also noticeable in Holland, and Dürer wrote in his diary, in the
above-named year: "Master Gerard, of Antwerp, illuminist, 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 could
do so much!"

Antwerp became famous for its women artists, some of whom visited France,
Italy, and Spain, and were honorably recognized for their talent and
attainments, wherever they went.

* * * * *

In the later years of the sixteenth century a difference of opinion and
purpose arose among the artists of Italy, the effects of which were shown
in the art of the seventeenth century. Two distinct schools were formed,
one of which included the conservatives who desired to preserve and
follow the manner of the masters of the Cinquecento, at the same time
making a deeper study of Nature--thus the devotional feeling and many of
the older traditions would be retained while each master could indulge
his individuality more freely than heretofore. They aimed to unite such a
style as Correggio's--who belonged to no school--with that of the
severely mannered artists of the preceding centuries. These artists were
called Eclectics, and the Bolognese school of the Carracci was the most
important centre of the movement, while Domenichino, a native of
Bologna--1581-1631--was the most distinguished painter of the school.

The original aims of the Eclectics are well summed up in a sonnet by
Agostino Carracci, which has been translated as follows: "Let him who
wishes to be a good painter acquire the design of Rome, Venetian action
and Venetian management of shade, the dignified color of Lombardy--that