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+The Project Gutenberg eBook, Women Painters of the World, Edited by Walter
+Shaw Sparrow
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Women Painters of the World
+       From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day
+
+
+Editor: Walter Shaw Sparrow
+
+Release Date: March 23, 2012  [eBook #39000]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD***
+
+
+E-text prepared by Delphine Lettau, Matthew Wheaton, and the Online
+Distributed Proofreading Team (http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 39000-h.htm or 39000-h.zip:
+      (http://www.gutenberg.org/files/39000/39000-h/39000-h.htm)
+      or
+      (http://www.gutenberg.org/files/39000/39000-h.zip)
+
+
+
+
+
+The Art and Life Library
+
+Edited by
+
+WALTER SHAW SPARROW.
+
+VOLUME I.
+
+The British Home of To-day
+
+A BOOK OF MODERN DOMESTIC ARCHITECTURE AND THE APPLIED ARTS.
+
+(_Published June, 1904. Out of Print_).
+
+
+VOLUME II.
+
+The Gospels in Art
+
+THE LIFE OF CHRIST BY GREAT PAINTERS FROM FRA ANGELICO TO HOLMAN
+HUNT.
+
+(_Published November, 1904_).
+
+
+VOLUME III.
+
+Women Painters of the World
+
+FROM THE TIME OF CATERINA VIGRI (1413-1463) TO ROSA BONHEUR AND
+THE PRESENT DAY.
+
+    DEDICATED TO HER MAJESTY QUEEN ALEXANDRA.
+
+
+
+
+
+
+
+(Published March, 1905).
+
+Hodder & Stoughton, 27, Paternoster Row, London.
+
+
+    [Illustration: BRITISH SCHOOL, 1901
+    "JOY AND THE LABOURER." REPRODUCED FROM THE ORIGINAL PICTURE IN
+    THE COLLECTION OF W. A. CADBURY, ESQ.
+    Mrs. Mary Young Hunter, Painter]
+
+
+
+
+Women Painters of the World _from the time of Caterina Vigri
+1413-1463 to Rosa Bonheur and the Present Day_
+
+_Edited by Walter Shaw Sparrow_
+
+The Art and Life Library
+H&S
+
+
+
+
+
+
+
+1905
+Hodder & Stoughton
+27 Paternoster Row-London
+
+
+DEDICATED BY GRACIOVS PERMISSION
+TO
+HER MAJESTY QVEEN ALEXANDRA
+IN THIS YEAR OF OVR LORD ONE THOVSAND NINE HVNDRED & FIVE
+
+
+Printed by
+Percy Lund, Humphries & Co., Ltd.
+The Country Press, Bradford.
+
+
+    [Illustration: BRITISH SCHOOL, 1874
+    "MISSED!" REPRODUCED BY PERMISSION OF CHARLES CHESTON, ESQ.,
+    FROM: THE ORIGINAL WATER-COLOUR DATED 1874, THE YEAR IN WHICH
+    THE PAINTER'S FAMOUS "ROLL-CALL" WAS PURCHASED BY QUEEN VICTORIA
+    AT THE ROYAL ACADEMY.
+    Lady Elizabeth Butler, Painter]
+
+
+
+
+PREFACE
+
+
+What is genius? Is it not both masculine and feminine? Are not some of
+its qualities instinct with manhood, while others delight us with the
+most winning graces of a perfect womanhood? Does not genius make its
+appeal as a single creative agent with a two-fold sex?
+
+But if genius has its Mirandas and its Regans no less than its
+infinite types of men, ranging from Prospero and Ferdinand to Caliban
+and Trinculo, its union of the sexes does not remain always at peace
+within the sphere of art. Sometimes, in the genius of men, the female
+characteristics gain mastery over the male qualities; at other times
+the male attributes of woman's genius win empire and precedence over
+the female; and whenever these things happen, the works produced in
+art soon recede from the world's sympathies, losing all their first
+freshness. They may guide us, perhaps, as finger-posts in history,
+pointing the way to some movement of interest; but their first
+popularity as art is never renewed. Style is the man in the genius of
+men, style is the woman in the genius of the fair. No male artist,
+however gifted he may be, will ever be able to experience all the
+emotional life to which women are subject; and no woman of abilities,
+how much soever she may try, will be able to borrow from men anything
+so invaluable to art as her own intuition and the prescient tenderness
+and grace of her nursery-nature. Thus, then, the bisexuality of genius
+has limits in art, and those limits should be determined by a worker's
+sex.
+
+As examples in art of complete womanliness, mention may be made of two
+exquisite portraits by Madame Le Brun, in which, whilst representing
+her little daughter and herself, the painter discloses the inner
+essence and the life of maternal love, and discloses them with a
+caressing playfulness of passion unattainable by men, and sometimes
+unappreciated by men. Here, indeed, we have the poetry of universal
+motherhood, common to the household hearts of good women the wide
+world over. Such pictures may not be the highest form of painting, but
+highest they are in their own realm of human emotion; and they recall
+to one's memory that truth in which Napoleon the Great ranked the
+gentler sex as the most potent of all creative artists. "The future
+destiny of children," said he, "is always the work of mothers."
+
+But some persons may answer: "Yes, but the achievements of women
+painters have been second-rate. Where is there a woman artist equal to
+any man among the greatest masters?" Persons who do not think are
+constantly asking that question. The greatest geniuses were all
+hustled and moulded into shape by the greatest epochs of ambition in
+the lives of nations, just as the mountains of Switzerland were thrown
+up to their towering heights by tremendous forces underground; and, as
+the Alps do not repeat themselves, here and there, for the pleasure of
+tourists, so the greatest geniuses do not reappear for the pleasure of
+critics or of theorists. And this is not all. Why compare the
+differing genius of women and men? There is room in the garden of art
+for flowers of every kind and for butterflies and birds of every
+species; and why should anyone complain because a daisy is not a rose,
+or because nightingales and thrushes, despite their family
+resemblance, have voices of their own, dissimilar in compass and in
+quality?
+
+The present book, then, is a history of woman's garden in the art of
+painting, and its three hundred pictures show what she has grown in
+her garden during the last four centuries and a half. The Editor has
+tried to free his mind of every bias, so that this book, within the
+limits of 332 pages, might be as varied as the subject. The choice of
+pictures has not been easy, and a few disappointments have attended
+the many communications with the owners of copyrights; but only two
+invited artists have declined to contribute. It is not often that so
+much willing and generous help has come to an Editor from so many
+countries; and it is with gratitude that I acknowledge the assistance
+received from the contributors of to-day. Seven pictures are
+reproduced in colour-facsimile, thanks to the courtesy of the
+following artists and collectors: Mrs. Allingham, Miss Ann Macbeth,
+Mr. James Orrock, R.I., Mr. W A. Cadbury, Mr. Charles Cheston, Mr.
+Klackner, and Mr. Charles Dowdeswell.
+
+The Dedication Page, the Initials Letters, the End Papers, are all
+designs by Miss Ethel Larcombe, while the Title Page and the Cover are
+the work of Mr. David Veazey. The silhouettes by Mlle. Nelly
+Bodenheim, used as tail-pieces, are published by permission of S. L.
+van Looÿ, Amsterdam.
+
+This volume being the first illustrated history of the Women Painters
+of the World, Her Majesty Queen Alexandra has honoured it by
+graciously accepting the Dedication; and in this encouraging act is
+revealed the untiring interest and solicitude with which Her Majesty
+has ever followed the progress of women's work.
+
+                                                         THE EDITOR.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM, HOLLAND.]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY
+    AN ENGLISH HEBE.
+    AFTER THE ORIGINAL DRAWING
+    H.R.H. The Princess Louise, Duchess of Argyll]
+
+
+
+
+CONTENTS
+
+
+         Preface: "ON THE SCOPE OF THE PRESENT VOLUME." By the Editor.
+
+       Chapter I: "WOMEN PAINTERS IN ITALY SINCE THE FIFTEENTH CENTURY."
+                  By Walter Shaw Sparrow
+
+      Chapter II: "EARLY BRITISH WOMEN PAINTERS." By the Editor.
+
+     Chapter III: "MODERN BRITISH WOMEN PAINTERS." By Ralph Peacock.
+
+      Chapter IV: "WOMEN PAINTERS IN THE UNITED STATES OF AMERICA." By
+                  the Editor.
+
+       Chapter V: "OF WOMEN PAINTERS IN FRANCE." By Léonce Bénédite.
+                  Translated into English by Edgar Preston.
+
+      Chapter VI: "WOMEN PAINTERS IN BELGIUM AND IN HOLLAND." By N.
+                  Jany. Translated into English by Edgar Preston.
+
+     Chapter VII: "WOMEN PAINTERS IN GERMANY AND AUSTRIA, IN RUSSIA,
+                  SWITZERLAND AND SPAIN."  By Wilhelm Schölermann.
+                  Translated into English by Wilfrid Sparroy.
+
+    Chapter VIII: "SOME FINNISH WOMEN PAINTERS." By Helena Westermarck.
+
+
+
+
+FACSIMILE PLATES IN COLOUR
+
+
+    1. Mrs. Mary Young Hunter. "JOY AND THE LABOURER"       Frontispiece
+
+                                                                    PAGE
+    2. Lady Elizabeth Butler (Elizabeth Thompson). "MISSED!"           9
+
+    3. H.I.M. The Empress Frederick of Germany (1840-1891). "THE
+       AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S
+       HOUSE"                                                         56
+
+    4. Miss Eleanor Fortescue Brickdale, A.R.W.S. "YOUTH AND THE
+       LADY"                                                          73
+
+    5. Miss Ann Macbeth. "ELSPETH"                                    97
+
+    6. Mrs. Helen Allingham, R.W.S. "A COTTAGE NEAR CROCKEN HILL"    109
+
+    7. Helen Hyde. "DAY DREAMS"                                      145
+
+
+
+
+REMBRANDT PHOTOGRAVURES
+
+
+    1. Rosalba Carriera. "PORTRAIT OF A LADY UNKNOWN"                 20
+
+    2. Madame Vigée Le Brun. "HERSELF AND HER DAUGHTER"              166
+
+    3. Madame Adèle Romany. "PORTRAIT OF GAËTANO APOLLINO
+       BALDASSARE VESTRIS, DANCER"                                   171
+
+    4. Mademoiselle Marie Amélie Cogniet. "PORTRAIT OF MADAME
+       ADÉLAÏDE D'ORLÉANS"                                           189
+
+    5. Rosa Bonheur. "SHEPHERD WATCHING HIS SHEEP"                   205
+
+    6. Francine Charderon. "SLEEP"                                   229
+
+
+
+
+MONOCHROME PLATES
+
+
+    1. H.R.H. the Princess Louise, Duchess of Argyll.
+       "AN ENGLISH HEBE."                                             13
+
+    2. Sophonisba Anguisciola. "HER THREE SISTERS PLAYING AT CHESS"   25
+
+    3. Artemisia Gentileschi. "MARY MAGDALENE"                        31
+
+    4. Rosalba Carriera. "CHARITY AND JUSTICE"                        37
+
+    5. Elisabetta Sirani. "THE DREAM OF ST. ANTHONY OF PADUA"         43
+
+    6. Signorina Elisa Koch. "THE LITTLE SISTER"                      49
+
+    7. Catharine Read. "THE LADY GEORGIANA SPENCER"                   61
+
+    8. Angelica Kauffman, R.A. "THE SIBYL"                            67
+
+    9. Mrs. Stanhope Forbes, A.R.W.S. "THE FISHER WIFE"               85
+
+    10. Mrs. William De Morgan (Evelyn Pickering). "FLORA"            91
+
+    11. Miss Eleanor Fortescue Brickdale, A.R.W.S. "TO-DAY FOR ME"   103
+
+    12. Miss Cecilia Beaux. "MOTHER AND CHILD"                       121
+
+    13. Miss Kate Greenaway. "A. FOR APPLE PIE: E. EAT IT"           127
+
+    14. Mrs. Annie L. Swynnerton. "THE SENSE OF SIGHT"               133
+
+    15. Mrs. Anna Lea Merritt, R.B.A. "LOVE LOCKED OUT"              139
+
+    16. Miss Cornelia W. Conant. "THE END OF THE STORY"              151
+
+    17. Mary Cassatt. "BABY'S TOILETTE"                              157
+
+    18. Helen Hyde. "THE BAMBOO FENCE"                               163
+
+    19. Madame Vigée Le Brun. "HERSELF AND HER DAUGHTER"             177
+
+    20. Berthe Morisot. "PORTRAIT OF A YOUNG WOMAN SEATED"           211
+
+    21. Madame Jacqueline Comerre-Paton. "MISTLETOE"                 217
+
+    22. Madame Eva Gonzalès. "PORTRAIT OF A LADY"                    223
+
+    23. Madame Fanny Fleury. "THE PATHWAY TO THE VILLAGE CHURCH"     235
+
+    24. Madame Vallet-Bisson. "THE DEPARTURE"                        241
+
+    25. Mlle. Consuélo Fould. "WILL YOU BUY?"                        247
+
+    26. Judith Leyster. "THE MERRY YOUNG MAN"                        257
+
+    27. Mevrouw Bilders van Bosse. "LANDSCAPE NEAR OOSTERBEEK"       267
+
+    28. Mlle. Thérèse Schwartze. "THE CHILDREN OF MR. A. MAY,
+        AMSTERDAM"                                                   273
+
+    39. Madame Henriette Ronner. "THE LAST MOVE"                     279
+
+    30. Mlle. Marie Bashkirtseff. "A MEETING"                        293
+
+    31. Mlle. Ottilie Roederstein.  "LE MOIS DE MARIE"               311
+
+    32. Antonia de Bañuelos. "THE LITTLE FISHERS"                    321
+
+    33. Mary Cassatt. "CHILDHOOD IN A GARDEN"                        327
+
+    34. Mary Cassatt. "MOTHER AND TWO CHILDREN"                      327
+
+
+
+
+DUPLEX PLATES
+
+
+    1. Mrs. Marianne Stokes. "THE QUEEN AND THE PAGE." Duplex Plate   79
+
+    2. Miss Lucy Kemp-Welch, R.B.A. "LABOURERS OF THE NIGHT."
+       Duplex Plate                                                  115
+
+    3. Madame Benoits. "MARIE PAULINE, PRINCESSE BORGHESE."
+       Duplex Plate                                                  183
+
+    4. Rosa Bonheur. "STUDY OF A BULL." Duplex Plate                 195
+
+
+
+
+Owing to various reasons, the work of several well-known painters
+could not be obtained until this book had passed through the press,
+and a supplement of pictures has therefore been placed between page
+324 and page 325. It includes work by Lady Alma-Tadema, Mrs. Seymour
+Lucas, Mrs. Marrable, Miss Maud Earl, Miss Julia B. Folkard, Miss
+Maude Goodman, Miss Flora M. Reid, Miss Blanche Jenkins, and Madame
+Arsène Darmesteter.
+
+It is hoped that the Women Painters of To-day may be studied again in
+a second volume. In the present book, dealing with 450 years of work,
+the living painters could not be fully represented, for there are
+thousands of ladies who now win a place in the art exhibitions of
+Europe and America.
