en to the Bishop of Treves, another to the Bishop of Augsburg, and one Bible in two volumes is mentioned, which was exchanged by the monastery for an estate. We can picture to ourselves Diemudis in her conventual dress, seated in the scriptorium, with her materials for chirography. The sun, as it streams through the window, throws a golden light over the vellum page, suggesting the rich hue of the gilded nimbus, while in the convent garden she sees the white lily or the modest violet, which, typical of the Madonna, she transfers to her illuminated borders. Thus has God ever interwoven truth and love with their correspondences of beauty and development in the natural world, which were open to the eyes of Diemudis eight hundred years ago, perhaps as clearly as to our own in these latter days. That women of even an earlier century than that of Diemudis were permitted to read, if not to write, is proved by the description of a private library, given in the letters of C. S. Sidonius Apollinaris, and quoted in Edwards's 66 History of Libraries." This book-collection was the property of a gentleman of the fifth century, residing at his castle of Prusiana. It was divided into three departments, the first of which was expressly intended for the ladies of the family, and contained books of piety and devotion. The second department was for men, and is rather ungallantly stated to have been of a higher order; yet, as the third department was intended for the whole family, and contained such works as Augustine, Origen, Varro, Prudentius, and Horace, the literary tastes of the ladies should have been satisfied. We are also told that it was the custom at the castle of Prusiana to discuss at dinner the books read in the morning, which would tend to a belief that conversation at the dinnertables of the fifth century might be quite as edifying as at those of the nineteenth. A few feminine names connected with the literature of the Middle Ages have come down to us. The lays of Marie de France are among the manuscripts in the British Museum. Marie's personal history, as well as the period when she flourished, is uncertain. Her style is extremely obscure; but in her Preface she seems aware of this defect, yet defends it by the example of the ancients. She considers it the duty of all persons to employ their talents; and as her gifts were intellectual, she cast her thoughts in various directions ere she determined upon her peculiar mission. She had intended translating from the Latin a good history, but some one else unluckily anticipated her; and she finally settled herself down to poetry, and to the translation of numerous lays she had treasured in her memory, as these would be new to many of her readers. Like other literary ladies, she complains of envy and persecution, but she perseveres through all difficulties, and dedicates her book "to the King." Marie was born in France. Some authorities suppose she wrote in England during the reign of Henry III., and that the patron she names was William Langue-espée, who died in 1226; others, that this plus vaillant patron was William, Count of Flanders, who accompanied St. Louis on his first crusade in 1248, and was killed at a tournament in 1251. A later surmise is that the book was dedicated to Stephen, French being his native language. Among the manuscripts of the Bibliothèque Royale at Paris, is Marie's translation of the fables which Henry Beauclerc translated from Latin into English, and which Marie renders into French. A proof that Marie's poems are extremely ancient is deduced from the names in one of these fables applied to the wolf and the fox. She uses other names than those of Ysengrin and Renard, which were introduced as early as the reign of Cœur de Lion, and it would seem that she could not have failed to notice these remarkable names, had they existed in her time. A complete collection of the works of Marie de France was published in Paris in 1820, by M. de Roquefort, who speaks of her in the following terms: "She possessed that penetration which distinguishes at first sight the different passions of mankind, which seizes upon the different forms they assume, and, remarking the obiects of their notice, discovers at the same time the means by which they are attained." If this be a true statement, the acuteness of feminine observation has gained but little in the progress of the centuries, and her literary sisters of the present era can hardly hope to eclipse the penetration of Marie de France. The Countesses de Die, supposed to be mother and daughter, were both poetesses. The elder lady was beloved by Rabaud d'Orange, who died in 1173, and the younger is celebrated by William Adhémar, a distinguished troubadour. He was visited on his death-bed by both these ladies, who afterwards erected a monument to his memory. The younger countess retired to a convent, and died soon after Adhémar. In the Harleian Collection is a fine manuscript containing the writings of Christine de Pisan, a distinguished woman of the fourteenth century. Her father, Thomas de Pisan, a celebrated savant of Bologna, had married a daughter of a member of the Grand Council of Venice. So renowned was Thomas de Pisan that the kings of Hungary and France determined to win him away from Bologna. Charles V. of France, surnamed the Wise, was successful, and Thomas de Pisan went to Paris in 1368; his transfer to the French court making a great sensation among learned and scientific circles of that day. Charles loaded him with wealth and honors, and chose him Astrologer Royal. According to the history, as told by Louisa Stuart Costello, in her "Specimens of the Early Poetry of France," Christine was but five years old when she accompanied her parents to Paris, where she received every advantage of education, and, inheriting her father's literary tastes, early became learned in languages and sci ence. Her personal charms, together with her father's high favor at court, attracted many admirers. She married Stephen Castel, a young gentleman of Picardy, to whom she was tenderly attached, and whose character she has drawn in most favorable colors. A few years passed happily, but, alas! changes came. The king died, the pension and offices bestowed upon Thomas de Pisan were suspended, and the Astrologer Royal soon followed his patron beyond the stars. Castel was also deprived of his