February 21, 1635

The good folks at Oxford Dictionary of National Biography describe the artistic contributions of Thomas Flatman (February 21, 1635 to December 8, 1688) as undervalued in terms of his miniatures (painted portraits) and overvalued in his poetry. Overvalued is not how I would describe these verses:

Ye cats that at midnight spit at each other,
Who best to feel the pangs of a passionate lover,
I appeal to your scratches and your tattered fur
If the business of love be no more than to purr?

Men ride many miles,
Cats tread many tiles.

Both hazard their necks in the fray;
Only cats, when they fall
From a house or a wall,
Keep their feat, mount their tails, and away!

About Thomas Flatman we read in his biography:

Although crucial in supporting the Augustan character of his genius neither the law nor, probably, miniature painting was the real centre of Flatman's creativity, which was verse. His publications cover ...verses to Charles Capell of 1656 to the Pindaric ode 'On the Death of the Right Honourable the Duke of Ormonde' of 1688. He published a collection of his verse, Poems and Songs, in 1674, ...His preface to this work constitutes an important statement of the aesthetic underlying the emergence of the Pindaric free-verse form in England and gives a valuable insight into the sense of humour and the conversational tone of members of the professional and cultural elites at this time. He contributed to the important translation of Ovid's epistles, published by Jacob Tonson in 1680, and from February 1681 to August 1682 he brought out anonymously eighty-two weekly numbers of a pro-government pamphlet, Heraclitus ridens, or, A discourse between jest and earnest ... in opposition to all libellers against the government....
Flatman could have met Abraham Cowley, the 'inventor' in England of the free-form Pindaric ode, when Cowley was in Oxford, studying medicine c.1656 and at the centre of the group of natural philosophers around John Wilkins, warden of Wadham College, that evolved into the Royal Society. Flatman, like other early members of the Royal Society, had strong neo-Platonic interests and his writing about painting helps to suggest its special appeal within this culture. The lines 'On the noble art of painting' which he contributed to the publication of William Sanderson's Graphice in 1658 dwell thus on the connectedness of all phenomena throughout the macrocosm and the wonderful ability of the portrait painter to effect almost literally a transmutation of earth colours into 'the life', and to endow his sitter with a sort of immortality.

The poem of Flatman's above, was reprinted in  The Oxford Book of Comic Verse. You can find more of his work in Poems and songs at books.google.com, and the same place has this work free: The life and uncollected poems of Thomas Flatman by Frederic Anthony Child (1921).