Gerard Hornebolt’s service in the royal household was of shorter duration than Luke’s. Up to May 1531 his name always occurs in the treasurer’s accounts in conjunction with his brother, but there is a break in the records from that date until Lady Day 1538, the household books for that period having disappeared, and from October 1538 Luke’s name alone appears. His death is not recorded, as it was the custom to do when salaries were concerned, by some such entry as “wages nihil quia mortuus,” as was done in the case of his brother Luke in 1544; so that it is probable that he returned to Ghent at some date between 1531 and 1538, leaving his brother and sister permanently settled in England. In this connection it is interesting to note that in a list of payments made by Sir Richard Wingfield in Calais between the 8th January 1513 and the 21st November 1514, there is an entry of £33, 6_s._ 8_d._ paid to “the glazier of Antwerp (possibly Galyon Hone) for glazing the great east window in St. Nicholas’ Church, Calais, by the King’s command,” and that 25_s._ was paid “to a painter of Gaunt for taking the portraiture of the King’s visage to be set in the said window.”[571] The name of the elder Gerard may be suggested as the artist employed for this purpose, as one of the leading painters of Ghent. It does not follow from the entry that the drawing was supplied by some painter then settled in England, while the small fee paid almost precludes the possibility that an artist was sent over specially from Calais to London to sketch the King; but Gerard Hoorenbault appears to have been resident in Antwerp at about that time (1513), and the commission may have been given him by the Antwerp glazier who was carrying out the work. In addition to Susanna Hornebolt, two other skilled Netherlandish miniaturists of her sex came over to England during the later years of Henry VIII’s reign. What little is known of Livina Teerlinc, or Terling, as she was called in this country, is given in a later chapter.[572] Nothing is known about the second miniaturist, Katherine Maynor or Maynors, except that she received a patent of denization in November 1540, in which she is described as a “widow, painter, born at Antwerp in Brabant.”[573] She may, perhaps, have been some relation of Henry Maynert, painter, one of the witnesses to Holbein’s will; or even the widow of the John Maynard who, with John Bell, was employed upon the painting of Henry VII’s tomb. [Sidenote: JOHANNES CORVUS]