There are some paintings of this master's hand, which, though they appear to have somewhat less freedom and lightness of touch, are nearly equal to those of Polemberg, and are frequently taken to be his. At Rotterdam, in the possession of Mr Bishop, there is a delicate painting representing Diana in the bath, attended by her nymphs; and his most capital performance, in England, is said to be in the possession of the viscount Middleton. The portrait of Vander Lis, painted by himself, is in the possession of Horace Walpole, Esq. which is described by that ingenious gentleman as being worked up equal to the smoothness of enamel.