Passing over a number of minor names, we may close the review of this period by a notice of Caterina de’ Pazzi. She was born in 1566, and retired early to a convent, where she assumed the name of Maria Maddalena. The energy with which she cultivated art, and the peculiar character of her works and those of others produced at this time, show the infusion of a new element of religious enthusiasm into art. Tradition preserves the story of this nun painting sacred pictures with her eyes closed. In the cloisters of the Carmelites at Parma, and in the church of Santa Maria in Cosmedin, at Rome, works of hers may be found. Dying in 1607, she was canonized by Clement IX. in 1669; and at this day a picture in one of the richest churches of Florence bears the name of the saintly artist, whose body reposes in a magnificent chapel under the same roof. No other nation, during the sixteenth century, can compete with Italy in female artists. In France women enjoyed great influence in public affairs, and several ladies of the highest rank were distinguished for their literary productions and accomplishments. Isabella Quatrepomme is mentioned by Papillon as an excellent engraver on wood. She was born in Rouen, and flourished about 1521. A frontispiece in an old calendar, executed in neat style, representing a figure of Janus, is supposed to be by her, as it is marked with an apple on which there is a figure 4. In Spain the flowers of art began to bloom at a later period; although in the liberal studies women were not behindhand. Isabella Losa, of Cordova, was appointed a doctor of theology, and there were ladies in Valencia, who, familiar with the works of Italian masters of art, made it their study to imitate them. In the north the advance of Protestantism wrought a change in the condition of women, which had its influence on art. Domestic employments, and the domestic virtues, became more universally the delight and study of the fair sex. While the light of religious truth was penetrating their homes with its softened radiance, the growth of a deep moral feeling was preparing the way for farther triumphs in the imitative arts. England, where flourished many poetesses, had one female painter--Lewina Tirlinks--during the reign of Elizabeth. Germany boasted of Catherine Schwartz, the wife, probably, of that Christopher Schwartz whom his contemporaries called the German Raphael; while in Switzerland Eva von Iberg transferred to canvas the beauties of her country’s scenery.