or LYS, JOHN VANDER, painter of history, landscapes, and conversations, was born at Oldenburg in 1570, but went to Haarlem 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, Tintoret, Paolo Veronese, 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, their lively 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 were usually histories taken from the sacred writings, or the representations of rural sports, marriages, balls, and villagers dancing, dressed in Venetian habits; all which 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 likewise painted 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 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 pencilled. The paintings of this master are very rarely to be purchased; He died in the year 1629.

JOHN VANDER, of Breda, an 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 pencilling, and the choice of his subjects. There are some paintings of this master 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.