preferments; and though he maintained his wife and family for a time, he was cut off by death at thirty-four years of age. Christine had need of all her energies to meet such a succession of calamities, following close on so brilliant a career. Devoting herself anew to study, she determined to improve her talents for composition, and to make her literary attainments a means of support for her children. The illustrations in the manuscript volume of her works picture to us several scenes in Christine's life. In one, the artist has sliced off the side of a house to allow us to see Christine in her study, giving us also the exterior, roof, and dormer-windows, with points finished by gilt balls. The room is very small, with a crimson and white tapestry hanging. Christine wears what may be called the regulation color for literary ladies, - blue, with the extraordinary two-peaked head-dress of the period, put on in a decidedly strongminded manner. At her feet sits a white dog, small, but wise-looking, with a collar of gold bells round his neck. Before Christine stands a plain table, covered with green cloth; her book, bound in crimson and gold, in which she is writing, lies before her. so learned a man as Thomas de Pisan must have been acquainted with it, and would have caused his talented daughter to be instructed in so rare an accomplishment. It is not therefore unreasonable to believe that, in the beautiful volume now in the British Museum, the work of Christine's hand, as well as the result of her genius, is preserved. The next picture shows us Christine presenting her book to Charles VII. of France, who is dressed in a black robe edged with ermine; he wears a golden belt, order, and crown. The king is seated beneath a canopy, blue, powdered' with fleurs de lis. Four courtiers stand beside him, dressed in robes of different colors, one in pink, and wearing a large white hat of Quaker-like fashion. Christine has put on a white robe over her blue dress, perhaps as a sign of mourning, she being then a widow. A white veil depends from the peaks of her head-dress. She kneels before the king, and presents her book. Another and more elaborate picture represents the repetition of the same ceremony before Isabelle of Bavaria, queen of Charles VI. We are here admitted into the private royal apartments of the fourteenth century. The hangings of the apartment consist of strips, upon which are alternately emblazoned the armorial devices of France and Bavaria. A couch or bed, with a square canopy covered with red and blue, having the royal arms embroidered in the centre, stands on one side of the room. The queen is seated upon a lounge of modern shape, covered to correspond with the couch. She is dressed in a splendid robe of purple and gold, with long sleeves sweeping the ground, lined with ermine; upon her head arises a structure of stuffed rolls, heavy in material and covered with jewels, which shoots up into two high peaks above her forehead. Six ladies are in waiting, two in black and gold, with the same enormous headgears. They sit on the edge of her Majesty's sofa, while four ladies of inferior rank and plainer garments are contented with low benches. Christine reappears in her blue dress, and whiteveiled, peaked cap. She kneels before the queen, on a square carpet with a geometrical-patterned border, and presents her book. A white Italian hound lies at the foot of the couch, while beside Isabelle sits a small white dog, resembling the one we saw in Christine's study. As we can hardly suppose Christine would bring her pet on so solemn an occasion, - far less allow him to jump up beside the queen, and as this little animal wears no gold bells, we are led to suppose that little white dogs were in fashion in the fourteenth century. We cannot say that the portrait of Isabelle gives us any idea of her splendid beauty; but "handsome is that handsome does," and as Isabelle's work was a very bad one in the Middle Ages, we will say no more about her. Christine was but twenty-five years of age when she became a widow, and her personal charms captivated the heart of no less a personage than the Earl of Salisbury, who came ambassador from England to demand the hand of the very youthful princess, Isabelle, for his master. They exchanged verses; and although Salisbury spoke by no means mysteriously, the sage Christine affected to view his declarations only in the light of complimentary speeches from a gallant knight. The Earl considered himself as rejected, bade adieu to love, and renounced marriage. To Christine he made a very singular proposal for a rejected lover, — that of taking with him to England her eldest son, promising to devote himself to his education and preferment. The offer was too valuable to be declined by a poor widow, whose pen was her only means of supporting her family. That such a proof of devotion argued a tenderer feeling than that of knightly gallantry must have been apparent to Christine; but for reasons best understood by herself, and shall we not believe with a heart yet true to her husband's memory? she merely acknowledged the - kindness shown to her son; and the Earl and his adopted boy left France together. When Richard II. was deposed, Henry Bolingbroke struck off the head of the Earl of Salisbury. Among the papers of the murdered man the lays of Christine were found by King Henry, who was so much struck with their purity and beauty, that he wrote to the fair authoress of her son's safety, under his protection, and invited her to his court. This invitation was at once a compliment and an insult, for the hand that sent it was stained with the blood of her friend. Christine, however, had worldly wisdom enough to send a respectful, though firm refusal, to a crowned head, a successful soldier, and one, moreover, who held her son in his power. Feminine tact must have guided her pen, for Henry was not offended, and twice despatched a herald to renew the invitation to his court. She steadily declined to leave France, but managed the affair so admirably that she at last obtained the return of her son from England. Like her father, Thomas de Pisan, Christine seems to have been sought as an ornament of their courts by several rulers. Henry Bolingbroke could not gain her for England, and the Duke of Milan in vain urged her to reside in that city. Seldom has a literary lady in