still living and in repute, the more remarkable among them, both for paintings and copper-plates, is Franz Floris,[1] of Antwerp, disciple of Lambert Lombardo. This artist is considered an excellent one in every branch of his vocation, and it is said that none can exhibit more effectually the expression of grief, gladness, or other passions: he is also much admired for the originality of his fancies, so that, comparing him to the Urbinate, his people call him the Flemish Raphael. It is true that the plates from his works do not very satisfactorily prove to us the justice of that appellation; but however excellent the engraver, he rarely gives full effect to the design and manner of him who first conceived the work. A fellow disciple of Floris was Guglielmo Cay[2] of Breda, who also studied at Antwerp; a sober-minded, grave, and judicious man, who studied nature with infinite care, and was endowed with good powers of invention. His pictures are remarkable for their harmony, and have much grace and softness, if not equal force and boldness, with those of his fellow student Floris. Cay is, in short, considered to be an admirable artist.
Michele Cockuysen, of whom I have spoken above, remarking that he had taken the Italian manner into Flanders, is also much celebrated among the Flemish painters, being one who imparts an imposing gravity and force to his figures, for which cause the Fleming, Messer Domenico Lampsonio, of whom we shall have more to say in due time, speaking of the artists before mentioned and of Michele, declared that they resembled a fine trio in music, wherein each performer plays his part to perfection. Among the Dutch artists, Antonio Moro,[3] of Utrecht, painter to the Catholic King, is also greatly admired, and of his colours it is said, that in whatever he pleases to design, these colours rival nature herself, and effectually deceive the spectator. Lampsonio writes to me that Moro, who is a man of the most pleasing manners and greatly beloved, has lately painted a resurrection of Christ, with two Angels, and SS. Piero
- ↑ Born at Antwerp in 1520, and died there in 1570.
- ↑ Wilhelm Kay, or Key, is said to have died of grief for the death of Count Egmont, whose fate he heard Alva determine while painting the portrait of that scourge of his kind and disgrace to humanity.
- ↑ Anton Moor, a disciple of Johaim Schoreel, and good portrait painter.