+
+
+
+
+WOMEN PAINTERS REPRESENTED
+
+
+                                                                  PAGE
+    Abbéma, Mlle. Louise                                           237
+    Abran, Madame                                                  243
+    Allingham, Mrs. Helen, R.W.S.                             109, 137
+    Alma-Tadema, Miss Anna                                         156
+    Anderson, Mrs. Sophie                                          105
+    Angell, Mrs. Coleman                                           102
+    Anguisciola, Sophonisba                                 25, 36, 39
+    Angus, Christine                                                64
+    Art, Mlle. Berthe                                              276
+    Bakhuyzen, Mme. C. J. van de Sande                             266
+    Bañuelos, Antonia de                                      320, 321
+    Barton, Miss Rose, A.R.W.S.                                    143
+    Bashkirtseff, Mlle. Marie                                 293, 315
+    Bauck, Jeanna                                             300, 301
+    Bauerlë, Miss A., A.R.E.                                       132
+    Beale, Mary                                                     81
+    Beauclerk, Lady Diana                                           82
+    Beaux, Miss Cecilia                                       121, 162
+    Benoits, Madame                                                183
+    Bilders van Bosse, Mme.                              267, 269, 272
+    Bisschop-Robertson, Mme. Suse                                  278
+    Blatherwick, Lily (Mrs. A. S. Hartrick)                        155
+    Blau-Lang, Frau Tina                                      306, 308
+    Bodenheim, Mlle. Nelly                            12, 72, 292, 332
+    Bonheur, Rosa                         195, 205, 209, 210, 214, 215
+    Bouillier, Mlle.                                               194
+    Bourbon, de, Infante Paz                                  318, 320
+    Bovi, Madame                                                    90
+    Boznauska, de, Olga                                            316
+    Breslau, Mlle. Louise                                     304, 314
+    Brickdale, Miss E. Fortescue, A.R.W.S.               73, 103, 114,
+                                                         126, 141, 142
+    Brockmann, Doña Elena                                          319
+    Brownscombe, Miss Jennie                                       161
+    Butler, Lady Elizabeth                                      9, 154
+    Byrne, Anne Frances                                             94
+    Cameron, Miss Katharine                                        124
+    Cameron, Miss Margaret                                    131, 155
+    Capet, Marie Gabrielle                                         197
+    Carpenter, Mrs. Margaret                                   96, 100
+    Carpentier, Madeleine                                          244
+    Carriera, Rosalba                                   20, 37, 48, 51
+    Cassatt, Miss Mary                                        157, 327
+    Cazin, Madame Marie                                       227, 239
+    Charderon, Francine                                            229
+    Chase, Miss Marian, R.I.                                       130
+    Chatillon, de, Mme. Laure                                      219
+    Chaudet, Elisabeth                                             202
+    Cheviot, Miss Lilian                                           143
+    Claudie, Mlle.                                                 252
+    Cogniet, Mlle. Marie Amélie                                    189
+    Colin-Libour, Madame                                           325
+    Comerre-Paton, Mme. J.                                         217
+    Conant, Miss Cornelia                                          151
+    Cool, de, Mme. Delphine                                        232
+    Coomans, Mlle. Diana                                           228
+    Cosway, Maria                                                   96
+    Curran, Miss A.                                                 90
+    Danse, Mlle. Louise                                            278
+    Davids, Fräulein                                               300
+    Davin, Madame                                                  207
+    Dealy, Jane M. (Mrs. Lewis)                                    144
+    Demont-Breton, Madame                                     226, 233
+    De Morgan, Mrs. Evelyn                                91, 117, 123
+    Destrée-Danse, Madame                                          282
+    Dieksee, Miss Margaret Isabel                                  112
+    Dolci, Agnese                                                   47
+    Dubos, Mlle. Angèle                                            216
+    Dubourg, Mme. Victoria                                         240
+    Dufau, Mlle.                                         231, 240, 243
+    Duffield, Mrs. William                                         118
+    Ellenrieder, Anna Marie                                        298
+    Empress Frederick of Germany                                    56
+    Enault, Madame Alix                                            225
+    Fanner, Miss Alice                                        135, 156
+    Fanshawe, Catherine Maria                                       89
+    Fautin-Latour, Mme. (Victoria Dubourg)                         240
+    Fichel, Mme. Jeanne                                            216
+    Filleul, Madame                                           186, 187
+    Fleury, Mme. Fanny                                             235
+    Fontana, Lavinia                                        39, 40, 41
+    Forbes, Mrs. Stanhope                                 85, 147, 149
+    Fould, Mlle. Achille                                           250
+    Fould, Mlle. Consuélo                                          247
+    Frampton, Mrs. George                                          136
+    Gardner, Elizabeth                                        234, 238
+    Gentileschi, Artemisia                                  31, 42, 45
+    Ghisi, Diana                                                    39
+    Gilsoni-Hoppe, Madame                                          266
+    Godefroid, Mlle. Marie E.                                      203
+    Gonzalès, Eva                                             223, 231
+    Gow, Miss Mary L., R.I.                                        107
+    Granby, Marchioness of                                         142
+    Greenaway, Miss Kate                                      119, 127
+    Gutti, Rosina M.                                                53
+    Guyard, Madame                                            185, 188
+    Hammond, Miss G. Demain, R.I.                                  135
+    Hart, Miss Emily                                               113
+    Havers, Miss Alice                                             108
+    Heitland, Miss Ivy                                             107
+    Hemessen, Catharina van                                        263
+    Heming, Mrs. Matilda                                            95
+    Herford, Mrs. John                                              95
+    Herland, Mlle. E.                                              249
+    Hilda, Mlle. E.                                                245
+    Hitz, Dora                                                302, 303
+    Hobson, Miss A. M., R.I.                                       118
+    Hogendorp, Baronne van                                         266
+    Holroyd, Lady                                                  150
+    Hotham, Amelia                                                  88
+    Houdon, Mlle. M. J. A.                                         202
+    Houssay, Mlle. Joséphine                                       251
+    Houten, Mme. Mesdag van                                        269
+    Houten, Mlle. Barbara van                                 270, 275
+    How, Miss Beatrice                                        142, 148
+    Hunter, Mrs. Mary V., Frontispiece,                       126, 130
+    Hyde, Miss Helen                                          145, 163
+    Jensen, Frau Marie                                             303
+    Jopling, Mrs. Louisa, R.B.A.                                   120
+    Kauffman, Angelica, R.A.                                67, 83, 87
+    Kemp-Welch, Miss L. E., R.B.A.                            115, 125
+    King, Miss Jessie M.                                           159
+    Koch, Elisa                                                     49
+    Kollwitz, Fräulein Käthe                                       302
+    Laucota, Fräulein Herstine                                     307
+    Larcombe, Miss Ethel,                             Dedication Page,
+                                                           End-papers,
+                                                       Initial Letters
+    Le Brun, Madame Vigée                     166, 177, 191, 192, 193,
+                                                    198, 200, 201, 204
+    Leleux, Madame Armand                                          220
+    Le Roy, Madame                                                 252
+    Lescot, Madame Haudebourt                                      208
+    Leyster, Judith                                           257, 264
+    Longhi, Barbara                                                 41
+    Louise, H.R.H. Princess, Duchess of Argyll                      13
+    Lucas-Robiquet, Mme.                                           251
+    Macbeth, Miss Ann                                               97
+    Macdonald, Miss Biddie                                         123
+    Macgregor, Miss Jessie                                         148
+    Marcotte, Mlle. E.                                             272
+    Martineau, Miss Edith, A.R.W.S.                                111
+    Maupeou, Caroline von                                          299
+    Mayer, Constance                                               199
+    Mee, Mrs. Anne                                                  93
+    Meen, Mrs. Margaret                                             94
+    Merian, Maria S.                                          295, 296
+    Merritt, Mrs. Anna Lea, R.B.A.                                 139
+    Meunier, Mlle. Georgette                                       282
+    Morin, Eulalie                                                 187
+    Morisot, Berthe                                           211, 213
+    Moser, Mary, R.A.                                               94
+    Nicolas, Mlle. Marie                                           222
+    Normand, Mrs. (Henrietta Rae)                                  153
+    Offor, B. (Mrs. F. Littler)                                    160
+    Oppenheim, Mlle. A.                                            246
+    Parlaghy, Frau Vilms                                           316
+    Paymal-Amouroux, Mme.                                          232
+    Petiet, Mlle. Marie                                            219
+    Phillott, Miss Constance, A.R.W.S.                             138
+    Prestel, Maria C.                                              297
+    Réal del Sarte, Mme.                                           351
+    Ragnoni, Barbara                                                35
+    Read, Catharine                                             61, 84
+    Reis, Maria G. Silva                                           301
+    Robertson, Mrs. J.                                              93
+    Roederstein, Mlle. Ottilie                                305, 311
+    Romani, Juana                                                   54
+    Romany, Mme. Adèle                                             171
+    Rongier, Mlle., Jeanne                                         320
+    Ronner, Mme. Henriette                                    279, 281
+    Rothschild, de, Baroness Lambert                               277
+    Rude, Mme. Sophie                                              207
+    Ruysch, Rachel                                                 265
+    Salanson, Mlle. Eugénie                                        228
+    Salles-Wagner, Adelaïde                                        299
+    Sawyer, Miss Amy                                               159
+    Schjerfbeck, Helene                                       310, 313
+    Schurman, Anna Maria                                           296
+    Schneider, Mme. Félicie                                        222
+    Schwartze, Thérèse                              270, 271, 273, 275
+    Sindici, Doña Stuart                                           317
+    Sirani, Elisabetta                                          43, 46
+    Sister A, Sienese Nun                                       34, 35
+    Sister B, Sienese Nun                                           34
+    Smythe, Miss Minnie, A.R.W.S.                                  150
+    Sonrel, Élisabeth                                              237
+    Spencer, Lavinia, Countess                                      90
+    Staples, Mrs. (M. E. Edwards)                                  120
+    Starr, Louisa (Mme. Canziana)                                  106
+    Stokes, Mrs. Marianne                                      79, 129
+    Strong, Mrs. Elizabeth                                         113
+    Subleyras, Maria Tibaldi                                        52
+    Swon, Mrs. J. M.                                               159
+    Swynnerton, Mrs. A. L.                                         133
+    Tavernier, de, Mme. E.                                         227
+    Templetown, Viscountess                                         94
+    Thesleff, Ellen                                                314
+    Valory, de, Mme. Caroline                                      192
+    Vallet-Bisson, Mme.                                            241
+    Vanteuil, de, Mlle.                                            185
+    Vigri, Caterina                                                 33
+    Waterford, Louisa Lady                                     99, 101
+    Waternau, Mlle. Hermine                                        221
+    Watson, Caroline                                                89
+    Wentworth, Mrs. Cecilia                                        160
+    Wesmael, Mlle. E.                                              283
+    White, Miss Florence                                           124
+    Wiik, Maria                                               309, 313
+    Wolfthorn, Frau Julie                                          304
+    Wytsman, Mme. Juliette                                         284
+    Youngman, Miss A. M., R.I.                                118, 119
+    Zappi, Lavinia Fontana                                  39, 40, 41
+    Zillhardt, Mlle. Jenny                                         221
+
+    [Illustration: VENETIAN SCHOOL. 1675-1757
+    Portrait of a Lady unknown. After the pastel in the Musée de
+    Chantilly, from a Photograph
+    by Braun, Clément & Co., Paris
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+
+
+
+Women Painters in Italy since the Fifteenth Century
+
+By Walter Shaw Sparrow
+
+
+Older than the authenticated history of Greek art is a tradition that
+connects a girl's name with the discovery of a great craft, the craft
+of modelling portraits in relief. Kora, known as the virgin of
+Corinth, and daughter of a potter named Butades, sat one evening with
+her betrothed in her father's house; a torch burned, a fire of wood
+bickered in a brasier, throwing on the wall in shadow a clear
+silhouette of the young man's profile; and Kora, moved by a sudden
+impulse, took from the hearth a charred piece of wood and outlined the
+shadow. When the girl's father, Butades, saw the sketch which she had
+made, he filled in the outline with his potters' clay, forming the
+first medallion.
+
+It is a pretty, chivalrous tradition, and it recalls to one's memory
+the fact that the ancient Greeks had really some women artists of
+note, like Aristarete, daughter and pupil of Nearchus, celebrated for
+her picture of Aesculapius; or like Anaxandra (about B.C. 228),
+daughter of the painter Nealces, or like Helena, who painted the
+battle of Issus, about B.C. 333.
+
+Passing from Greece to ancient Rome, we find only one woman painter,
+Lala by name, and she was a Greek by birth and education. Lala lived
+and laboured in the first century before the birth of Christ. She went
+to Rome during the last days of the republic, and won for herself a
+great reputation by her miniature portraits of ladies.
+
+As the early Christians turned away from all luxury and adornment, the
+influence of Christ's life was very slow in gaining its benign
+ascendency in the arts; but among the civilisations which were founded
+on the ruins of Rome's decline and fall, there were some women who
+still deserve to be remembered for their patronage of art.
+Amalasontha, daughter of Theodoric the Great, Theodelinda, Queen of
+the Lombards, Hroswitha, in her convent at Gandershein, and Ava, the
+first German poetess, these ladies, and many others, made colonising
+names, names that visited distant lands and gave ambition to other
+women.
+
+Briefly, the Renaissance was heralded by a long, troubled dawn; but it
+came at last, and its effects on the destinies of women were immediate
+and far-reaching. In Italy, one by one, the Universities were opened
+to the fair, that of Bologna leading the way in the 13th century, when
+Betisia Gozzadini studied there with success, dressed as a boy, like
+Plato's pupil, Axiothea. And a line of girl graduates connects Betisia
+Gozzadini with the women lecturers who became so famous at Bologna in
+the 18th century: Anna Manzolini, Laura Bassi, Clotilde Tambroni,
+Maria Agnesi, and Maria Dalle-Donne.
+
+It is not easy to explain why the Italian towns and universities gave
+so much encouragement to the higher aspirations of girls. In poetry,
+in art, in learning, that encouragement was equally remarkable, and I
+am tempted to assign its origin to the martial temper of the Middle
+Ages, which drew many young men from the universities to take part in
+the exercises of the tilt-yard or in the perils of the battlefield,
+leaving the fields of learning in need of zealous labourers. Women, on
+the other hand, exposed their hearts, but not their lives, to the
+hazards of duels, tournaments and wars; they lived longer than men, as
+a rule, and hence it was worth while to encourage publicly those gifts
+of the female mind and spirit which had long been cultivated privately
+for the benefit of peaceful nunneries.
+
+Still, whatever the origin of it may have been, the pride taken by the
+Italians in their gifted women is among the most important facts in
+the history of their Renaissance. But for that pride, the scores of
+ladies who became noted in the arts would have remained unknown in
+their homes, and the story of those times would lack in its social
+life a counterpart of that radiant chivalry that cast so much
+tenderness and sanctity about the Motherhood of Mary and the Infancy
+of Jesus Christ.
+
+As this chapter is nothing more than a brief introduction to the study
+of a very important subject, I can say only a few words about the
+different groups of painters into which the women artists of Italy are
+divided, beginning with the early nuns, whose art was not so much a
+craft as a confession of faith.
+
+Caterina Vigri was the earliest of these nuns, and the picture by
+which she is represented on page 33, "St. Ursula and her Maidens," was
+painted in the year 1456. Not only is it typical of the young
+Bolognese school, but, despite the primitiveness of the drawing, it
+has two qualities in which the swift temperaments of women, so
+truth-telling in their emotions, commonly manifest themselves in art:
+the first is a certain naturalness of gesture and of pose; the second
+is an evident wish to impart life and liveliness to the faces, even
+although that liveliness and life may not accord with the subject in
+its higher spiritual significance. It is this natural wish of women to
+be homely and attractive that so frequently brings their art nearer to
+the people's sympathies than the work done by men; and if we study the
+four illustrations on pages 34 and 35, representing pictures by the
+Sienese nuns of Santa Marta, we shall see how motherly in tenderness
+was the feminine ideal of Christ's infancy. I can gain no information
+about Barbara Ragnoni and the two other sister nuns, whose names have
+passed into Time's limbo of forgotten things, and whom I have ventured
+to describe as Sister A. and Sister B. They were true artists, each
+one having a sweet graciousness of her own, playful, yet devout and
+reverent, devotional but not austere. In these pictures the maternal
+instincts are at play; the painters are so happy in their subject that
+their whole womanhood responds to it, making it a holy experience of
+their own glad hearts. There is much to admire also in the way in
+which the figures are grouped and co-ordinated; and how charming is
+that glympse of country painted by Barbara Ragnoni in her "Adoration
+of the Shepherds."
+
+These were not the only gifted and gracious nuns in the early history
+of Italian art. There was Plautilla Nelli, who formed her style on
+that of Fra Bartolommeo; she became prioress of a convent in Florence,
+the convent of St. Catherine, and died in 1588, aged sixty-five.
+Barbara Longhi of Ravenna, another painter of the same period, was not
+a nun, but I mention her now in order that attention may be drawn to a
+painter having a genuine sympathy and style (see page 41).
+
+We pass on to a little bevy of emigrants, women painters who visited
+foreign courts where they met with great successes. Sophonisba
+Anguisciola, born of a noble family in Cremona, was enriched by Philip
+II. of Spain; Artemesia Gentileschi came to London with her father and
+found a patron in Charles I.; Maria La Caffa (17th century), a flower
+painter, came upon her Mæcenas in the Court of Tyrol; it was in German
+Courts that Isabella del Pozzo (17th century), like Felicita Sartori
+(18th century), plucked bay leaves and laurels; and Violanta Beatrice
+Siries, after making for herself a name in Paris, returned home to
+Florence and painted many famous persons of the 18th century. Then we
+have Rosalba Carriera, whose career ended in blindness and loss of
+reason, and whose whole life is a touching story. As a child she made
+Point of Venice lace; at the age of fourteen or fifteen she painted
+snuff boxes with flowers and pretty faces; then miniatures of
+well-known persons kept her brushes busy; but this minute art tried
+her eyes so seriously that Rosalba adopted pastels instead, and soon
+became the most famous pastellist of her period. She journeyed pretty
+well all over the Continent, winning an extraordinary success wherever
+she went, as well as a place in all the Academies of note, from the
+Clementina at Bologna to the Royal Academy at Paris. Rosalba Carriera
+arrived in Paris in April 1720; she kept a diary of her experiences,
+and students of French history should read it in the edition annotated
+by Alfred Sensier. But here we are concerned with the art alone of
+Rosalba Carriera, an art rich in colour, swift and nervous in drawing,
+full of character, and modelled always with vigour and with ease.
+
+Returning now to an earlier traveller, Sophonisba Anguisciola, we meet
+with another portraitist of real merit, more self-contained than
+Rosalba, less impetuous, but fresh, witty, sincere and charming. It is
+probable that she was born in 1533. After studying for some time at
+Cremona, under Bernardino Campi, Sophonisba Anguisciola began to make
+fun of the little girls of the period. Vasari set the greatest store
+by one of these satirical sketches, representing a boy with a lobster
+clawed to his finger, and a small girl laughing at his nimbleness. The
+subject of another skit was an old woman studying the Alphabet, much
+to the amusement of a baby girl.
+
+    [Illustration: SCHOOL OF CREMONA, XVI CENTURY
+    THREE SISTERS OF SOPHONISBA ANGUISCIOLA PLAYING AT CHESS. FROM A
+    PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RACZYNSKI
+    COLLECTION. VASARI SAW THIS PICTURE AND SAID THAT "THE FIGURES
+    WANTED ONLY VOICE TO BE ALIVE."
+    Sophonisba Anguisciola or Angussola, Painter
+    1533(?)-1626]
+
+That Sophonisba Anguisciola was very young when she first attracted
+notice from the great, is proved by the fact that she sent a likeness
+of herself--a likeness now at Vienna--to Pope Julius III., who died in
+1555. It was in her twenty-seventh year that she made her way, with
+ten attendants, to the Spanish Court, there to paint a history in
+admired portraits of the great age of the _auto-da-fé_: a history
+which _tempus edax_ has devoured, leaving us only those works which
+Sophonisba turned out in her native country, far away from the dark
+tragedies of the Escorial. Philip the Second married his protegée to a
+wealthy Sicilian noble, Don Fabrizio de Monçada, giving her a huge
+dowry of 12,000 ducats, a pension of 1,400 scudi, and a dress loaded
+with pearls, besides other presents.
+
+Sophonisba retired with her husband to Palermo, where she soon became
+a widow. Then Philip and his Queen wished her to return to Madrid; but
+the artist pleaded an excuse, the excuse of homesickness, and set sail
+for Italy. The captain of the galley of war, Orazio Lomellini, was a
+handsome man of good family, a native of Genoa; his gallantry had
+suffered a sea-change, was altogether breezy, sailor-like, delightful;
+and Sophonisba not only fell in love with him, she took him at a
+leap-year advantage, and soon changed her "weeds" for a bridal dress.
+
+When Van Dyck met her at Genoa (1622), and painted several members of
+her husband's family, Sophonisba was upwards of eighty-seven years
+old, and quite blind; but the blithe old lady still went on painting
+so well in her familiar conversations that Van Dyck said he had learnt
+more from her talk than from his other teachers. Had Steele an
+inkling of this magnificent compliment when he said that to love the
+Lady Elizabeth Hastings was a liberal education? Addison may have
+heard of it in Italy, and in turning over his thoughts before Master
+Richard, may have dropped it generously. But, however this may be,
+Stirling gives too much point to Van Dyck's words; for he says boldly,
+in _The Annals of the Artists of Spain_, that my painter's portraits
+are little inferior to those by Titian. "Of this evidence is
+afforded," says he, "by that beautiful portrait of her, which is now
+no mean gem of the galleries and libraries of Althorp."
