fourteenth century. Although the Niebelungen Lied and Gudrun, the Songs of Love and Volkslieder, as well as Mysteries and Passion Plays, existed from an early date, we can scarcely speak of a German Literature before the sixteenth century, when Albert Diirer and the younger Holbein painted their great pictures, while Luther, Melanchthon and their sympathizers disseminated the doctrines of advancing Protestantism.
At this period, in the countries we may speak of collectively as German, women artists were numerous. Many were miniaturists, some of whom were invited to the English Court and received with honor.
In 1521 Albert Dürer was astonished at the number of women artists in different parts of what, for conciseness, we may call Germany. This was also noticeable in Holland, and Diirer 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
