son, the Dwarf. While these women were not wanting in artistic taste, they were little more than copyists of the Dutch artists with whom they had associated.
In the early years of the seventeenth century there were a number of Danish women who were painters, engravers, and modellers in wax. The daughter of King Christian IV., Elenora Christina, and her daughter, Helena Christina, were reputable artists. The daughter of Christian V., Sophie Hedwig, made a reputation as a portrait, landscape, and flower painter, which extended beyond her own country; and Anna Crabbe painted a series of portraits of Danish princes, and added to them descriptive verses of her own composition.
The Art of Spain attained its greatest glory in the seventeenth century — the century of Velasquez, Murillo, Ribera, and other less distinguished but excellent artists.
In the last half of this century women artists were prominent in the annals of many Spanish cities. In the South mention is made of these artists, who were of excellent position and aristocratic connection. In Valencia, the daughter of the great portrait painter Alonzo Coello was distinguished in both painting and music. She married Don Francesco de Herrara, Knight of Santiago.
In Cordova the sister of Palomino y Vasco—the artist who has been called the Vasari of Spain on account of his Museo Pictorio—was recognized as a talented artist. In Madrid, Velasquez numbered several noble ladies among