+
+Perhaps one may defy critics to name a single latter-day "realist"
+among the fair who has attained to Artemisia Gentileschi's masterful
+and singular ruthlessness, as in the several pictures of Judith that
+she painted. One of these pictures will be found on page 45. It is the
+least relentless of the series, but it shows clearly enough the grip
+of Artemisia's hand in tragedy. Curiously, the suave Guido was
+Artemisia's first teacher, but she learnt more from Domenichino, and
+more still from the years she passed at Naples, then known as "the
+sink of all iniquity." But Artemisia Gentileschi is sometimes kind in
+her work, and gentle; she does not always remind us of that Artemisia
+who fought so well at Salamis, causing Xerxes to cry: "Behold! the men
+behave like women, and the women like men!" In her excellent
+portraits, and in pictures like the "Mary Magdalene," on page 31, she
+blends some graciousness of thought with vigour and variety of
+technique.
+
+Lavinia Fontana and Elisabetta Sirani were the ablest women painters
+whose travels did not extend beyond Italy. The first was a member of
+the old Roman Academy, and Pope Gregory XIII. made her his portraitist
+in ordinary. She was born of good family in Bologna, anno 1552. It was
+her father that shaped the laggard talents of Lodovico Carracci, and
+from him came the girl's first lessons in drawing. Lavinia spent most
+of her life in Rome, where, for close on two generations, she held
+society by the austere truth of her portraiture. Ladies of high rank
+vied with one another to become her sitters, and a long red line of
+cardinals sat to her. Pope Paul the Fifth was among Lavinia's models;
+very high prices were paid readily for her work, and not a few
+noblemen wished to marry her; but the artist remained true to the
+young Count of Imola, Giovanni Paolo Zappi, a good, kind,
+simple-hearted fellow, an aristocratic Barnaby Rudge. Him she married,
+and it was her ill-hap to see his simplicity repeat itself in one of
+their two sons, a lad who kept the Pope's antechamber merry.
+
+My artist's style, though modelled to some extent on that of the
+Carracci, has a distinction of its own. Even the arid Kügler gives
+Lavinia his rare good word, reckoning her a better artist than her
+father, and adding: "Her work is clever and bold, and in portraiture,
+especially, she has left good things."
+
+Does Elisabetta Sirani take precedence of Lady Waterford? Perhaps they
+may be regarded as two equal queens in the world of woman's art, each
+with a beautiful artistic intellect. Even at the age of nineteen, as
+old Bartsch admits, Elisabetta etched exquisite plates; and, before
+she was twenty-three, her paintings were sought after by all the
+patron-critics of her country. Yet her male rivals hinted that she was
+dishonest, that she did not paint her own pictures, but had "ghosts"
+to win fame and fortune for her--especially her father, a poor
+"ghost," afflicted with inherited gout. Elisabetta happily soon turned
+the sneer against her rivals. This she did by working before an
+audience of distinguished persons, like Cosimo, Crown Prince of
+Tuscany, who on May 13th, 1664, stood by whilst she painted a likeness
+of his uncle, the Prince Leopold.
+
+Malvasia gives in his spirited monograph a list of 150 pictures by
+Elisabetta Sirani; and Lanzi deemed it marvellous that one who died so
+young should yet have brought to completion so many hopeful efforts of
+real genius. The brilliant girl painted with great rapidity. One of
+her finest achievements--the "Baptism of Christ"--is a very large
+picture, and the story of its conception is noteworthy. Elisabetta was
+little more than twenty at the time, and the clergy who had been sent
+to order the work for the Church of the Certosini at Bologna, looked
+on whilst she, radiant with inspiration, made her first impulsive
+sketch in pen-and-ink. The beholders were enchanted, and the huge
+picture, differing little in essentials from the sketch, was painted
+almost as rapidly as Dumas repeopled the distant past. In brief,
+Elisabetta Sirani, like all women of genius, worked under an intuitive
+rather than technical guidance; and in her art, consequently, as in
+Lady Waterford's, we find those blemishes and beauties which belong to
+a native habit of spontaneous workmanship.
+
+As to her private life, it is full of heroic virtues. The noble girl
+kept the whole family: her mother, who was stricken with paralysis;
+her father, who suffered intolerably from the gout; and her two
+sisters, whom she educated with a large class of girl art-students.
+Then Cupid came, saw, and was overcome, and Elisabetta, by way of
+celebrating this unkind victory, painted the little god in the act of
+crowning his victor. But the pity of it all was this: the girl had so
+many taut strings to her bow that the frail bow could not but break.
+Elisabetta's health gave way, a painful disease of the stomach
+assailed her; and yet to the last day but one of her short life--i.e.,
+August 27th, 1665--she remained true to her colours, and was one of
+art's truest soldiers. "The best way not to feel pain is not to think
+of it," said she, and then went slowly back to her studio.
+
+The present book contains adequate examples of the work of Elisabetta
+Sirani, of Lavinia Fontana Zappi, of Artemisia Gentileschi, of
+Sophonisba Anguisciola, of Rosalba Carriera; and there is a good
+drawing by Diana Ghisi, the painter-engraver, an excellent copy by
+Maria Tibaldi Subleyras, and two characteristic pictures by Agnese
+Dolci, sister of Carlo Dolci and his equal in talent. These painters
+and the early nuns, Caterina Vigri and the three sisters of Santa
+Marta, Siena, are enough to represent the old Italian schools; while
+three characteristic pictures by Elisa Koch, Juana Romani, and Rosina
+Gutti, unite the present with the far-distant past, a past separated
+from the present day by four hundred and fifty years.
+
+                                                WALTER SHAW SPARROW.
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    "MARY MAGDALENE." AFTER THE PAINTING IN THE PITTI GALLERY
+    FLORENCE. FROM A PHOTOGRAPH BY ANDERSON, ROME
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XV CENTURY
+    SAINT URSULA AND HER MAIDENS. FROM A PHOTOGRAPH BY ALINARI AFTER
+    THE ORIGINAL PICTURE IN THE ROYAL ACADEMY OF FINE ARTS, VENICE
+    Santa Caterina Vigri di Bologna, Painter
+    1413-1463]
+
+    [Illustration: SIENESE SCHOOL, XVI CENTURY
+    ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT SIENA
+    IN THE PROVINCIAL INSTITUTE OF FINE ARTS
+    Sister A., Convent of Santa Marta, Siena, Painter]
+
+    [Illustration: THE HOLY FAMILY WITH JOHN THE BAPTIST. AFTER THE
+    ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE
+    ARTS Sister B., Convent of Santa Marta, Siena, Painter About
+    1500]
+
+    [Illustration: SIENESE SCHOOL, XVI CENTURY
+    THE ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT
+    SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS
+    Sister Barbara Ragnoni, Painter
+    About 1500]
+
+    [Illustration: MADONNA AND CHILD, WITH ST CATHARINE AND OTHER
+    SAINTS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL
+    INSTITUTE Sister A., Convent of Santa Marta, Siena, Painter
+    About 1500]
+
+    [Illustration: SCHOOL OF CREMONA, XVI CENTURY
+    PORTRAIT (PAINTED BY HERSELF) OF SOPHONISBA ANGUISCIOLA OR
+    ANGUSSOLA, FAR-FAMED IN HER TIME AS ONE OF THE LEADING ITALIAN
+    ARTISTS; SHE DID MUCH WORK FOR PHILIP II. OF SPAIN. WHEN SHE WAS
+    VERY OLD AND BLIND, VAN DYCK MET HER AT GENOA, AND SAID THAT HE
+    HAD LEARNT MORE FROM HER TALK THAN FROM HIS OTHER TEACHERS. FROM
+    A PHOTOGRAPH BY ANDERSON, ROME, AFTER THE ORIGINAL PAINTING AT
+    MILAN IN THE POLDI-PEZZOLI COLLECTION
+    Sophonisba Auguisciola or Angussola, Painter
+    1533(?)-1626]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    CHARITY AND JUSTICE. AFTER THE PASTEL IN THE ROYAL GALLERY
+    DRESDEN. FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARIS
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ITALIAN SCHOOL XVI CENTURY
+    MARRIAGE OF ST. CATHARINE, AFTER AN ETCHING BY N. MUXEL
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: PORTRAIT OF A LADY. AFTER AN ETCHING BY N. MUXEL
+    Sophonisba Anguisciola, Painter 1533-(?)1626]
+
+    [Illustration: A VICTOR IN HIS TRIUMPHAL CHARIOT. AFTER THE
+    DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM, FROM A
+    PHOTOGRAPH BY W. E. GRAY
+    Diana Ghisi, called Mantuana, Painter-Engraver
+    1530-1590]
+
+    [Illustration: BOLOGNESE SCHOOL, XVI CENTURY
+    PORTRAIT (EXECUTED BY HERSELF) OF LAVINIA FONTANA ZAPPI, PAINTER
+    IN ORDINARY TO POPE GREGORY XIII. FROM A CARBON PRINT BY BRAUN,
+    CLÉMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE UFFIZI
+    GALLERY, FLORENCE
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: BOLOGNESE SCHOOL, XVI CENTURY
+    JESUS CHRIST TALKING WITH THE WOMAN OF SAMARIA. AFTER THE
+    ORIGINAL PAINTING IN THE NATIONAL MUSEUM, NAPLES. FROM A
+    PHOTOGRAPH BY ALINARI
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: MARY AND THE CHILD JESUS IN THE ACT OF CROWNING A
+    SAINT. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS, FROM A
+    PHOTOGRAPH BY MESSRS. W. A. MANSELL & CO. Barbara Longhi,
+    Painter
+    End of 16th Century]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    PORTRAIT: (EXECUTED BY HERSELF) OF ARTEMISIA GENTILESCHI, WHO
+    LIVED FOR A TIME IN ENGLAND AND WORKED FOR CHARLES THE FIRST.
+    FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE ORIGINAL PAINTING IN
+    EARL SPENCER'S COLLECTION
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    "THE DREAM OF SAINT ANTHONY OF PADUA." FROM A PHOTOGRAPH BY
+    ANDERSON, ROME, AFTER THE PAINTING IN THE PINACOTECA IN BOLOGNA
+    Elisabetta Sirani, Painter
+    1638-1665]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES. FROM A
+    PHOTOGRAPH BY ALINARI AFTER THE ORIGINAL PAINTING IN THE PITTI
+    GALLERY, FLORENCE
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    THE MADONNA WEEPING. FROM AN ORIGINAL ETCHING DATED 1657, IN THE
+    BRITISH MUSEUM
+    Elisabetta Sirani, Painter-Etcher
+    1638-1665]
+
+    [Illustration: THE FLIGHT INTO EGYPT. FROM THE ORIGINAL ETCHING
+    IN THE BRITISH MUSEUM
+    Elisabetta Sirani, Painter-Etcher
+    1638-1665]
+
+    [Illustration: FLORENTINE SCHOOL, XVII CENTURY
+    MARY AND THE CHILD JESUS. FROM A PHOTOGRAPH BY BRAUN, CLEMENT &
+    CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE BESANCON MUSEUM
+    "JESUS TOOK BREAD AND BLESSED IT..." FROM A PHOTOGRAPH BY BRAUN
+    CLÉMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE LOUVRE
+    Agnese Dolci Painter
+    Died about 1686]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    PORTRAIT STUDY OF A LADY WITH HER PET MONKEY. FROM A PHOTOGRAPH
+    BY LÉVY & SONS AFTER THE ORIGINAL PASTEL IN THE LOUVRE, PARIS
+    PORTRAIT STUDY OF CARDINAL DE POLIGNAC. FROM A PHOTOGRAPH BY
+    ANDERSON AFTER THE ORIGINAL PASTEL IN VENICE
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ITALIAN SCHOOL, ABOUT 1889
+    THE LITTLE SISTER. REPRODUCED FROM A PHOTOGRAPH BY PERMISSION OF
+    BRAUN, CLEMENT & CO., PARIS
+    Signorina Elisa Koch Painter]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    PORTRAIT STUDY OF A GIRL. FROM A PHOTOGRAPH BY LÉVY & SONS,
+    PARIS, AFTER THE ORIGINAL PASTEL IN THE LOUVRE
+    PORTRAIT OF ROSALBA CARRIERA, THE MOST FAMOUS PASTELLIST OF HER
+    TIME. FROM ANDERSON'S PHOTOGRAPH OF THE ORIGINAL PASTEL IN ROME
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ROMAN SCHOOL, XVIII CENTURY
+    MARY MAGDALENE AT THE FEET OF JESUS CHRIST IN THE HOUSE OF SIMON
+    THE PHARISEE. FROM A PHOTOGRAPH BY ALINARI AFTER THE PAINTING IN
+    ROME IN THE GALLERIA CAPITOLINA. IT IS A COPY AFTER A PICTURE BY
+    THE ARTIST'S HUSBAND, PIERRE SUBLEYRAS, A PICTURE NOW IN THE
+    LOUVRE, PARIS. MARIA TIBALDI SUBLEYRAS PRESENTED THIS COPY TO
+    POPE BENEDICT XIV, WHO SENT HER A THOUSAND SCUDI, AND PLACED HER
+    WORK IN HIS COLLECTION AT THE CAPITOL
+    Maria Tibaldi Subleyras, Painter
+    Born 1707]
+
+    [Illustration: ITALIAN SCHOOL, CONTEMPORARY
+    THE PEACEMAKER.
+    REPRODUCED AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY THE
+    AUTOTYPE CO., NEW OXFORD STREET, LONDON
+    Rosina Mantovani Gutti, Artist]
+
+    [Illustration: ITALIAN SCHOOL, CONTEMPORARY
+    STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Juana Romani, Painter]
+
+    [Illustration: SCHOOL OF ENGLISH WATER COLOUR, XIX. CENTURY
+    "THE AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S
+    HOUSE." FROM THE WATER-COLOUR DRAWING IN THE COLLECTION OF JAMES
+    ORROCK, ESQ., R.I.
+    H.I.M. The Empress Frederick of Germany, R.I.
+    1840-1901]
+
+
+
+
+Early British Women Painters
+
+
+Everybody knows that it has fallen to England's lot to gem the remote
+seas with shining repetitions of herself. But everybody does not
+remember that she has done this quite at haphazard, just as the winds
+carry seeds from a garden to a waste ground. In herself, with fitful
+moments of purposeful energy, England has been self-critical and
+self-distrustful, disinclined to value her own doings or to take
+precautions when in the midst of dangers. But for the individual
+enterprise of her children, which she has often disowned and punished,
+her colonies would have been the Isle of Man and the Isle of Wight.
+And it is singular to note also that the history of England's genius
+in art has followed the traditional character of her devious
+makeshifts in commerce and in war. Despite all inherent weaknesses,
+she has achieved at random a recognised greatness in art, and is so
+surprised at it that she hesitates always to encourage the gifts of
+her own craftsmen, preferring rather to have confidence in the work
+which she can buy from men of genius in other countries. From the time
+of Henry VIII. to the coming of the school of Reynolds, she allowed
+her own painters to starve in order that she might employ strangers;
+and to-day, as in the past, she butterflies from foreign school to
+foreign school and treats her own native arts to side-glances and
+half-friendly nods.
+
+Now, as this has ever been England's disposition, it is not surprising
+to find that Englishwomen, as well as Englishmen, long hesitated to
+follow the arts professionally. At a time when Italy and France had
+scores of women painters, England had scarcely one. Perhaps the
+earliest of any note, if we except Susannah Penelope Gibson, a
+miniature painter, was Mrs. Mary Beale, daughter of a Suffolk
+clergyman named Cradock. She lived between the years 1632 and 1697.
+After modelling her style on that of Lely, she worked with great
+courage, showing much real talent, particularly in quiet portraiture.
+She painted broadly and well, drew with force and discrimination, and
+although she told the truth plainly at a time when other painters
+flattered and fawned, she yet achieved success, and was encouraged by
+the highest in the land, from King Charles the Second to Archbishop
+Tillotson. Time has robbed her colour of its first freshness, but the
+character remains, and the portraits on page 81 represent Mary Beale
+in a characteristic manner.
+
+The next English women painters in order of merit were Lady Diana
+Beauclerk, an amateur with much untutored talent, and Catharine Read,
+a distinguished professional artist of the Reynolds period. That she
+was appreciated in her day is proved by the fact that her portraits
+were engraved, side by side with those of Reynolds and Gainsborough.
+To-day she is forgotten, and very little can be learnt about her life
+or about the present owners of her pictures. Catharine Read lived near
+St. James's and sent frequently to the exhibitions. In 1770 she went
+to the East Indies, but in a few years returned to London, where she
+died in or about the year 1786.
+
+Angelica Kauffman, R.A., though born at Coire, the capital of the
+Grisons, belongs to the British school, and holds in the early history
+of that school a position similar to that which has been assigned in
+France to Madame Vigée Le Brun. The art of the two ladies differs
+widely to be sure, that of Angelica Kauffman having less mirth, less
+wit, less sprightliness and homeful sincerity; it is quite artificial
+in spirit, with a strong bias towards the sentimental; but it has for
+all that considerable charm and ability, qualities, let us remember,
+that won the admiration of Reynolds and of Goethe. Turner, also,
+possessed two of her drawings, as I am told by his descendant, Mr
+Charles Mallord W. Turner. But in recent times Angelica Kauffman has
+been remembered for the romance of her personal life and treated with
+cool contempt in all that appertains to her work. Critics have
+searched in her pictures for manly qualities, and finding there the
+temperament of a sentimental woman, their judgment has failed them.
+The very men who would be astonished beyond measure if a prima donna
+sang to them in a voice like the leading tenor's, do not hesitate to
+complain when the voice in a woman's painting is one filled with
+womanhood.
+
+In England, at the close of the 18th century, quite a number of ladies
+came to the front in art, like Caroline Watson, the admirable stipple
+engraver (page 89), or like Catherine Maria Fanshawe, a painter-etcher
+who could put a body into a peasant's smock and could show in a rustic
+figure the mingled influences of Morland and Gainsborough, while
+keeping a tender sympathy of her own (page 89). Amelia Hotham, too, in
+the native art of water-colour, attained to a broad and vigorous style
+in landscape, while taking far too many hints from the scenic pomp
+that Francis Nicholson made popular in outdoor scenes (page 88).
+Nevertheless, Amelia Hotham's work has interest in the history of
+British water-colour, like that of three other ladies who followed
+her, the Viscountess Templetown (page 94), Matilda Heming and Mrs.
+John Herford, the grandmother of Mrs. Allingham. Matilda Heming's
+picture on page 95, "Backwater, Weymouth, Dorset," is weak in the
+drawing of the hills, but the rest of the design is quite admirable,
+the boats particularly being very well drawn. We see, then, that
+during the last decades of the 18th century, and at the beginning of
+the nineteenth, a little band of Englishwomen studied landscape
+painting seriously; and this fact is worth remembering, as women have
+seldom been drawn in art to nature in the woods and fields. The
+gentler sex, as a rule, has not appreciated landscapes.