any age received such tempting invitations; yet Christine refused to leave France, although her own fortunes were anything but certain. The Duke of Burgundy took her son under his protection, and urged Christine to write the history of her patron, This was a Charles V. of France. work grateful to her feelings, and she had commenced the memoir when the death of the Duke deprived her of his patronage, and threw her son again upon her care, involving her in many anxieties. But Christine bore herself through all her trials with firmness and prudence, and her latter days were more tranquil. She took a deep interest in the affairs of her adopted country, and welcomed in her writings the appearance of the Maid of Orleans. The deeds of Joan of Arc need no recital here. A daughter of France in the nineteenth century had a soul pure enough to reflect the image of the Maid of Orleans, and with a skilful hand she embodied the vision in marble. The or rather statue of Joan of Arc, modelled by the Princess Marie, adorns the halls of Versailles. sanctifies Of woman's work as an artist in the early centuries we have a curious illustration in a manuscript belonging to the Bibliothèque Royale at Paris, which exhibits a female figure painting the statue of the Madonna. The artist holds in her left hand a palette, which is the earliest notice of the use of that implement with which antiquarians are acquainted. The fashion of painting figures cut in wood was once much practised, and we see here the representation of a female artist of very ancient date. Painting, music, and dancing come under the designation of accomplishments; yet to obtain distinction in any of these branches implies a vast amount of work. An illustration of Lygate's Pilgrim shows us a young lady playing upon a species of organ with one hand; in the other she holds to her lips a mellow horn, through which she pours her breath, if not her soul; lying beside her is a stringed instrument called a sawtry. Such varied musical acquirements certainly argue both industry and devotion to art. Charlemagne's daughters were distinguished for their skill in dancing; and we read of many instances in the Middle Ages of women excelling in these fine arts. The period of time generally denominated the Middle Ages commences with the fifth century, and ends with the fifteenth. We have in several instances ventured to extend the limits as far as a part of the sixteenth century, and therefore include among female artists the name of Sofonisba An guisciola, who was born about 1540. She was a noble lady of Cremona, whose fame spread early throughout Italy. In 1559, Philip II. of Spain invited her to his court at Madrid, where on her arrival she was treated with great distinction. Her chief study was portraiture, and her pictures became objects of great value to kings and popes. Her royal patrons of Spain married their artist to a noble Sicilian, giving her a dowry of twelve thousand ducats and a pension of one thousand ducats, beside rich presents in tapestries and jewels. She went with her husband to Palermo, where they resided several years. On the death of her husband the king and queen of Spain urged her to return to their court; but she excused herself on account of her wish to visit Cremona. Embarking on board a galley for this purpose, bound to Genoa, she was entertained with such gallantry by the captain, Orazio Lomellini, one of the merchant princes of that city, that the heart of the distinguished artist was won, and she gave him her hand on their arrival at Genoa. History does not tell us whether she ever revisited Cremona, but she dwelt in Genoa during the remainder of her long life, pursuing her art with great success. On her second marriage, her faithful friends in the royal family of Spain added four hundred crowns to her pension. The Empress of Germany visited Sofonisba on the way to Spain, and accepted from her hand a little picture. Sofonisba became blind in her old age, but lost no other faculty. Vandyck was her guest when at Genoa, and said that he had learned more of his art from one blind old woman than from any other teacher. A medal was struck in her honor at Bologna. The Academy of Fine Arts at Edinburgh contains a noble picture by Vandyck, painted in his Italian manner. It represents individuals of the Lomellini family, and was probably in progress when he visited this illustrious woman, who had become a member of that house. Stirling in his "Artists of Spain " states that few of Sofonisba's pictures are now known to exist, and that the beautiful portrait of herself, probably the one mentioned by Vasari in the wardrobe of the Cardinal di Monte at Rome, or that noticed by Soprani in the palace of Giovanni Lomellini at Genoa, is now in the possession of Earl Spencer at Althorp. The engraving from this picture, in Dibdin's Edes Althorpiana, lies before us. We think the better of kings and queens who prized a woman with eyes so clear, and an expression of such honesty and truth. The original is said to be masterly in its drawing and execution. Sofonisba is represented in a simple black dress, and wears no jewels. She touches the keys of a harpsichord with her beautiful hands; a duenna-like figure of an old woman stands behind the instrument, apparently listening to the melody. Whatever of skill or fame women have acquired through the ages in other departments, the nursery has ever been an undisputed sphere for woman's work. Nor have we reason to think that, in the centuries we have been considering, she was not faithful to this her especial province. The cradle of Henry V., yet in existence, is one of the best specimens of nursery furniture in the fourteenth century which have come down to us. Beautifully carved foliage fills the space between the uprights and stays and stand of the cradle, which is not upon rockers, but apparently swings like the modern crib. On each of these uprights is perched a dove, carefully carved, whose quiet influences had not much effect on the infant dreams of Prince Hal. Henry was born at Monmouth, 1388, and sent to Courtfield, about seven miles distant, where the air was considered more salubrious. There he was nursed under the superintendence of Lady Montacute, and in that place this cradle was preserved for many years. It was sold by a steward of the Montacute property, and, after passing through |