Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 3) (London: Smith and Son, 1831)

SCHOLARS AND IMITATORS.

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considerable proficiency in imitating his style, although fre-
quently in a slight and masterly manner. A desire of im-
proving himself in the art, induced him to visit Italy; while
there, his chief delight was to study the works of Titian. An
excellent copy from that master, of the Cornaro family, now at
Northumberland House, shows how well he succeeded. He
died in 1653.

James Gandy. A painter of this name is mentioned by
Walpole, as having been a successful imitator of Van Dyck ;
and he states, that the cause os his pictures being so little
known is, that the artist was taken to Ireland by the Duke of
Ormond, in whose service he remained many years. While in
that country he painted numerous portraits, many of which are
said to have passed as the work of Van Dyck. Gandy was
born in 1619, and died in 1689.
George Jamesone. Biographers have honoured this artist
with the appellation of the Scotch Van Dyck—a cognomen
highly complimentary to the merit of his works. He was born
in 1586, and is supposed to have visited the continent at an
early age, and to have had the advantage of studying in the
school of Rubens, with Van Dyck. He returned to Scotland
in 1628, and pursued with considerable success his profession,
chiessy confining himself to portraiture, though ho occasionally
painted history and landscape. This artist was employed by
the magistrates to make drawings of the portraits of all the
Scottish kings, which were presented to Charles I. when that
monarch visited Scotland, in 1633. These gave so much
satisfaction to the king, that he honoured Jamesone by sitting
for his portrait; he also gave him a diamond ring, and, on
account of a complaint in his eyes, the king allowed him to be
covered in his presence.
Numerous pictures by this master are in the collections of the
nobility, in Scotland, particularly in those of the Earl of Bread-
albane and Sir John Campbell; his own portrait, as large as
life, is at Cullen House. He died at Edinburgh, in 1644.