+
+On the other hand, they have shown in art a great love for the
+beauty of flowers, the colour and the forms of insects, and the
+"other-naturalness" of many kinds of animals. Maria Sibylla Merian,
+Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell,
+Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch--these ladies will
+not be forgotten, let us hope, as long as there are students who take
+delight in plants, flowers, birds and animals.
+
+Among the flower and fruit painters in England, during the 18th
+century and the first few decades of the nineteenth, conspicuous
+places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and
+Anne Frances Byrne, illustrations of whose pictures will be found on
+page 94; and the reader will do well to compare this early work with
+that of Mrs. Coleman Angell, the female counterpart of William Hunt
+(page 102).
+
+Whilst these flower-painters were busy, another small group of ladies
+won considerable popularity by their little figure-subjects, such as
+the Countess Spencer's drawing on page 90, or again, like the fanciful
+miniatures by Mrs. Mee or the sentimental portraits by Mrs. J.
+Robertson, types of which are given on page 93. Miss Curran's portrait
+of Shelley is a valuable portrait-sketch historically (page 90), and
+it has something of the charm that distinguishes the able portraits
+drawn to-day by the Marchioness of Granby.
+
+What can be said about Mrs. Margaret Carpenter? Is she not to be
+placed among those quiet, unpretentious portrait-painters whose
+thoughts are so wrapped up in their determination to be true that they
+never think of striving after exhibition-room effects? Margaret
+Carpenter gives us the character of her sitters, and not technical
+displays of her own cleverness. Born at Salisbury, in 1793, the
+daughter of Captain Geddes, this able painter came to London in 1814,
+and married, in 1817, William Carpenter, who for many years was Keeper
+of the Print Room in the British Museum. She exhibited often at the
+Royal Academy until 1864, and made a great reputation by her
+portraits. She died in 1872, leaving a son, William Carpenter
+(1819-1899), to continue the art tradition which she had herself
+carried on in her family.
+
+    [Illustration: ENGLISH SCHOOL, XVIII CENTURY
+    PORTRAIT OF THE LADY GEORGIANA SPENCER. AFTER THE PAINTING IN THE
+    COLLECTION OF EARL SPENCER. FROM A PHOTOGRAPH BY HANFSTAENGL
+    Catharine Read, Painter
+    Died about 1786]
+
+Some may think that Margaret Carpenter began the modern history of
+women painters in England; others may grant that distinction to the
+intuitive and radiant work of Lady Waterford, that most gifted of all
+amateurs. It seems truer to say that Margaret Carpenter is best
+described as a connecting-link between the old and the new, and that
+Lady Waterford is not only so faithful to herself but so spontaneous,
+that her good gifts belong to no particular school or period. They
+certainly owed much to the colour of the Venetian School, far more
+to that old source of inspiration than to any influence of the 19th
+century. But the main characteristics of Lady Waterford's appeal come
+to us from the painter's own heart and beautiful æsthetic intellect.
+The ease with which she composed, and the charming animation of all
+her designs, these were natural qualities uninfluenced by any
+teaching; and they won the ardent admiration of the late Mr. G. F.
+Watts. It is the spirit alone of Lady Waterford's art that we should
+admire; we must not look closely at the drawing, for Lady Waterford
+neither tried nor wished to perfect her faulty technical equipment.
+Most of her art-work was done after a day spent in other charities. It
+was Lady Waterford's joy to dole out alms herself, and it never
+occurred to her that she might do such good actions by proxy, just as
+Queen Charlotte picked up five old books in the booths of Holywell
+Street. The truth is that Lady Waterford valued practicalness more
+than imagination, as do the great majority of women; she longed to
+_see_ the good she did, and she could not realise to herself that art
+has a permanent ethical influence. Closing her eyes to this truth,
+Lady Waterford wrote as follows to one of her friends:--
+
+"I could never attain to even one work that I see in my mind's eye, and
+if I could it would be less than those of the great men of old, _whose
+greatest works have not quelled evil or taught good_.... I could not
+live for art--it would not be what I am put in the world to do. I do
+not despise art, but I should feel that it was not given for that. Two
+homes have been given me, and it is to try to do what I can in them
+that they are given for brief life."
+
+Is not that pathetic? Is it not the very music of a woman's
+rationalism? What has "quelled evil?" But if our hearts and minds rise
+to an entire sympathy with Lady Waterford's sketches, we shall
+certainly feel that a noble spirit in art does indeed "teach good," is
+a spiritual almsgiving for all time, a charity that goes on
+ministering, through long generations, to that which is best in human
+nature.
+
+                                                WALTER SHAW SPARROW.
+
+    [Illustration: DESIGN BY CHRISTINE ANGUS.]
+
+
+
+
+Modern British Women Painters
+
+By Ralph Peacock
+
+
+It is the privilege of man, in his youth, to ignore his limitations.
+For this ignorance he pays in failure the price of a possible success.
+In his wiser middle age he does not repent, he finds that it is only
+by some sort of an attack on his limitations that apparent results are
+attained, and he learns to take on faith the difference there is in
+fact between the attainment and the attempt. The experience of a woman
+is, I take it, very similar. It follows in no way that, because her
+limitations are different from, and in a physical sense greater than,
+man's, the brutal laws which go to produce results are in her case
+different. She is marching along the same road, and though she may
+have other stopping places by the way and perhaps may take up more
+modest quarters in the end, it is a journey and an arrival, an effort
+and a result, and the things seen by the wayside become of
+significance to her as the painted banners under which she seeks her
+way.
+
+Englishwomen do not seem to have done much in painting before the
+generation or two that are just past. Public opinion was against them.
+The early Victorian conditions under which a woman like Charlotte
+Brontë produced her great results in another art are more or less
+familiar to all, and in the matter of painting the voice of prejudice
+has had still more to say. By these days it has croaked itself into
+the feeble hoarseness of a respectable and decent old age, and we can
+already look back to a succession of women painters who seem to have
+been conscious at first of their leading-strings, but who have shown a
+development more than corresponding to that of the conditions under
+which they worked. Kate Greenaway, who died only a few years ago, was
+no doubt a good example of the charming results to be obtained in
+leading-strings. To compare her with an artist who works in a similar
+field to-day is to note an advance, not only of a generation, but of
+the changing educational conditions within the generation. It is a far
+cry from Kate Greenaway to Miss Alice Woodward, for instance, and it
+is difficult to imagine that another age will say anything more, or
+less, of Miss Woodward than that she was a most distinguished artist.
+The leading-strings are gone.
+
+It will always be a special field for women, the production of work in
+the first place for children, and it is unnecessary to spend time in
+emphasising or over-emphasising its importance. Art itself reckons
+little with motives and much with results. In a more general view it
+would, perhaps, be better to start this small article with some notice
+of the women painters of the seventeenth, eighteenth and early
+nineteenth centuries. There is Mrs. Mary Beale, who was a child when
+Cromwell was Lord Protector, and who later on painted a most excellent
+portrait of Charles II. There is some work of hers in the National
+Portrait Gallery, London, work of the quiet, genuine kind, and better
+than most of the painting that came for some time afterwards. Then
+there is Angelica Kauffman, R.A., who provides us with perhaps the
+only well-known name of the early periods, and there are some
+portrait-painters of interest, like Miss Catharine Read, of Reynolds'
+time, or like Mrs. Anne Mee, of the early part of last century. But it
+must be confessed that it would be a sorry list for a couple of
+centuries if it were a fact that women had had the same opportunities
+and no greater disabilities than the men of the period. It is not
+indeed until we reach such painters as Margaret Carpenter, the
+portrait painter, Mrs. Matilda Heming, the landscapist, and Lady
+Waterford, that more than charming amateur who might have done so
+much, that we begin to feel we have a reasonable genesis of the worker
+of to-day. These painters show to us now rather the influences of
+their time or the limitations of their opportunities, than
+personalities which are outside such considerations, but they
+nevertheless provide us with evidence of a very genuine and lively
+activity.
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    THE SIBYL. AFTER THE PICTURE IN THE ROYAL GALLERY, DRESDEN. FROM
+    A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Maria Angelica Kauffman, R.A., Painter
+    1741-1807]
+
+The work of Mrs. Heming is interesting in a rather more special way.
+It is distinctly rare to find the ordinary landscapist of her time
+working with an eye to truth rather than to the making of a so-called
+composition of the period, rare enough in fact to place her quite
+above the ordinary.
+
+It is at first sight a curious thing that more women painters have not
+even in these days been attracted by pure landscape. It is strange in
+the sense that they have among them such painters as Lady Butler and
+Miss Lucy Kemp-Welch. But no branch of art is more that of the
+specialists than landscape. It developed later in history than any
+other, and it calls to those who would tire of the didactic in human
+thought and who might find in the study of any obviously human affair
+something to remind them of a phase of experience they would, in
+paint, avoid. No doubt the Empress Frederick turned to landscape as an
+occupation of relief from the pressing human affairs in which her life
+was involved, and it is just in such a way that the natural
+landscapist turns from the human side of life to the more abstract
+emotions he finds in the garden of the Great Spirit.
+
+Women, I believe, are more held by the personal than the abstract.
+Mrs. Allingham may be one of the exceptions. In any case Mrs.
+Allingham claims quite a special place for herself in any
+sketch-survey of the work of English women painters. Few women have
+shown a more definitely English sympathy in landscape than she has.
+Her method is simple, obvious and plain for all to see. For that
+reason it would fail to appeal in any way to the Eclectics, or to
+those among them, at any rate, who, in the words of a subtle Eclectic,
+confound the natural with the commonplace. A distinctly home-bred
+feeling, such as Mrs. Allingham has among women, or, in the grand
+manner, Fred Walker among men, is however a very rare thing and is
+becoming rarer. How far it may, in individual cases, change to other
+things may be seen in some of the more modern painters, in the
+remarkably strong work of Miss Margaret Cameron, Miss Biddie
+Macdonald, Miss Alice Fanner, and Miss Beatrice How. This latter
+painter has not merely been affected in matters of technique, but
+gives us, most delightfully, the very sentiment of the country people
+she paints. It is quite a little miracle of transplanted adaptability.
+
+It has been said that every good woman has in her marching outfit a
+supply of adaptability which, in sum total, accounts for most of the
+happiness enjoyed by the human race at large. If so, it may be added
+that in its superior manifestations the affair is sub-conscious,
+artistic, most natural and not at all one of the commonplaces of life.
+It perhaps explains, or rather is illustrated by, the number of
+painters in the very first rank among women who have shown in their
+work the influence of some near relative. In any case, Lady
+Alma-Tadema for one has produced work so extraordinarily good in
+itself that it is easy to believe the similarity of her technique to
+that of Sir Laurence Alma-Tadema to be merely one of the happy chances
+of her life. A very similar thought arises in connection with the work
+of the late Miss Margaret Dicksee. It is easy to influence technique,
+but first causes are not set in action by human hands. If one who did
+not know her may say so, there is written on the canvases that Miss
+Dicksee has left behind the evidence of a most lovable nature.
+
+Mrs. Stanhope Forbes, Miss Lucy Kemp-Welch and Lady Granby are
+isolated examples whose work has no connection in itself and shows
+very little affinity, beneath the surface, with the special influences
+of their time. The strong brushwork of Mrs. Stanhope Forbes, it is
+true, may be said to have arrived by way of Newlyn, but the fanciful
+sentiment underlying her work has an arrival quite of its own. Miss
+Lucy Kemp-Welch has made, and deserved, a place for herself the last
+few years, and she stands alone among women as an animal painter of
+power. Lady Granby, who is an amateur, is also an artist. Magna est
+ars et prevalet. Ave!
+
+Miss Mary Gow, the late Alice Havers, Miss Jessie Macgregor, Miss Anna
+Alma-Tadema, Miss Lily Blatherwick, Miss Amy Sawyer, and Louisa Starr
+(Madame Canziana) also make a special appeal, each in her own way.
+
+Mrs. Swynnerton is a lady who has given us a great deal of work of a
+very high order indeed. In the first place she has always something to
+say that is worth saying. Her work is exuberant with the joy of life,
+the joy of colour. Her very brush is surcharged with a high and lavish
+spirit. Blue eyes look out, so blue, from happy sunburnt faces, so
+sunburnt, that take their places on her canvases as in a drama to tell
+us something of her thoughts and of themselves. Mrs. Swynnerton, plus
+her faults, is genuine through and through. The work of another
+painter, Mrs. De Morgan, naturally comes into consideration when we
+turn to symbolism. More tenaciously in earnest and more austere in
+every way than Mrs. Swynnerton, her work is as the poles apart. The
+one romps, if the term be allowed, in a flower-spangled meadow, the
+other's province is the study; and, as is the way with students, her
+mind is often on the thought of the past rather than with affairs of
+the present. Before one of Mrs. De Morgan's pictures one thinks
+through, by way of Burne-Jones, to Botticelli and the great ancestors
+of art, and it is saying a very great deal for Mrs. De Morgan that in
+such case one can bless the passive hand that gives and the hand that
+receives.
+
+Her work may very well lead us to a small band of artists, not
+definitely connected in themselves, but allied with each other in the
+sense that they work for somewhat similar ends: Mrs. Marianne Stokes,
+Miss Eleanor Fortescue Brickdale and Mrs. Young Hunter. To these,
+perhaps, may one day be added a name very little known at present,
+Miss Milicent E. Gray. It is not unusual in speaking of the work of
+either of these first three artists, and more especially of Miss
+Eleanor Brickdale, to refer to the pre-Raphaelite influence in art. It
+is, however, extremely probable that the influence takes direct effect
+in these days more as a method than as a conviction. The great
+conviction itself has leavened Art, and the individualities of these
+painters are so strong that it becomes in their case a nearer interest
+to ignore all potters and regard the clay. Mrs. Young Hunter has a
+quaint flitting fancy that wanders over hill and dale and seizes from
+life subtle little touches that are full of the elusiveness of tales
+told after school hours.
+
+Mrs. Marianne Stokes is made of sterner stuff. She has worked of late
+in that most stern and stubborn medium, tempera, and small things of
+hers in various exhibitions attract one always with the desire to know
+more of her most attractive work. Miss Eleanor Brickdale works, or
+plays, always with an idea. And the idea she is not satisfied to leave
+until it has taken on for other eyes a most cunning and beautiful
+bodily shape, in line, in form, in colour--above all in line. She is
+probably, without knowing it, as good an antithesis as may be found of
+the Impressionist, so-called. The Impressionist is the incarnation of
+the abstract in terms of paint, the Symbolist uses the material to
+convey definite abstractions in thought. It is, by contrast with
+music, the motive of symphony as compared to the motive of Oratorio or
+opera, and the apposite methods may be equally well, or badly, used or
+abused. Abuse may lead the militant Impressionist to an impasse of
+assertive agnosticism as pedantic in its way as the lucubrations of
+the most literary pedant in paint. On the other side of the lantern
+you may have Watts, and the painted canvases of a Whistler. So be it.
+
+Art is a long lane with many turnings, and down each there may be
+found a little house with a fireside and human hearts thereby.
+
+                                                       RALPH PEACOCK.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1900.
+    YOUTH AND THE LADY. REPRODUCED FROM THE ORIGINAL WATER-COLOUR,
+    BY KIND PERMISSION OF CHARLES DOWDESWELL, ESQ., THE OWNER OF THE
+    PICTURE AND ITS COPYRIGHT.
+    Miss Eleanor Fortescue Brickdale, Painter]
+
+
+
+
+Women Painters in the United States of America
+
+
+During the 19th century, in the United States of America, there came
+slowly into existence a new school of painting--new often in temper
+rather than in manner, for its followers usually came to Europe for
+their methods. Race, climate, religion, commerce, social life,
+influence art, and the painters of the United States reveal in their
+work all the characteristics for which their country has long been
+famous: vivacity, invention, constant enterprise, a democratic
+enthusiasm, a love of truth (truth often united with romance or else
+with sensationalism), and last, but not least, a rare felicity in
+transforming borrowed knowledge into something quite original. It is
+not often that a civilisation embodies itself in the genius of one
+man, giving an epitome of all its dominant qualities; but in Mr. John
+S. Sargent, R.A., we recognise a painter of tremendous gifts who does
+for the United States what the manly, swaggering Rubens did for
+Flanders, symbolising a people and a civilisation.
+
+One sign of the democratic spirit in the progress of American Art is
+to be noticed in the fact that women have participated largely in the
+honours gained by the pioneers. It is noteworthy, for instance, that
+the first book on Women Painters should have been written by an
+American lady, Mrs Ellet, as far back as 1859. Mrs. Ellet showed great
+industry, but following a custom rashly encouraged by writers on art,
+she believed that she could teach painting and sculpture by the use of
+words alone, in recording biographical facts, and in offering
+criticisms on work that her readers could not see in illustrations.
+Written history is the phonograph of all past centuries, but the
+understanding of art owes little to its words.
+
+Still, the enthusiasm that fired Mrs. Ellet was shared by many of her
+countrywomen, and to it we owe some truly clever artists, like the
+four sculptors, Harriet Hosmer, Florence Freeman, Edmonia Lewis and
+Emma Stebbins, or like the following painters: Emily Sartain
+(portraits and genre), Sara M. Peale (portraits), Mrs. J. W. Dewing
+(portraits, subject pictures, flowers and still-life), Annie C. Shaw
+(cattle and landscapes), Mrs. Adèle Fassett (portraits) Mrs. Elisa
+Greatorex (landscapes), Mrs. Henry A. Loop (portraits), Ella A. Moss
+(portraits), Jennie Brownscombe (subject pictures), May Alcott (copies
+after J. M. W. Turner and still-life), Elizabeth Boott (figure
+subjects), Charlotte B. Coman (landscapes in the manner of Corot), and
+that delicate recorder of pleasant secrets learnt from nature in the
+fields, Fidelia Bridges. The very titles of this lady's pictures have
+the fragrance of field flowers or else they glow with the plumage of
+birds. It has been said of Fidelia Bridges that her art sings little
+pastoral lyrics, and her art is certainly very fresh and sweet,
+charmed with much sympathetic appreciation of nature in some of her
+unnumbered smiling moods. For Fidelia Bridges, like Birket Foster,
+paints as though the year were all springtime, a series of twelve May
+months, all full of gaiety and bounty. She seldom takes heed of that
+eternal warfare which accompanies Nature's bountifulness, filling the
+seed-carrying winds with the presence of death, and setting every
+living thing to prey upon another. To this part of Nature's life
+Fidelia Bridges usually shuts her eyes, unlike Miss E. M. Carpenter,
+whose landscape art reveals at times the menacing suggestion of great
+rivers and of high solitary mountains.
