There was also a great deal of trade with Antwerp where the Portuguese merchants had a _lonja_ or exchange as early as 1386, and where a factory was established in 1503. With the heads of this factory, Francisco Brandão and Rodrigo Ruy de Almada, Albert Dürer was on friendly terms, sending them etchings and paintings in return for wine and southern rarities. He also drew the portrait of Damião de Goes, Dom Manoel's friend and chronicler. It is natural enough, therefore, that Flanders should have had a great influence on Portuguese painting, and indeed practically all the pictures in the country are either by Netherland masters, painted at home and imported, or painted in Portugal by artists who had been attracted there by the fame of Dom Manoel's wealth and generosity, or else by Portuguese pupils sent to study in Flanders. During the seventeenth century all memory of these painters had vanished. Looking at their work, the writers of that date were struck by what seemed to them, in their natural ignorance of Flemish art, a strange and peculiar style, and so attributed them all to a certain half-mythical painter of Vizeu called Vasco, or Grão Vasco, who is first mentioned in 1630. Raczynski,[6] in his letters to the Berlin Academy, says that he had found Grão Vasco's birth in a register of Vizeu; but Vasco is not an uncommon name, and besides this child, Vasco Fernandes, was born in 1552--far too late to have painted any of the so-called Grão Vasco's pictures. It is of course possible that some of the pictures now at Vizeu were the work of a man called Vasco, and one of those at Coimbra, in the sacristy of Santa Cruz, is signed Velascus--which is only the Spanish form of Vasco--so that the legendary personage may have been evolved from either or both of these, for it is scarcely possible that they can have been the same. Turning now to some of the pictures themselves, there are thirteen representing scenes from the life of the Virgin in the archbishop's palace at Evora, which are said by Justi, a German critic, to be by Gerhard David. Twelve of these are in a very bad state of preservation, but one is still worthy of some admiration. In the centre sits the Virgin with the Child on her knee: four angels are in the air above her holding a wreath. On her right three angels are singing, and on her left one plays an organ while another behind blows the bellows. Below there are six other angels, three on each side with a lily between them, playing, those on the right on a violin, a flute, and a zither, those on the left on a harp, a triangle, and a guitar. Once part of the cathedral reredos, it was taken down when the new Capella Mor was built in the eighteenth century. Another Netherlander who painted at Evora was Frey Carlos, who came to Espinheiro close by in 1507. Several of his works are in the Museum at Lisbon.[7]