In the Netherlands, on the other hand, the number of women painters at this period was large, and many were the diligent successors of Margaretta von Eyck in her native place. Her brothers, at the head of the old Flemish school, showed the combination of traditional types and ancient habits with the results of the struggles of the human mind for emancipation in this century. Antwerp seems to have been a rich soil for the production of female talent. Here, in 1521, Albrecht Durer became acquainted with the fair painter so honorably mentioned in his journal. “Master Gerard, illuminist,” he says, “has a daughter eighteen years of age, named Susannah, who illuminated a little book which I purchased for a few guilders. It is wonderful that a woman can do so much!” Among noted miniature painters we hear of Catherine Hämsen, who went into Spain, and entered the service of the Queen of Hungary on a good salary; also of Anna Seghers; Anna Smyters, and Margaret de Heere. Clara de Keyzer, or Clara Skeysers, of Ghent, died unmarried at the age of eighty. She enjoyed a celebrity that extended to Germany, France, Italy, and Spain, all which countries were visited by her. Susannah Hurembout and Liewina Bennings, or Benic, should not be passed over. The latter, the daughter of “Maestro Simon,” was born in Bruges; was invited to London by Henry VIII., and was treated with great favor by both queens Mary and Elizabeth. King Henry gave her in marriage to an English nobleman. It has been thought she is the same person with Lewina Tirlinks. Susannah also received an invitation from “bluff King Harry” to visit his court, and lived in England, where she was treated with great distinction, for the remainder of her life. Both these women were miniature painters. Barbara Van den Broeck, the daughter of Crispin, was born in Antwerp, 1560, and engraved from her father’s designs. She handled the graver with consummate skill. In some pieces, she imitated successfully the style of Martin Rota. In Holland, Magdalen de Passe was known as an engraver in copper, and Constantia von Utrecht as a flower-painter; one who first acquired distinction in this delicate and feminine branch of study, and directed to it the attention of her country-women. In later times the city where she lived and wrought became the capital of the world in this species of painting. CHAPTER V. THE SEVENTEENTH CENTURY.