+
+It would serve no useful purpose to enumerate all the earlier women
+painters of the United States. They worked bravely and well, and if
+their doings are now forgotten or undervalued, it is only because the
+harvest sowed by them is being reaped by the present generation.
+To-day the names of at least two American women painters, Mary Cassatt
+and Cecilia Beaux, are known in every country where good art is
+studied. Mary Cassatt, the only pupil of Degas, is bracketed always
+with Berthe Morisot, for both ladies became Impressionists at about
+the same time, adding the charm of their personalities to a rugged
+revolt in art. The work of each has great interest, but that of Mary
+Cassatt is the more attractive and the more enduring. It is not
+overburdened with a heavy adherence to methods originated by men; and
+it is richer with the emotions of the painter's own heart. To Mary
+Cassatt, Impressionism is a chosen dialect, a means by which she can
+express herself in colour and form; to Berthe Morisot, on the other
+hand, it was in itself the final word in painting. So, mistaking the
+clay of art for the finished statue, she obeyed the methods of a
+school with so much zeal and so much self-sacrifice that her own
+nature became enslaved to the difficulties of technique. Compare
+Berthe Morisot's able study (page 211) with the charming homeliness of
+Mary Cassatt's picture (page 157), and you will see at a glance how
+wide is the difference between the emotional and æsthetic value of the
+subjects represented. Berthe Morisot remains a student, while Mary
+Cassatt passes beyond technique to a universal delight in childhood.
+She feels both the pathos and the humour of the beginnings of our
+life, and she makes infancy welcome in art because she understands it
+and shows no maudlin sentiment.
+
+Something of the same kind is done by Miss Cornelia Conant, in her
+domestic picture called "The End of the Story" (page 151); and another
+view of child-life, delightfully rendered by Helen Hyde, may be seen
+in colour on page 145.
+
+The pictures by which Miss Cecilia Beaux is represented in this book
+show very clearly that her genius has dramatic strength, sustention,
+and flexibility. The portrait on page 182 is handled with a sculptural
+vigour that responds admirably to the character of the sitter, while
+the "Mother and Child" (page 121) has a quietness of tone, a reserved
+simplicity of style, a permeating suggestion of pathos, having much in
+common with Whistler's portrait of his mother. Miss Cecilia Beaux is a
+dramatist in her studies of character, and her art is probably more
+subtle and more various than that of any woman painter who has devoted
+her life to portraiture. The reader will do well to contrast her style
+with that of Mrs. Anna Lea Merritt, the first woman painter whose
+work was purchased by the Chantrey Fund, London (page 139).
+
+It is fitting now that a list should be given of other leading artists
+of the United States, though their work is not represented here, owing
+to the adventures in delays that attend a despatch of letters from
+London to America.
+
+1. Sarah C. Sears (Mrs. J. Montgomery Sears), pupil of Turner, Brush
+and Tarbell; prizes at New York, 1893, Chicago, 1893, Paris, 1900,
+Buffalo, 1901, Charleston, 1902. 2. Miss Mary L. Macomber, pupil of
+Boston Museum; prizes at Boston, 1895, Atlanta, 1895, National Academy
+of Design, 1897, Pittsburgh, 1901. 3. Miss Katherine Abbot, bronze
+medal at Paris, 1900. 4. Miss Elizabeth F. Bonsall, pupil of Howard
+Pyle, prize winner at Philadelphia, 1885, 1888, 1897. 5. Miss Matilda
+Browne, pupil of Dewey and Bisbing, medals at Chicago, 1890, National
+Academy of Design, 1899 and 1901. 6. Miss Maria Brooks, pupil of the
+Royal Academy Schools, London. 7. Mrs. Brewster Sewell, pupil of Duran
+in Paris, of Chase in New York; winner of several prizes, as at
+Charleston in 1902. 8. Rosina Emmet Sherwood, pupil of Chase and of
+Julian's School, Paris; prizes in Paris, 1889, Chicago, 1893, Buffalo,
+1901. 9. Mrs. Emily M. Scott, prizes at Buffalo, 1901, New York, 1902.
+10. Miss Rhoda H. Nicolls, born in England and studied in England; a
+frequent prize-winner. 11. Edith M. Prellwitz, a frequent prize-winner
+and a pupil of Brush, in New York, of Julian, in Paris. 12. Lydia
+Field Emmet, pupil of Bouguereau, in Paris, of Chase, in New York;
+prizes at Chicago, 1893, Atlanta, 1895, Buffalo, 1901. 13. Mrs. Kenyon
+Cox, pupil of the National Academy of Design; prize-winner at Paris,
+1900, at Buffalo, 1901. 14. Emma L. Cooper, Medals at Chicago, 1893,
+Atlanta, 1895. 15. Mrs. Charlotte B. Comans, Medal at San Francisco,
+1894. 16. Miss Clara S. MacChesney; and last, but not least, Miss Mary
+F. MacMonnies.
+
+                                                              W. S. S.
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    THE QUEEN AND THE PAGE. AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY DIXON & SON, LONDON
+    Mrs. Marianne Stokes, Painter]
+
+    [Illustration: BRITISH SCHOOL, XVII CENTURY
+    PORTRAIT OF THE ENGLISH POET, ABRAHAM COWLEY (1618-1667). FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING
+    IN THE NATIONAL PORTRAIT GALLERY, LONDON
+    Mrs. Mary Beale, born Cradock, Painter
+    1632-1697]
+
+    [Illustration: PORTRAIT OF KING CHARLES II OF ENGLAND. FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING
+    IN THE NATIONAL PORTRAIT GALLERY, LONDON Mrs. Mary Beale, born
+    Cradock, Painter
+    1632-1697]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    CARICATURE OF EDWARD GIBBON, HISTORIAN. IN THE PRINT ROOM, THE
+    BRITISH MUSEUM
+    Lady Diana Beauclerk, Amateur
+    1734-1808]
+
+    [Illustration: CUPIDS. AFTER AN ENGRAVING BY F. BARTOLOZZI, R.A.
+    Lady Diana Beauclerk, Amateur 1734-1808]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    ARIADNE. AFTER THE ORIGINAL PAINTING IN THE DRESDEN GALLERY,
+    FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH
+    Maria Angelica Kauffman. R.A., Painter
+    1741-1807]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    PORTRAIT OF MISS HARRIOT POWELL. FROM A MEZZOTINT BY RICHARD
+    HOUSTON. THE PROOF LENT BY MR. ALFRED DAVIS
+    Miss Catharine Read, Painter
+    Died about 1786]
+
+    [Illustration: PORTRAIT OF MISS JONES. FROM AN ENGRAVING BY J.
+    WATSON, DATED 1767. THE PRINT LENT BY MR. ALFRED DAVIS Miss
+    Catharine Read, Painter Died about 1786]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "THE FISHER WIFE." AFTER THE DRAWING IN WATER-COLOUR AND CRAYON,
+    FROM A PHOTOGRAPH BY W. E. GRAY, LONDON
+    Mrs. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    PORTRAIT (PAINTED BY HERSELF) OF ANGELICA KAUFFMAN, R.A., AFTER
+    THE ORIGINAL PICTURE IN THE UFFIZI GALLERY. FROM A PHOTOGRAPH BY
+    ALINARI]
+
+    [Illustration: THE VESTAL VIRGIN. AFTER THE ORIGINAL PICTURE IN
+    THE ROYAL GALLERY, DRESDEN, FROM A PHOTOGRAPH BY HANFSTAENGL
+    Maria Angelica Kauffman, R.A., Painter 1741-1807]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1793
+    RIVERSIDE LANDSCAPE WITH A CASTLE IN THE DISTANCE. PAINTED IN
+    1793, WHEN TURNER AND GIRTIN WERE ONLY EIGHTEEN. THE BREADTH AND
+    MANNER OF THIS DRAWING ARE THEREFORE REMARKABLE, ESPECIALLY AS
+    COMING FROM A LADY OF THAT TIME. THE SCENIC POMP OF THE DESIGN
+    POINTS TO THE INFLUENCE OF FRANCIS NICHOLSON. AFTER THE ORIGINAL
+    WATER-COLOUR (19-5/8 INCHES BY 26-3/4 INCHES) IN THE PRINT ROOM
+    OF THE BRITISH MUSEUM, FROM A PHOTOGRAPH BY W. E. GRAY
+    Amelia Hotham, Painter
+    End of 18th Century]
+
+    [Illustration: BRITISH SCHOOL, END OF XVIII CENTURY AND
+    BEGINNING OF XIX CENTURY
+    A COUNTRY BOY. REPRODUCED FROM AN ORIGINAL SOFT-GROUND ETCHING
+    THAT SHOWS THE MINGLED INFLUENCES OF GAINSBOROUGH AND MORLAND
+    Catherine Maria Fanshawe, Painter-Etcher
+    1765-1834]
+
+    [Illustration: PORTRAIT OF SARAH, COUNTESS OF KINNOULL, FROM A
+    STIPPLE ENGRAVING AFTER A MINIATURE BY SAMUEL SHELLEY Caroline
+    Watson, Engraver to Queen Caroline 1760(?)-1814]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY A PINCH OF
+    SNUFF. AFTER AN ENGRAVING BY MADAME BOVI, A PUPIL OF F.
+    BARTOLOZZI, R.A. THE PRINT LENT BY MR. ALFRED DAVIS
+    Lavinia Countess Spencer, Amateur
+    Died 1831]
+
+    [Illustration: PORTRAIT OF PERCY BYSSHE SHELLEY (1792-1822).
+    AFTER THE ORIGINAL DRAWING IN THE NATIONAL PORTRAIT GALLERY,
+    LONDON. FROM A PHOTOGRAPH BY J. CASWALL SMITH Miss A. Curran,
+    Amateur
+    Died 1847]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "FLORA." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Miss Evelyn Pickering (Mrs. William De Morgan), Painter]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF MRS. STUART FROM A MEZZOTINT BY S. W. REYNOLDS,
+    KINDLY LENT BY MR. ALFRED DAVIS
+    Mrs. J. Robertson, Painter
+    Worked 1824 to 1844]
+
+    [Illustration: PORTRAIT OF LADY DALRYMPLE HAMILTON, DAUGHTER OF
+    ADMIRAL LORD DUNCAN FROM AN ENGRAVING BY J. AGAR Mrs. Anne Mee,
+    born Foldsone, Painter Died very old in 1851]
+
+    [Illustration: BRITISH SCHOOL 1764 TO 1826 VASE OF FLOWERS.
+    PAINTED IN 1764 AND FORMERLY IN THE COLLECTION OF QUEEN
+    CHARLOTTE. AFTER THE TEMPERA PAINTING AT SOUTH KENSINGTON
+    Mary Moser, R.A. (Mrs. Hugh Lloyd)
+    1744-1819]
+
+    [Illustration: GROUP OF FLOWERS IN A JAR. PAINTED IN 1806 FOR
+    PRINCESS ELIZABETH, DAUGHTER OF GEORGE III. AFTER THE
+    WATER-COLOUR AT SOUTH KENSINGTON Mrs. Margaret Meen, Painter
+    Worked 1775 to 1810]
+
+    [Illustration: FLOWERS AND GRAPES. PAINTED IN 1826. AFTER THE
+    WATER-COLOUR AT SOUTH KENSINGTON
+    Miss Anne Frances Byrne, Painter
+    1775-1837]
+
+    [Illustration: WOOD SCENE. AFTER THE DRAWING IN INDIA INK ON A
+    WATER-COLOUR TINT AT SOUTH KENSINGTON
+    Viscountess Templetown, Amateur
+    Died 1824]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, EARLY XIX.
+    CENTURY BACKWATER, WEYMOUTH, DORSET. AFTER THE ORIGINAL
+    WATER-COLOUR IN THE BRITISH MUSEUM FROM A PHOTOGRAPH BY W. E.
+    GRAY, LONDON Mrs. Matilda Heming, born Lowry, Painter
+    1808-1855]
+
+    [Illustration: LANDSCAPE AT KENILWORTH AFTER AN ORIGINAL
+    WATER-COLOUR BY THE GRANDMOTHER OF MRS. HELEN ALLINGHAM, R.W.S.
+    Mrs. John Herford, Amateur]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF HENRIETTA SHUCKBURGH, AFTER THE WATER-COLOUR IN THE
+    BRITISH MUSEUM
+    Mrs. Margaret Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: PORTRAIT OF MARGARET CARPENTER. AFTER THE
+    WATER-COLOUR IN THE BRITISH MUSEUM Mrs. Margaret Carpenter, born
+    Geddes, Painter 1793-1872]
+
+    [Illustration: LODONA. FROM POPE'S "WINDSOR FOREST."
+    FROM THE ENGRAVING BY F. BARTOLOZZI, R.A.
+    Mrs. Maria Cosway, born Hadfield, Painter
+    1759-1838]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "ELSPETH." AFTER THE ORIGINAL PORTRAIT IN BODY-COLOUR, BY KIND
+    PERMISSION OF MRS. J. M. CURRIE, LONDON
+    Miss Ann Macbeth, Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY
+    PALM BRANCHES. AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY
+    J. CASWALL SMITH, LONDON
+    Louisa Marchioness of Waterford, Painter
+    1818-1891]
+
+    [Illustration: SPRING. AFTER THE ORIGINAL DRAWING IN
+    WATER-COLOUR FROM A PHOTOGRAPH BY J. CASWALL SMITH Louisa
+    Marchioness of Waterford, Painter 1818-1891]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    PORTRAIT OF JOHN GIBSON, R.A., SCULPTOR (1791-1866). AFTER THE
+    PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON, FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO.
+    Mrs. Margaret Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: PORTRAIT OF R. P BONINGTON, PAINTER (1801-1828).
+    AFTER THE PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON,
+    FROM A PHOTOGRAPH BY W. A. MANSELL & CO. Mrs. Margaret
+    Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    JESUS CHRIST AMONG THE DOCTORS AFTER THE ORIGINAL WATER-COLOUR
+    FROM A PHOTOGRAPH BY J. CASWALL SMITH
+    Louisa Marchioness of Waterford, Painter
+    1818-1891]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY
+    STUDY OF A BIRD'S NEST. REPRODUCED FROM THE ORIGINAL DRAWING IN
+    WATER-COLOUR BY PERMISSION OF MESSRS. BROWN & PHILLIPS
+    Mrs. Helen Cordelia Angell, born Coleman, Painter
+    1847-1884]
+
+    [Illustration: BRITISH SCHOOL, 1901
+    "TO-DAY FOR ME." FROM A PHOTOGRAPH BY H. DIXON & SON, AFTER THE
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS
+    Miss Eleanor Fortescue Brickdale, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1871
+    ELAINE. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY
+    PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART GALLERY,
+    LIVERPOOL
+    Mrs. Sophie Anderson, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1873
+    SINTRAM AND HIS MOTHER (VIDE DE LA MOTTE FOUQUE). REPRODUCED
+    FROM A PHOTOGRAPH BY PERMISSION OF THE ARTS COMMITTEE, THE
+    WALKER GALLERY, LIVERPOOL
+    Louisa Starr (Madame Canziana), Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1875-1895
+    THROUGH THE WOOD. REPRODUCED FROM THE ORIGINAL WATER-COLOUR AT
+    SOUTH KENSINGTON
+    Miss Ivy Heitland, Painter
+    1875-1895]
+
+    [Illustration: MOTHER AND CHILD. DATED 1894. FROM THE
+    WATER-COLOUR IN THE IONIDES COLLECTION AT SOUTH KENSINGTON Miss
+    Mary L. Gow, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1880
+    "BLANCHISSEUSES." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING BY PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART
+    GALLERY, LIVERPOOL
+    Miss Alice Havers, Painter
+    Died 1890]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY
+    A COTTAGE NEAR CROCKEN HILL
+    FROM THE ORIGINAL WATER-COLOUR
+    Mrs. Helen Allingham, R.W.S., Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1888
+    THE POTATO HARVEST. AFTER THE ORIGINAL WATER-COLOUR, DATED 1888,
+    FROM A PHOTOGRAPH KINDLY LENT BY THE ARTIST
+    Miss Edith Martineau, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1890
+    IN MEMORIAM. AFTER A PHOTOGRAPH BY HENRY DIXON & SON, BY KIND
+    PERMISSION OF MISS MARY A. DICKSEE AND FRANK DICKSEE, ESQ., R.A.
+    Miss Margaret Isabel Dicksee, Painter
+    1858-1903]
+
+    [Illustration: BRITISH SCHOOL, 1887 AND 1890
+    GOOD FRIENDS. AFTER THE ORIGINAL PAINTING, DATED 1887, FROM A
+    PHOTOGRAPH BY NEWIDEIN, PARIS
+    Mrs. Elizabeth Strong, Painter]
+
+    [Illustration: THE END OF A STORY. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Miss Emily
+    Hart, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1900
+    "SLEEP, THAT KNITS UP THE RAVELL'D SLEAVE OF CARE." FROM A
+    PHOTOGRAPH BY DIXON & SON, LONDON, AFTER THE ORIGINAL
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS
+    Miss Eleanor Fortescue Brickdale, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    LABOURERS OF THE NIGHT.
+    FROM THE STUDY IN OIL-COLOUR ON DRAWING PAPER
+    Miss Lucy E. Kemp-Welch, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    STUDY FROM THE LIFE.
+    AFTER THE ORIGINAL CHALK DRAWING
+    Evelyn Pickering (Mrs. William De Morgan), Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    YELLOW ROSES. AFTER THE ORIGINAL WATER-COLOUR
+    Mrs. William Duffield, R.I.
+    FROM A NEAPOLITAN VILLA. AFTER THE ORIGINAL WATER-COLOUR
+    Miss A. M. Youngman, R.I.]
+
+    [Illustration: ROOM AT LEICESTER IN WHICH SHAKESPEARE IS SAID TO
+    HAVE ACTED BEFORE QUEEN ELIZABETH. AFTER THE ORIGINAL SKETCH IN
+    WATER-COLOUR DATED 1903
+    Miss Alice M. Hobson, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "A FOR APPLE-PIE: E EAT IT." AFTER THE ORIGINAL
+    DRAWING IN THE COLLECTION OF JOHN GREENAWAY, ESQ. REPRODUCED BY
+    PERMISSION OF FREDERICK WARNE & CO.
