The city of Antwerp was at one time famous for its commercial and industrial interests, and it was besides an important centre of art. Here in the seventeenth century lived the two foremost Flemish painters, Peter Paul Rubens, and Anthony Van Dyck. The Flemish industries had chiefly to do with the making of beautiful things. Among them were tapestries in rich designs and many colors, used for wall hangings. The Flemish weavers were also skilled in making fabrics of silk and velvet. Most famous of all were their laces, patiently wrought by hand, on pillows, and unrivalled throughout the world for delicacy of workmanship. Glass and porcelain were also among their industrial products. In Antwerp, too, was the printing establishment of Plantin, from which issued many learned works in French and Latin.Among refined people like these, who not only loved beautiful things but could afford to buy them, the art of painting was highly esteemed. There was every encouragement for a young artist to pursue this calling. Rubens was already a great painter when Van Dyck began his art studies, and the older man gave the younger much helpful advice. At his friend's suggestion Van Dyck travelled several years in Italy, where he was inspired by the works of the Italian masters of the preceding century. Returning at length to his native city, he set up a studio of his own, and soon became a favorite portrait painter among the rich and fashionable classes. Not a few of his sitters were foreign sojourners in the Netherlands, especially the English. The lady of our illustration is quite plainly of this nationality, though she is dressed according to the Flemish modes.It appears that an English merchant named Wake was established in Antwerp at this time, and it is supposed that this may be his daughter. There are also reasons for connecting the portrait with one of a certain English baronet named Sheffield, who was likewise in Belgium in this period. Miss Anna Wake, we may conclude, had married into the Sheffield family when this portrait was painted. These names, however, are mere guesses, and, even if they were verified, would tell us no more of the lady's story than we can gather from the picture. Her life was probably not of the eventful kind which passes into history. The luxuries of her surroundings we may judge from her rich dress and jewels; the sweetness of her character is written in her face.She shows us perhaps more of her inner life than she intends. Her fine reserve would naturally shrink from any sort of familiarity. Yet as she stands quietly before the portrait painter, left, as it were, to the solitude of her own thoughts, her spirit seems to look out of the candid eyes.