+    Miss Kate Greenaway, Illustrator
+    1846-1901]
+
+    [Illustration: "WHO LOVES A GARDEN LOVES A GREENHOUSE TOO" AFTER
+    THE ORIGINAL PICTURE EXHIBITED AT THE ROYAL INSTITUTE OF
+    WATER-COLOUR IN 1904
+    Miss A. M. Youngman, R.I.]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    ST. BRIDGET. FROM A PHOTOGRAPH BY R. J. W. HAINES
+    Mrs. Louise Jopling, R.B.A., Painter
+    WAIFS FROM THE GREAT CITY. COPYRIGHT RESERVED BY THE ARTIST
+    Mrs. Staples (M. Ellen Edwards), Illustrator]
+
+    [Illustration:  UNITED STATES OF AMERICA, CONTEMPORARY
+    MOTHER AND CHILD
+    AFTER THE ORIGINAL PAINTING
+    Miss Cecilia Beaux, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    DRAPERY STUDY. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL
+    DRAWING
+    Evelyn Pickering (Mrs. William De Morgan)]
+
+    [Illustration: PORTRAIT OF THE LADY ALIX. EGERTON, FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Miss Biddie Macdonald,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    WHITE TREASURES AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    THE AUTOTYPE CO. NEW OXFORD STREET, LONDON
+    Miss Florence White, Painter]
+
+    [Illustration: "HUSH! REMIND NOT EROS OF HIS WINGS." AFTER THE
+    ORIGINAL WATER-COLOUR Miss Katharine Cameron, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    AFTER WORK
+    A STUDY IN LEAD PENCIL
+    Miss Lucy Kemp-Welch, Artist]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "OLIVIA." REPRODUCED FROM THE ORIGINAL DRAWING BY PERMISSION OF
+    MESSRS. BROWN & PHILLIPS, LONDON
+    Mrs. Mary Young Hunter, Illustrator]
+
+    [Illustration: "HE MARRIED A WIFE." AFTER THE ORIGINAL
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS Miss Eleanor
+    Fortescue Brickdale, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    "A. FOR APPLE PIE: C. CUT IT." AFTER THE WATER COLOUR DRAWING IN
+    THE COLLECTION OF JOHN GREENAWAY, ESQ., REPRODUCED BY PERMISSION
+    OF MESSRS. FREDERICK WARNE & CO., OWNERS OF THE COPYRIGHT
+    Miss Kate Greenaway, Designer
+    1846-1901]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    PORTRAIT OF THE HON MRS. WALTER JAMES. AFTER THE ORIGINAL
+    PICTURE FROM A PHOTOGRAPH BY MESSRS. DIXON & SON, LONDON
+    Mrs. Marianne Stokes, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    AN INTERESTING STORY
+    AFTER THE ORIGINAL WATER-COLOUR
+    Miss Marian Chase, Painter]
+
+    [Illustration: "WHERE SHALL WISDOM BE FOUND?" AFTER AN ORIGINAL
+    PICTURE PAINTED IN 1902 Mrs. Mary Young Hunter, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    PORTRAIT OF MRS. BLAIR WITH HER DOGS. AFTER AN ORIGINAL PAINTING
+    THAT GAINED A "MENTION HONORABLE" IN THE SALON OF 1904
+    Miss Margaret Cameron, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A SONG OF THE SEA
+    FROM THE ORIGINAL ETCHING
+    Miss Amelia Bauerlë, Painter-Etcher]
+
+    [Illustration: FAUNS FROM THE ORIGINAL ETCHING Miss Amelia
+    Bauerlë, Painter-Etcher]
+
+    [Illustration: BRITISH SCHOOL, 1895
+    THE SENSE OF SIGHT. REPRODUCED FROM THE PAINTING IN THE WALKER
+    GALLERY, LIVERPOOL, BY PERMISSION OF THE ARTS COMMITTEE
+    Mrs. Annie L. Swynnerton, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    RIVERSIDE LANDSCAPE
+    AFTER THE ORIGINAL PAINTING
+    Miss Alice Fanner, Painter]
+
+    [Illustration: MEMORIES. AFTER THE ORIGINAL WATER-COLOUR
+    EXHIBITED IN 1904 AT THE ROYAL INSTITUTE OF PAINTERS IN
+    WATER-COLOUR Miss Gertrude Demain Hammond, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1903
+    BLUEBELLS
+    FROM THE ORIGINAL PAINTING
+    THE ROYAL ACADEMY, 1903
+    Miss Christabel A. Cockerell (Mrs. Geo. Frampton), Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1904
+    PONTE WIDMAN, VENICE. AFTER THE ORIGINAL OUT-DOOR SKETCH IN
+    WATER-COLOUR
+    Mrs. Helen Allingham, R.W.S., Painter]
+
+    [Illustration: CAMPANILE SAN STEFANO, VENICE. AFTER THE ORIGINAL
+    OUT-DOOR SKETCH IN WATER-COLOUR Mrs. Helen Allingham, R.W.S.,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    THE HERDSMAN OF ADMETUS AFTER THE ORIGINAL PICTURE EXHIBITED IN
+    1904 AT THE ROYAL SOCIETY OF PAINTERS IN WATER-COLOURS.
+    COPYRIGHT RESERVED
+    Miss Constance Phillott, A.R.W.S., Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, 1890
+    "LOVE LOCKED OUT." AFTER THE PAINTING IN THE CHANTREY COLLECTION
+    IN THE TATE GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL
+    Mrs. Anna Lea Merritt, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    Miss Eleanor Fortescue Brickdale, Illustrator]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    REPRODUCED FROM THE ORIGINAL DRAWING IN CRAYONS.
+    Miss E. Fortescue Brickdale, Illustrator
+    LE REPAS. EXHIBITED AT THE PARIS SALON IN 1903
+    Miss Beatrice How, Painter]
+
+    [Illustration: THE LATE CECIL RHODES. AFTER THE PENCIL DRAWING
+    THE LATE LORD SALISBURY. AFTER THE PENCIL DRAWING The
+    Marchioness of Granby, Portraitist]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    ON THE WAY TO THE HORSE FAIR. FROM A PHOTOGRAPH BY THE AUTOTYPE
+    CO., NEW OXFORD STREET LONDON
+    Miss Lilian Cheviot, Painter]
+
+    [Illustration: ALMOND BLOSSOM IN LONDON AFTER THE ORIGINAL
+    WATER-COLOUR Miss Rose Barton, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    DAY-DREAMS. AFTER THE ORIGINAL PICTURE IN WATER-COLOUR
+    Jane M. Dealy (Mrs. Lewis), R.I., Painter
+    BABY. AFTER THE ORIGINAL PORTRAIT IN WATER COLOUR
+    Jane M. Dealy (Mrs. Lewis), R.I., Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    "DAY DREAMS." FROM THE COLOURED WOODCUT IN THE JAPANESE MANNER.
+    PRINTED IN JAPAN BY NATIVE WORKMEN UNDER THE SUPERVISION OF THE
+    ARTIST. REPRODUCED BY PERMISSION OF MR. C. KLACKER. 12,
+    HAYMARKET, LONDON. COPYRIGHT IN ALL COUNTRIES
+    Miss Helen Hyde, Designer and Painter]
+
+    [Illustration: BRITISH SCHOOL OF WATER-COLOUR, CONTEMPORARY
+    "IN WITH YOU!" REPRODUCED FROM THE ORIGINAL PICTURE IN
+    BODY-COLOUR]
+
+    [Illustration: "CUCKOO." REPRODUCED FROM THE ORIGINAL PICTURE IN
+    BODY-COLOUR Mrs. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    IN THE REIGN OF TERROR. AFTER THE ORIGINAL PAINTING, DATED 1891,
+    IN THE WALKER GALLERY, LIVERPOOL
+    Miss Jessie Macgregor, Painter]
+
+    [Illustration: IN A DUTCH COTTAGE. AFTER AN ORIGINAL PAINTING
+    EXHIBITED AT THE PARIS SALON IN 1904 Miss Beatrice How,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL OF WATER-COLOUR, 1904
+    MAY EVENING
+    AFTER THE ORIGINAL PICTURE
+    Mrs. E. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A COTTAGE GIRL. REPRODUCED FROM THE ORIGINAL WATER-COLOUR
+    Miss Minnie Smythe, A.R.W.S., Painter]
+
+    [Illustration: PORTRAIT OF SIR CHARLES HOLROYD. REPRODUCED FROM
+    THE ORIGINAL PAINTING Lady Holroyd, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, 1880
+    THE END OF THE STORY. REPRODUCED FROM A COPYRIGHT PHOTOGRAPH BY
+    PERMISSION OF BRAUN, CLÉMENT & CO., PARIS
+    Cornelia W. Conant, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1890
+    OPHELIA: "THERE'S RUE FOR YOU." REPRODUCED BY KIND PERMISSION OF
+    THE ARTS COMMITTEE, THE WALKER ART GALLERY, LIVERPOOL
+    Mrs. E. Normand (Henrietta Rae), Painter]
+
+    [Illustration: BRITISH SCHOOL, 1897
+    "STEADY THE DRUMS AND FIFES!" FROM A PHOTOGRAPH OF THE ORIGINAL
+    PICTURE, BY KIND PERMISSION OF LADY ELIZABETH BUTLER AND OF
+    MESSRS. GOUPIL & CO., LONDON AND PARIS, PUBLISHERS OF THE LARGE
+    REPRODUCTION RECENTLY ISSUED
+    Lady Elizabeth Butler, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    AFTER THE BULL-FIGHT
+    FROM THE ORIGINAL PICTURE
+    Miss Margaret Cameron, Painter]
+
+    [Illustration: WINTRY WEATHER AFTER THE ORIGINAL PICTURE Lily
+    Blatherwick (Mrs. A. S. Hartrick), Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A YORKSHIRE TROUT STREAM.
+    AFTER THE ORIGINAL PICTURE
+    Miss Alice Fanner, Painter
+    PORTRAIT OF MISS ANNA ALMA-TADEMA. AFTER THE ORIGINAL PAINTING
+    Miss Anna Alma-Tadema, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    BABY'S TOILETTE. REPRODUCED FROM THE ORIGINAL PASTEL, BY
+    PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS THE OWNERS OF
+    THE COPYRIGHT.
+    Miss Mary Cassatt, Pastellist and Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    FROM THE ORIGINAL PEN-DRAWING
+    Miss Jessie M. King, Illustrator]
+
+    [Illustration: THE MUSIC LESSON Mrs. J. M. Swan, Painter PANEL
+    OF A SCREEN AFTER THE ORIGINAL PAINTING Miss Amy Sawyer,
+    Painter]
+
+    [Illustration: BRITISH AND AMERICAN SCHOOLS, CONTEMPORARY.
+    OPHELIA. FROM A PHOTOGRAPH BY THE AUTOTYPE CO., NEW OXFORD
+    STREET, LONDON
+    Miss Offor (Mrs. F. Littler), Painter, England.]
+
+    [Illustration: PRAYER. AFTER THE ORIGINAL PICTURE, FROM A
+    CARBON-PRINT PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mrs.
+    Cecilia Wentworth, Painter, U.S.A., America.]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    THE PEACE BALL AFTER THE DECLARATION OF INDEPENDENCE: THE FRENCH
+    OFFICERS, LAFAYETTE AND ROCHAMBEAU, BEING INTRODUCED TO
+    WASHINGTON'S MOTHER. REPRODUCED BY PERMISSION OF C. KLACKNER,
+    HAYMARKET, LONDON
+    Miss Jennie Brownscombe, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY.
+    PORTRAIT. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    KINDLY LENT BY THE ARTIST.
+    Miss Cecilia Beaux, Painter.]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    THE BAMBOO FENCE. FROM A WOODCUT DESIGNED IN THE JAPANESE MANNER
+    AND PRINTED IN COLOURS BY JAPANESE WORKMEN. REPRODUCED BY
+    PERMISSION OF C. KLACKNER, NEW YORK, U.S.A., AND 12, HAYMARKET,
+    LONDON. DATE OF COPYRIGHT, 1904
+    Miss Helen Hyde, Designer]
+
+    [Illustration: FRENCH SCHOOL, 1755-1842
+    Portrait of Madame Vigée Le Brun and her Daughter. After the
+    painting in the Louvre, from a Photograph by Braun, Clément &
+    Co., Paris
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+
+
+
+Of Women Painters in France
+
+By Léonce Bénédite. Translated into English by Edgar Preston
+
+
+Woman in Art is a fruitful subject. It is both psychological and
+æsthetic, involving as it does a question of paramount interest. At
+the same time it includes a special up-to-date character, by virtue of
+the grave questions arising from the position of woman in our social
+system of to-day. It is, indeed, the position of woman which has for
+so long a period set limits to her production of creations of the
+mind, and her position has had a distinct bearing on her inspiration.
+
+Thus it will be grasped, in these times of ours when the movement for
+the total emancipation of woman has commenced, and when the first
+franchises granted to her have already borne conclusive results, how
+it is that our honoured colleague, the editor of this book, has been
+led, both as an artist and as a writer on art, to conduct a sort of
+historical examination enabling one to understand the position woman
+has won in the realms of art in the past, and permitting one to
+foresee the place she is called upon to occupy in the future.
+
+With regard to the productions of the mind, it becomes necessary to
+establish a well-defined distinction, at least in so far as the past,
+anterior to the 19th century, is concerned, between the position of
+women artists and that of literary women. The literary woman, like the
+man of letters, was not subjected to any special obligation beyond the
+official sanction granting her the privilege of publication--a
+sanction which bore only on the question of morals and religion. Every
+woman was free to write without let or hindrance, without any
+preliminary education, and even without going through the formalities
+of publication or the necessities of printing, since a famous woman
+like Madame de Sévigné owed her celebrity to letters which were not
+destined to be made public. This explains the number of charming
+writers among women who have added lustre to French literature by
+their novels, stories, or simply by their letters, and enables one to
+realise how these women authors are, in contradistinction to women
+artists, persons of high standing. The chronicles of the Hôtel de
+Rambouillet constitute an interesting little chapter in the history of
+letters in France, just as the "Précieuses Ridicules" or the "Femmes
+Savantes" of Molière reveal to us the defects and eccentricities into
+which the literary pretensions of the feminine world had fallen in the
+17th century. It cannot, however, be denied that the fair sex freely
+infused into the literature of that period spontaneity, life and
+spirit, piquancy, affectation, and the delicate sentiments inherent to
+its nature, and that it had its share of influence on French taste at
+that time.
+
+Altogether different is the position of their sisters, the
+women-painters. Let us first look into that of the men. Painters
+formerly were part of a Guild such as that of the Drapers, Bakers and
+Butchers, and in their case it was a Guild which was far from
+occupying the first place in the hierarchy of Guilds. The Butchers
+were beyond doubt higher up in the scale than the painters. The
+painters were subjected to narrow and despotic regulations; rigorous
+conditions governed both apprenticeship and mastership, conditions
+hardly encouraging to those who had a vocation, more especially in the
+case of women, ill-protected by the weakness of their sex, by
+prevalent custom, and ill-adapted for the struggle. The _régime_ of
+the Académies, which followed that of the Guilds, did not bring in its
+wake conditions in any degree profitable to womankind. The Académie de
+Saint-Luc, while pretending to safeguard the professional interests of
+artists, displayed such tyrannical pretensions that a certain number
+of artists rose in revolt against it, and appealed to the Royal power,
+which, approached by its chief painter, Charles Le Brun, came to their
+rescue, by helping them to found the celebrated Académie Royale de
+Peinture et de Sculpture (1666). The Académie Royale proved itself
+somewhat more liberal. It set no limits to the reception of those who
+seemed worthy of its suffrages; we know that it welcomed into its
+bosom a number of strangers of merit, and that it opened its doors to
+women. Therein lies a victory of appreciable importance, if one
+considers the energy and the talent which women artists were compelled
+to display, in order to conquer ancient prejudices in so signal a
+fashion. Henceforth a place was assigned in art to women, a place
+still hedged in with limitations, and which could be attained only by
+the few privileged ones. For, in its turn, the Académie served the
+purpose of a few, but not that of the many. The Académie reserved the
+monopoly of exhibitions exclusively for its members; and artists who
+did not, in one way or other, belong to this congregation, were
+allowed to exhibit their works in public only once a year. It was on
+the one day of the Octave of Corpus Christi, for a space of two hours,
+in the open air, and within the circumference of the Place Dauphine.
+All great artists had to submit to this treatment, ere they could
+force the portals of the Académie. But times have changed! Our
+contemporaries, so inconstant, so impatient, who wear out the
+attention of the public by the excessive multiplicity of their
+exhibitory manifestations, should occasionally think of the conditions
+under which their forerunners laboured.
+
+Imagine a woman placed in the midst of these quarrels and struggles of
+rival Academies, with men in strong and often fierce antagonism on all
+sides of her; picture not only these general difficulties, but those
+of a more particular sort which arise from the disabilities of her
+sex, her subordinate state; think of the drawbacks--the prejudices,
+the _convenances_ to be considered, and then the embarrassing
+promiscuity of life in studio and school, particularly as regards the
+study from the living model--and one can realise how brave, how
+energetic, or how ambitious must be the woman who would win the title
+of Artist.
+
+It is clear that the Royal Academy's liberal measure in opening its
+doors to women of talent was an event of some importance, from the
+moral point of view at any rate. It was the public recognition of
+woman's capacity in matters of art, the official consecration of merit
+which might come to light; also it afforded a goal to strive for--a
+goal hard to reach and very remote, doubtless, but still a goal
+possible of attainment to the most courageous and the most hopeful
+among women. The real, as distinct from the moral, advantages were,
+however, rather limited. From 1663, the date which marks the admission
+of the first woman artist, to 1783, when the last was admitted--that
+is to say during a period of eighty years--exactly fifteen women
+painters were elected, and among them were three foreigners. In 1770,
+indeed, on the nomination of Mlle. Giroust, wife of Roslin, the
+painter, it was decided that, as there were already in the company two
+other women previously elected, there must not be more than four women
+in all within the Academy. This measure of restriction was renewed in
+1783 and ratified by Royal ordinance on the election of Mme. Vigée Le
+Brun.
+
+Nevertheless there was an appreciable number of women artists in
+France throughout the course of the 18th century. Their social rank
+was strictly confined. There were no "women of quality," such as were
+to be found in the world of letters, no representatives of the
+_bourgeoisie_ even. The women artists, with very rare exceptions, all
+belonged to artist families. They were the wives, the daughters, the
+sisters or the nieces of artists, and this tradition, as we shall see,
+even continued long into the 19th century. Catherine Duchemin, the
+first woman elected to the Academy, was the wife of the sculptor,
+Girardon, while Geneviève and Madelaine Boulogne, both academicians,
+were related to distinguished painters of that name. Mlle. Reboul was
+Mme. Vien, and Mme. Labille des Vertus became Mme. Vincent on her
+second marriage. Then we have Mlle. Natoire, sister of the director of
+the Academy of France, Catherine van Loo, one of the innumerable
+family of Van Loo, Mme. de Valsaureaux, _née_ Parrocel, of the no less
+numerous family of Parrocel, Mme. Therbouch, _née_ Liscewska, all this
+family, father, mother, and daughters alike, being painters; and Mme.
+Vigée herself, who married the picture dealer Le Brun, was the
+daughter of a portrait painter.
+
+During the 17th and 18th centuries these great artist families
+intermarried to such an extent as to form a series of veritable
+dynasties--for instance, those of the Coypels, the Coustous, the Van
+Loos, the Boulognes, the Parrocels, and the Vernets, to name but a few
+of the most renowned. Artist families became allied just as do those
+of lawyers and merchants. Thus their social life grew more limited,
+each category more and more distinct and apart, for these artist
+families rarely strayed beyond their own _milieu_. And those very
+circumstances which tended to retard the development of the artistic
+calling in woman exerted their influence over the inspiration of the
+female artist. The impossibility of pursuing very far the study of
+anatomical drawing, owing to the nudity of the model, diverted them
+almost entirely to the studies of observation and of imitation, to
+portrait work, and flowers and animals and still-life. Later, when
+they obtained greater liberty, they devoted themselves to _genre_ of a
+size and kind demanding less substantial preparation. But as for
+composition, they never touched "history," as it was termed--that is,
+lofty, heroic or allegorical subjects--and if there should chance to
+have been any exception to this rule, it was simply in the direction
+of religious _motifs_.
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1793-1824
+    Portrait of Gaëtano Apollino Baldassare Vestris, Dancer
+    (1729-1808). Reproduced from a Photograph by permission of
+    Braun, Clément & Co., Paris
+    Madame Adèle Romany, née de Romance, Painter
+    exhibited from 1793 to 1824]
+
+Further, they long affected what may be called medium processes:
+pastel, water-colour, miniature, all kinds of work offering
+opportunity of finish and _éclat_. They showed a partiality for oil
+painting after the manner of the smaller Dutch masters, who had no
+more faithful imitators in all France. Mme. Vien, Mme. de Valsaureaux,
+_née_ Parrocel, and particularly Mme. Vallayer Coster--"_femme qui fut
+un habile homme_," according to the verses written in her
+honour--excelled in this style.
+
+Some of the "_Académistes_"--to use the old French expression--won
+real celebrity, but few there were who achieved lasting glory. In the
+reign of Louis XIV, the woman artist whose reputation shone with the
+clearest lustre was Elisabeth Sophie Chéron, who excelled in all the
+arts--for she was a clever painter, a consummate musician, a poet of
+merit and _femme d'esprit_ into the bargain. Following the general
+rule she belonged to one of the numerous artist families. Daughter of
+a painter (Louis Chéron), she was also sister of a painter. This
+latter, who was her junior, had talent, but not to the extent of the
+elder. Élisabeth Sophie Chéron was of Huguenot family, as was
+frequently the case among the Academicians, although, from what absurd
+prejudice I know not, the _réformés_ were regarded as less artistic
+than other folk. But in 1668,--she was twenty then--terrified no doubt
+by the ever-increasing persecution of the Protestants--a persecution
+which was soon to result in the Edict of Nantes--she, like her sister,
+abjured her faith, whereas her brother, remaining true to the family
+faith, was forced to take refuge in London, where he died.[1]
+
+[1] Several Académiciens of the reformed religion were excluded, or
+obliged to submit to the Catholic religion.
+
+Sophie translated into French the Psalms of David, which her brother
+illustrated admirably, and she has left at least one important
+engraved work, but above all, she has left a number of portraits of
+well-known people of her time, portraits that the sitters made her
+copy four and even five times.
+
+Among other "_Académistes_," interesting if not so well known, was
+that sister of the "_Visitandine_" order, Anne Marie Trésor, who
+decorated with religious subjects the church of the monastery of the
+"Dames de Ste. Marie de Chaillot." She was received by the Academy in
+1676, and the choice of the Academy showed, as its accepted members
+were of such different views, that the body was after all somewhat
+broad in character. Another proof of this liberal spirit is to be
+found in the fact that the Academy received foreign artists within its
+body. There were three of them; the first was Mlle. Haverman, of Dutch
+origin, who was, however, excluded shortly after her election--she
+attempted to justify her election by sending in a painting which was
+not her own, but the work of her master, Van Huysum. The second
+foreign "_Académiste_" was specially illustrious and worthy of the
+honour conferred on her. She was Rosalba Carriera, a Venetian, a woman
+who was really original, and whose reputation has lived through the
+centuries, but about whom, in this chapter devoted to France, I must
+not speak at length. The last of the three was Mme. Terbouche, or,
+more exactly, Therbousch, who, although born in 1728 at Berlin, was
+numbered by our old museum catalogues in the ranks of the French
+School.
+
+May 31st, 1783, was an exceptionally important date for the Academy,
+in respect of women artists. On that day were received Mme. Vigée Le
+Brun and Mme. Adélaïde Labille Guyard (or Guiard). One may say that at
+that very hour began officially the rivalry which constantly existed
+between the two women, both of real merit, throughout their careers--a
+rivalry which has been maintained in the preference shown for one or
+the other, after death, by their historians. Mme. Vigée Le Brun was
+the more celebrated of the two, and rightly so, for one might say that
+of all the women painters of her time she had a personality quite her
+own, quite feminine, rich in grace, ease, variety of attitude, gesture
+and composition, discreet and delicate affectedness, freshness and
+brightness. Mme. Vigée Le Brun was the daughter of a somewhat mediocre
+painter, and the wife of a well-known picture dealer, whom she married
+when quite young. She had lessons from Doyen, Greuze and Joseph
+Vernet, and her success was quickly achieved. Mlle. Adélaïde Labille
+des Vertus, the daughter of a mercer, was married to a certain Guyard,
+a neighbour. She did not live long with him, and had lessons from an
+old friend, the painter Vincent (the father), and afterwards from La
+Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette,
+was supported by the Court, Mme. Guyard secretly made friends in the
+body of the Academy itself, painting the portraits of first one member
+and then another. On the day of the election, she seemed to be
+overcoming her rival, whom her friends succeeded in putting on one
+side because the rules of the Academy forbade the traffic in pictures.
+Mme. Le Brun was received only by order of the King. Her own
+autobiography, as well as the pamphlets of the time, depict for us the
+powerful rivalry which existed, and also the many calumnies with which
+the three women painters were attacked (there was a third candidate,
+Mme. Vallayer Coster), even in their private life, the persecution of
+offensive insinuations, and the existence of the accusation so often
+levelled against women painters, that their work is not their own.
+Posterity has reconciled the rivals on the walls of our galleries. If
+Mme. Vigée Le Brun certainly holds pride of place, Mme. Guyard, by her
+more solid talent, perhaps more characteristic, has an enviable
+position at her side.
+
+By the side of these celebrated women there are a few others of whom
+the recollection is not quite so keen, but who were not without a
+touching grace, though they lived their life within the sphere of
+their masters' influence, illuminated by the renown of these masters
+and breathing their atmosphere. It would not be right to say that
+these women artists copied their masters, or slavishly imitated them,
+but they transposed their qualities, elevated them by feminising them.
+Of these, I may mention Mlle. Ledoux, who followed in the wake of
+Greuze; Mlle. Marguerite Gérard, who lived under the shadow of
+Fragonard; and that exquisite and sorrowful figure, Mlle. Constance
+Mayer, whose devotion for her master Prudhon found its supreme
+expression in her tragic end. Less brilliant, rather hidden in the
+twilight of history, these women yet exercise on our thoughts an
+influence more subtle and delicate, and more penetrating.
+
+The approach of the great national crisis, and even the worst days of
+that period, at the same time glorious yet barbaric, did not
+extinguish the zeal of the women painters. It seems rather as though
+they shut themselves up in the study of their art so as to secure a
+refuge for their hopes and their dreams. In the first "Salons" of the
+century, one is surprised to find works by a comparatively large
+number of women painters. In 1800, of 180 exhibitors they number 25;
+eight years later, in the "Salon" of 1808, they are 46 out of 311. The
+difficulties set up by the Academy were overcome, the liberty to
+exhibit was a fresh encouragement, even an exceptional stimulus. The
+figures, therefore, rise still further in the first quarter of the
+century, so that in 1831 the women number 149 out of 873 exhibitors.
+The "staff," so to speak, of the women artists of that day,
+surrounding Mme. Vigée Le Brun, whose glorious and somewhat
+chequered career did not close till 1842, included a number of
+distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of
+Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie
+Morin; Mme. Adèle Romance, who also signed Romany, or Romany de
+Romance; the "good" Mlle. Godefroid, pupil of Baron Gérard, who helped
+him in so many of the portraits of contemporary cosmopolitan people of
+distinction, commissions for which rained in the master's studio,
+after the entry of the allied forces into Paris. Later on, we have
+Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great
+sculptor, who had a severe yet confident talent. Lastly, there was the
+woman artist who benefited by all the advantages of fashion, Mme.
+Haudebourt-Lescot.
+
+    [Illustration: FRENCH SCHOOL, 1755-1842
+    MADAME VIGÉE LE BRUN AND HER DAUGHTER. AFTER THE PAINTING IN THE
+    LOUVRE, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+Mlle. Lescot, wife of Haudebourt, the architect, and pupil of
+Lethière--mischievous tongues, of course, declared that he painted her
+pictures--was a strange creature, who, at the start, owed the
+popularity she obtained as much to her personal charm as to her real
+talent. Her first success was in the drawing-room, where people
+admired her dances. "She was," says a writer, "ugly and captivating,
+with crooked eyes and a charming expression, her mouth ill-shaped, but
+tender and inviting," such as Ingres represented her in one of his
+finest pencil drawings.
+
+Hitherto, women had certainly banished themselves into the domain of
+portrait or still-life painting, that is to say, they had done little
+that was not sheer copying. But, little by little, under the influence
+of the lesser Dutch masters, who had been passionately appreciated
+since the close of the previous reign, and thanks to the opening of
+the Royal Collections at the Luxembourg Palace, where they could be
+studied and copied, the women-painters, following the example of the
+masters who gained inspiration therefrom, began to devote themselves
+to landscape and to _genre_. They sought out little touching subjects,
+which very frequently bordered on the ridiculous. For example, "the
+child's bed catches fire through the carelessness of the nurse who has
+fallen asleep, and the dog attempts to waken her."
+
+Mlle. Lescot cut herself adrift from all these insipidities. The
+opportunity came for her to spend several years in Rome. She was
+struck by the popular customs of the country, by its colour and that
+singular and picturesque charm which Granet had been the first to
+discover--the charm which, after her own time, was to be made further
+known by the paintings of the well-known Léopold Robert. As a matter
+of fact, she was practically the creator of the type of exotic
+subjects borrowed from Italy, to which numerous artists in France
+devoted themselves--Hébert, Bonnat and Jules Lefebvre, to name but a
+few of the most important of them. In choosing her _motifs_ she
+displayed wit and inventiveness, and at times a delicate grace,
+notably in her first pictures, before the desire to satisfy a daily
+increasing connection had driven her into unduly hurried work. Her
+technique, too, was brisk, yet careful, as it should be in small works
+such as hers. Her lightly-touched lithographs, together with those
+which she did "after" her own pictures, contributed to popularise her
+special subjects and her name.
+
+The novelty of these paintings, devoted to the cult of "local colour,"
+caused them to be adopted as "romantic." It was the same with Schnetz
+and Léopold Robert, who shared the popularity. But the real "Young
+romantic" among artists was Mlle. de Fauveau. What one discovers with
+regard to her is that she is not a painter but a sculptor. The Royal
+Academy of the 17th century had already boasted certain wood carvings
+by _la demoiselle_ Massé. Also, there was Mme. Falconet. But the great
+and austere art was cultivated only as a rare exception by woman.
+Mlle. Félicie de Fauveau was the first pre-Raphaelite, although the
+return to the primitive Italian masters of the 16th century dates
+further back, but with cropped head under a velvet toque, after the
+style of Raphael himself, she unceasingly uttered curses against that
+noble personality, whose brush produced the highest incarnation of the
+art of painting.
+
+But the naturalist movement it was that witnessed the development of
+the greatest artistic personality in the feminine world of
+to-day--Rosa Bonheur. The _rôle_ played by Rosa Bonheur is important
+from the feminine point of view, for the reason that she broke away
+from ancient traditions. She revealed what woman was capable of in the
+matter of energy, of continuity of purpose, of method, of scientific
+direction, in a word, in the indispensable impetus of inspiration.
+Before her day, the woman-painter had always been looked upon rather
+as a phenomenon, or her place in the domain of art was conceded to her
+on the grounds that she was indulging in an elevating and tasteful
+pastime, coming under the category of "accomplishments." Rosa Bonheur
+gave to woman a position equal to that of man. She won for herself
+unanimous admiration, based, not on the singularity of her life, not
+on looseness of morals, not on social triumphs, not on friends at
+Court, but on her robust, virile, observant and well-considered
+talent, which in its turn was based on a primary study of anatomy and
+osteology, developed by a continuous observation of the constitution
+and the life of the animal world. Her long life was crowned with
+glory. She held an exceptional place in art, akin to that of George
+Sand in the world of letters.
+
+From that day forth, there appeared a new phase in the artistic life
+of woman. Art became for her, not merely an intellectual pastime, but
+a vocation and a career. Rosa Bonheur lived nearly to the close of the
+nineteenth century, seeing many revolutions both in French life and in
+French art, but remaining always quite true to herself. Perhaps the
+most uncertain period of all, historically, so far as women were
+concerned, was that period of wave-like fluctuation in French art that
+occurred in the seventies and eighties, reflecting itself in the work
+of such women painters as Angèle Dubos, Jeanne Fichel, Marie Petiet,
+Laure de Chatillon, Félicie Schneider, Eva Gonzalès, Marie Nicolas,
+and Rosa Bonheur's successor--her heiress, so to speak--Madame
+Virginie Demont-Breton, the daughter, wife and niece of a family of
+distinguished artists. She has achieved a well-deserved popularity
+with her subjects of popular and rustic life, and, like Rosa Bonheur,
+has attained the rank of officer of the Legion of Honour. Two other
+feminine personalities have attracted the attention of both public
+and artists, the one, the sister-in-law of Manet, the delightful
+Mademoiselle Morisot, who has, so to speak, improved on the refinement
+of her master; the other, that strange and alluring young Russian
+girl, who adopted France as her Fatherland, and whom France adopted as
+artist. Marie Bashkirtseff, struck down by a cruel and premature
+death, at the age of twenty-three, revealed something far more than
+mere happy gifts. One is surprised at the amount of studies produced
+by the unfortunate and beautiful creature in the short space allotted
+to her for her life-work.
+
+We now enter upon the present period of woman's artistic life, the
+active period, let us call it. We no longer trouble about her place at
+our exhibitions, since she has nowadays her own exhibition, or rather
+exhibitions proper to herself. Among the many youthful _amateurs_ who
+constitute the bulk of feminine artists, one finds a number of true
+artists. To name a few: Mademoiselle Louise Abbéma, Madame Madeleine
+Lemaire, Madame Nanny Adam, Mlle. Fiérard, Mme. Vallet-Bisson, Madame
+Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme.
+Baury-Saurel, and many others, as this book proves.
+
+Several women-artists have won their place in the National Museum,
+wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton,
+by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg
+(widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned
+to execute some important decorations for the Sorbonne, Mlle.
+Delasalle, Mlle. Marie Gautier, Señora Eva Gonzalès, and a couple of
+semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle.
+Breslau, a Swiss--both dames of the Legion of Honour.
+
+To conclude, women are proving just now not only that the domain of
+art should be open to them as freely as it is to men, on the grounds
+of right and reason, but also that they are specially gifted by their
+delicate sensitiveness, their quickness of comprehension, their
+initiative faculty, and lastly, by all the phases of their natural
+temperament, and by their intelligence to endow art with the elements
+of expression and beauty proper to womankind.
+
+                                                      LÉONCE BÉNÉDITE.
+
+    [Illustration: FRENCH SCHOOL, 1768-1826
+    PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE. AFTER THE
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Marie Guilhelmine Benoits, Painter
+    1768-1826]
+
+    [Illustration: FRENCH SCHOOL, XVII AND XVIII CENTURIES
+    PORTRAIT OF MADAME VICTOIRE DE FRANCE. AFTER THE ORIGINAL
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY BRAUN CLEMENT AND
+    CO., PARIS
+    Madame Guyard, née Labille des Vertus, Painter
+    1749-1803]
+
+    [Illustration: PORTRAIT OF MARIE DE RABUTIN-CHANTAL, MARQUISE DE
+    SÉVIGNÉ (1626-1696) AFTER THE ORIGINAL PAINTING AT VERSAILLES,
+    FROM A COPYRIGHT PHOTOGRAPH BY NEWIDEIN, PARIS Mademoiselle de
+    Vanteuil, Painter
+    17th Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    THE SONS OF CHARLES X. OF FRANCE. AFTER AN ORIGINAL PICTURE IN
+    THE MUSÉE DE VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Anna Rosalie Filleul, née Bocquet, Painter
+    Died 1794]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    PORTRAIT OF THE DUC D'ANGOULÊME, SON OF CHARLES X FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS, AFTER AN ORIGINAL
+    PASTEL AT VERSAILLES
+    Madame Filleul, née Bocquet, Pastellist
+    Died 1794]
+
+    [Illustration: PORTRAIT OF MADAME RÉCAMIER IN THE YEAR 1799.
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., AFTER AN ORIGINAL
+    PAINTING AT VERSAILLES Madame Eulalie Morin, Painter Late 18th
+    Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA. AFTER THE
+    ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY NEWIDEIN,
+    PARIS
+    Madame Adélaïde Guyard, née Labille des Vertus, Painter
+    In second marriage Mme. F. A. Vincent
+    1749-1803]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    Portrait of Madame Adélaïde D'Orléans (1777-1847). After the
+    painting at Chantilly, from a Photograph by Braun, Clément &
+    Co., Paris
+    Mademoiselle Marie Amélie Cogniet, Painter
+    1798-1869]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN. AFTER THE
+    ORIGINAL PAINTING AT VERSAILLES, FROM A CARBON PRINT BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, BETWEEN 1792 AND 1820
+    PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792. FROM A
+    PHOTOGRAPH BY ALINARI
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: "THE MINIATURE." FROM THE PAINTING IN THE GLASGOW
+    GALLERY AFTER A PHOTOGRAPH BY HANFSTAENGL Madame Caroline de
+    Valory, Pupil of Greuze, Painter Early 19th Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MADAME LE BRUN, AFTER THE ORIGINAL PAINTING IN THE
+    NATIONAL GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL
+    PORTRAIT OF LOUISE MARIE ADÉLAÏDE DE BOURBON (1753-1821). AFTER
+    THE ORIGINAL PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY
+    NEWIDEIN, PARIS
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF AN ACTRESS, PROBABLY MLLE. BÉLIER. REPRODUCED FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING BY PERMISSION OF BRAUN,
+    CLÉMENT & CO., PARIS
+    Mademoiselle Bouilliar, Painter
+    Early 19th Century]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    STUDY OF A BULL REPRODUCED FROM A PHOTOGRAPH, BY PERMISSION OF
+    BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE COPYRIGHT
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF DAME DE LONGROIS (1763-1826). AFTER THE PASTEL IN
+    THE TROCADÉRO FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS
+    Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter
+    1761-1818]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    MADAME VIGÉE LE BRUN AT HER EASEL. AFTER THE ORIGINAL PAINTING
+    IN THE UFFIZI, FLORENCE, FROM A PHOTOGRAPH BY W. A. MANSELL &
+    CO.
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, 1778-1821
+    THE HAPPY MOTHER. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
+    PARIS, FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Mademoiselle Marie Françoise Constance Mayer, Painter
+    1778-(committed suicide)1821]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793). AFTER
+    THE ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF THE DUCHESS OF POLIGNAC. FROM A PHOTOGRAPH BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, 1767 TO 1830
+    PORTRAIT OF MADAME VILLOT, NÉE BARBIER. FROM A CARBON PRINT BY
+    BRAUN, CLÉMENT & CO., PARIS
+    Mme. Jeanne Élisabeth Chaudet, née Gabiou, Painter
+    1767-1830]
+
+    [Illustration: PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN
+    OF HOUDON THE SCULPTOR. PHOTOGRAPH BY BRAUN CLÉMENT & CO. Mlle.
+    Marguerite J. A. Houdon, Painter 1771-1795]
+
+    [Illustration: FRENCH SCHOOL, 1778-1849
+    PORTRAIT OF MADAME DE STAËL (1766-1817). AFTER THE ORIGINAL
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN
+    PORTRAIT OF CHARLES MAURICE, PRINCE OF TALLEYRAND-PERIGORD
+    (1754-1838). FROM A PHOTOGRAPH BY NEWIDEIN, AFTER THE PAINTING
+    AT VERSAILLES
+    Mademoiselle Marie Eléonore Godefroid, Painter
+    1778-1849]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MADAME MOLÉ-RAYMOND, ACTRESS OF THE
+    COMÉDIE-FRANÇAISE. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Madame Élisabeth Louise Vigée Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    "Shepherd Watching his Sheep." After the picture in the Musée de
+    Chantilly, from a Copyright Photograph by Braun, Clément & Co.,
+    Paris
+    Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    PORTRAIT OF MARSHAL LEFÈVRE, DUKE OF DANTZIC. FROM A PHOTOGRAPH
+    BY NEWIDEIN AFTER THE PAINTING AT VERSAILLES
+    Madame C. H. F. Davin, née Mirvault, Painter
+    1773-1844]
+
+    [Illustration: PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE,
+    PUPIL OF DAVID. FROM A PHOTOGRAPH BY NEWIDEIN, PARIS, AFTER THE
+    ORIGINAL PAINTING AT DIJON Madame Sophie Rude, née Frémiet,
+    Painter
+    1797-1867]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    A GOOD DAUGHTER. REPRODUCED AFTER THE ORIGINAL PICTURE, FROM AN
+    ENGRAVING BY S. W. REYNOLDS
+    Madame Antoinette Cécile Haudebourt Lescot, Painter
+    1784-1845]
+
+    [Illustration: FRENCH SCHOOL, 1847
+    PLOUGHING IN THE NIVERNAIS. DATED 1847. AFTER THE ORIGINAL
+    PAINTING IN THE MUSÉE DU LUXEMBOURG, FROM A CARBON PRINT BY
+    BRAUN, CLÉMENT & CO.
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    THE HORSE FAIR. AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY,
+    LONDON, FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY, NEW OXFORD
+    STREET, LONDON
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
+    PORTRAIT OF A YOUNG WOMAN SEATED. REPRODUCED FROM THE ORIGINAL
+    PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
+    NEW YORK
+    Berthe Morisot, Painter
+    1840-1895]
+
+    [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
+    THE JETTY.--AN OUTDOOR IMPRESSION. REPRODUCED FROM THE ORIGINAL
+    PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
+    NEW YORK
+    Berthe Morisot, Painter
+    1840-1895]
+
+    [Illustration: FRENCH SCHOOL, 1879
+    THE KING OF THE DESERT. FROM AN ORIGINAL PAINTING IN THE PRADO,
+    MADRID, DATED 1879. AFTER A PHOTOGRAPH BY J. LAURENT & CO.,
+    MADRID
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1879
+    'BRISCO,' A SHEPHERD'S DOG. AFTER THE ORIGINAL PAINTING IN THE
+    WALLACE COLLECTION, LONDON, FROM A PHOTOGRAPH BY W. A. MANSELL &
+    CO.
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, 1878 AND 1879
+    A NEW SONG. FROM THE ORIGINAL PAINTING, DATED 1879, AFTER A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Mademoiselle Angèle Dubos, Painter]
+
+    [Illustration: THE BOUQUET. FROM THE ORIGINAL PAINTING, DATED
+    1878, AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame
+    Jeanne Fichel, née Samson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MISTLETOE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    MESSRS. BRAUN, CLÉMENT & CO., PARIS
+    Madame Jacqueline Comerre-Paton, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1878 AND 1881
+    THE KNITTER ASLEEP. AFTER THE ORIGINAL PICTURE, DATED 1881, FROM
+    A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Mademoiselle Marie Petiet, Painter]
+
+    [Illustration: A YOUNG ADOLESCENT. FROM A PICTURE EXHIBITED AT
+    THE SALON IN 1878, AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Madame Laure de Chatillon, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1880
+    PRIVATE AND CONFIDENTIAL. AFTER AN ORIGINAL PICTURE EXHIBITED AT
+    THE PARIS SALON IN 1880
+    Madame Armand Émilie Leleux, Painter]
+
+    [Illustration: SITTING FOR A PORTRAIT IN 1806. AFTER THE
+    ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.,
+    PARIS Mademoiselle Jeanne Rongier, Painter]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1881
+    "RÉGALEZ-VOUS, MESDAMES!" AFTER THE ORIGINAL PAINTING, DATED
+    1881, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Mlle. Jenny Zillhardt, Painter
+    BY THE BANK OF A STREAM. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT &
+    CO., PARIS
+    Mlle. Hermine Waternau. Painter]
+
+    [Illustration: FRENCH SCHOOL, 1882
+    FATHER RICARD. AFTER A PAINTING EXHIBITED AT THE SALON IN 1882,
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Mlle. Marie Nicolas, Painter]
+
+    [Illustration: THE LAST SURVIVORS OF A FAMILY. FROM A PHOTOGRAPH
+    OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Madame
+    Félicie Schneider, Painter]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    PORTRAIT OF A LADY SEATED. AFTER THE PASTEL IN THE MUSÉE DU
+    LUXEMBOURG, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Eva Gonzalès, Pastellist
+    1849-1883]
+
+    [Illustration: FRENCH SCHOOL, BETWEEN 1882 AND 1898
+    CHARITY. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Madame Uranie Colin-Libour, Painter]
+
+    [Illustration: "FLEURS DE SERRE." FROM A PHOTOGRAPH OF THE
+    ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Madame Alix
+    Enault, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1883
+    ON THE SEA-SHORE. AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
+    PARIS, DATED 1883, FROM A PHOTOGRAPH BY MESSRS. LÉVY & SONS,
+    PARIS
+    Madame Virginie Demont-Breton, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1887 TO ABOUT 1892
+    BEFORE THE DANCE. AFTER AN ORIGINAL PAINTING DATED 1887, FROM A
+    PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame E. de Tavernier, Painter]
+
+    [Illustration: DESOLATION. AFTER THE ORIGINAL STUDY FROM A
+    PHOTOGRAPH LENT BY THE ARTIST Madame Marie Cazin, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1885 AND 1890
+    IN THE GYNÆCEUM. DATED 1885. FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING BY BRAUN, CLÉMENT & CO., PARIS
+    Mlle. Diana Coomans, Painter]
+
+    [Illustration: AT LOW TIDE. AFTER THE ORIGINAL PICTURE, DATED
+    1890. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mlle. Eugénie
+    Salanson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "Sleep." Reproduced from a Photograph by permission of Braun,
+    Clément & Co., the Owners of the Copyright.
+    Francine Charderon, Painter]
+
+    [Illustration: FRENCH SCHOOL, FROM 1880 TO THE PRESENT DAY
+    THE FRUIT GIRL. AFTER THE ORIGINAL PICTURE BY PERMISSION OF
+    MESSRS. DURAND-RUEL & SONS, PARIS
+    Madame Eva Gonzalès, Painter
+    1849-1883]
+
+    [Illustration: STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH LENT BY THE ARTIST Mademoiselle Dufau,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, 1880 AND 1894
+    A GOOD CIGARETTE. AFTER THE ORIGINAL PAINTING, DATED 1880, FROM
+    A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Madame Delphine de Cool, née Fortin, Painter]
+
+    [Illustration: A HOLIDAY AT SOSTHÈNE. AFTER THE ORIGINAL
+    PAINTING, DATED 1894, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Madame Blanche Paymal-Amouroux, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1894
+    "STELLA MARIS." AFTER THE ORIGINAL PAINTING, DATED 1894, AND
+    EXHIBITED AT THE SALON IN 1895, FROM A PHOTOGRAPH BY NEWIDEIN,
+    PARIS
+    Madame Virginie Demont-Breton, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MATERNAL LOVE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    BRAUN, CLEMENT & CO., PARIS
+    Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "THE PATHWAY TO THE VILLAGE CHURCH." AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Madame Fanny Fleury, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    THE GODDESSES BEFORE PARIS.
+    FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Élisabeth Sonrel, Painter]
+
+    [Illustration: WINTER. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Louise Abbéma,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    THE JUDGMENT OF PARIS. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MOTHER AND CHILD
+    AFTER THE ORIGINAL PICTURE
+    Madame Marie Cazin, Painter]
+
+    [Illustration: THE SHEPHERD AFTER THE ORIGINAL PAINTING Madame
+    Marie Cazin, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    IMPRESSION OF A CITY.
+    AFTER THE ORIGINAL PAINTING
+    Mademoiselle Dufau, Painter]
+
+    [Illustration: A BASKET OF FLOWERS. AFTER THE ORIGINAL PAINTING
+    Madame Victoria Dubourg (Fantin-Latour), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "THE DEPARTURE." REPRODUCED BY PERMISSION AFTER A PHOTOGRAPH BY
+    BRAUN, CLÉMENT & CO., PARIS
+    Madame Vallet-Bisson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    CHARACTER IN SPAIN
+    AFTER THE ORIGINAL STUDY
+    Mademoiselle Dufau, Painter]
+
+    [Illustration: STUDY OF TIGERS. AFTER THE ORIGINAL PAINTING
+    Madame Abran, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "LES CHANDELLES." AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
+    SALON IN 1896, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madeleine Carpentier, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    IN SEARCH OF PREY. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE
+    PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
+    Mademoiselle E. Hilda, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    ROMEO AND JULIET. AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
+    PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
+    Mademoiselle A. Oppenheim, Painter]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1892.
+    WILL YOU BUY? AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    MESSRS. BRAUN, CLÉMENT & CO., PARIS
+    Mademoiselle Consuélo Fould, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    CHILDREN EATING SOUP IN A CHARITY SCHOOL. FROM AN ORIGINAL
+    PICTURE EXHIBITED AT THE PARIS SALON IN 1901. FROM A PHOTOGRAPH
+    BY NEWIDEIN
+    Mademoiselle E. Herland, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    COURTSHIP FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Mdlle. Achille-Fould, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "BÉBÉ ET ZIZON." REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN
+    Madame Lucas-Robiquet, Painter
+    "DO YOU WANT A MODEL?" FROM A PHOTOGRAPH BY NEWIDEIN
+    Madame Réal del Sarte, Painter]
+
+    [Illustration: THE LESSON. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN CLÉMENT & CO. Mlle. Joséphine Houssay,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, 1903 AND 1904
+    PORTRAIT. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY
+    BRAUN, CLÉMENT & CO., PARIS
+    Madame Le Roy, Painter]
+
+    [Illustration: FLORA. AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mademoiselle Claudie,
+    Painter]
+
+
+
+
+Women Painters in Belgium and in Holland
+
+By N. Jany. Translated by Edgar Preston
+
+
+As far as we are able to ascertain, the history of the present subject
+takes us back to the time of Hubert and Jean Van Eyck, whose sister
+Marguerite made a name for herself in art. In the important volume by
+M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing
+"after" a miniature by Marguerite Van Eyck, representing St. Catherine
+and St. Agnes, but we read elsewhere that "no work can with certainty
+be attributed to her."
+
+Among women workers a century later, we find: Clara de Keyzer, Suzanne
+Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who
+flourished about 1530, visited Germany, Italy, France and Spain.
+Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a
+painter of Ghent, who betook himself to England, and became painter to
+Henry VIII. Dürer knew him at Antwerp, in 1521, and there paid homage
+to the skill of his daughter, who was then barely 18 years of age. She
+accompanied her father to England, and was there received with the
+utmost favour; she made a rich marriage with John Parcker (or Parker),
+one of the King's archers, and died full of honours in her adopted
+country.
+
+Anne Smyters who flourished about 1540, is named in words of praise by
+Van Mander, Vaernewyck and Guicciardini. She married the celebrated
+sculptor, Jean de Heere, and was the mother of Luc de Heere, the
+painter, who made a long stay in England, where, among other works of
+importance, he did a series of decorative paintings for the Earl of
+Lincoln.
+
+Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister
+of Mons, was the possessor of the only known picture by Catherine van
+Hemessen. This is a half-length study of the Virgin fondling the
+infant Christ, with a background of landscape wherein one perceives
+snow. It is painted on wood, and bears the signature: 'Caterina de
+Hemessen pingebat.'" But there is in London an interesting portrait of
+a man, by her, dated 1552, and an illustration of it will be found on
+page 263.
+
+Then comes a series of daughters (and a sister) of famous painters,
+viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine
+Peeters; Anne-Marie, Françoise-Catherine and Marie-Thérèse van
+Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck
+was born in London, in 1641. "She was wedded at the age of 12," says
+Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and
+abjured Protestantism at Antwerp on the 19th of August, 1660. Left a
+widow, she made a second marriage with Martin de Carbonell. Van Dyck's
+daughter was unfortunate, for she found herself compelled to ask the
+King for a pension, which she obtained."
+
+The daughter of Otto van Veen, known as Venius, the teacher of Rubens,
+was born at Antwerp in 1602. She was a pupil of her father, and
+married Louis Malo. The Brussels gallery contains a portrait of her
+father, from her brush. She died in 1643. The daughter of Martin Pepyn
+lived in Antwerp about 1619. She specialised in portrait work, and was
+received into the Corporation of St. Luke, of that city, in 1650, by
+virtue of being a daughter of the master.
+
+The success obtained by the flower-paintings of Seghers and Breughel
+suddenly caused a great development of this special branch of art, to
+which, moreover, the celebrated Dutchman Jean-David de Heem, then
+domiciled in Antwerp, was a notable contributor. Among the women who
+became inspired by their example and followed their technique may be
+mentioned: Catherine Peeters, and the three daughters, pupils of the
+painter, Jean-Philippe van Thielen (himself a direct disciple of
+Seghers), and Laurence-Catherine Ykens.
+
+The registers of the Antwerp Academy for 1784 contain the name of
+Marie Baesten, _née_ Ommeganck. Siret's "Dictionnaire" also mentions
+(at Bruges), the daughter of Louis de Deyster, the painter. Anne de
+Deyster (1690-1747) attracted notice by the perfection with which she
+copied her father's pictures. Gertrude de Pelichy, of Utrecht
+(1743-1825), was appointed an honorary member of the Imperial and
+Royal Academy of Painting in Vienna, and at Bruges she painted the
+portrait of the Emperor Joseph II., and that of the Empress
+Maria-Theresa.
+
+At the opening of the 19th Century, the Art of the Miniature was
+cultivated--as they expressed it in those days--by Marie-Josephe
+Dargent of Liège, a daughter and pupil of Michel Dargent, the elder,
+Hortense van Baerlen, and Amélie van Assche, whose sister, Isabelle
+Catherine, a pupil of her uncle, Henry van Assche, had devoted herself
+to landscape painting.
+
+Siret's dictionary then notices a large number of women painters both
+historical and _genre_.
+
+Marie-Adelaide Kindt of Brussels, who was a pupil of David and of
+Navez, and visited Germany and France; Julie-Anne-Marie Noël,
+wife of the painter, J. B. van Eycken, of Brussels; Mme.
+Isabelle-Marie-Françoise Geefs, _née_ Corr, of Brussels, a pupil of
+Navez; Mme. de Keyzer, _née_ Marie Isabelle Telghuis, wife of the
+former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme.
+O'Connel, _née_ Frédérique Miethe, of Berlin, a pupil of Begas and of
+Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux
+Arts en Belgique'), in her wild paintings, as it were, a reflection of
+Rubens."
+
+Mlle. C. de Vrient, of Ghent, sister of the painters Albert and
+Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle.
+de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie
+Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the
+"Racine des Moutons," painted several landscapes in the manner of her
+brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen,
+painted landscapes characteristic of Zeeland and the Campine. The
+Brussels Gallery has several of her works, including _Les Vieux
+Chênes, île de Walcheren_, and a _Lisière de Bois en Hollande_.
+
+Before citing the names of the professional women painters who
+continue to contribute to the fame of the Belgian School, let me say a
+word in admiration of the talent of sundry "amateurs" (as they are
+called, to distinguish them from the others), chief among whom is
+H.R.H. the Comtesse de Flandre. The small-sized portraits in oils
+painted by the Duchesse d'Ursel are restrained in manner and full of
+charm.
+
+Furthermore, the pastel portraits by the Baroness Lambert de
+Rothschild attract attention by the richness of their colouring and
+their firm drawing, while those of the Comtesse Ghislaine de Caraman
+impress one by their distinction and their style. Madame Philippson,
+who is at present devoting herself specially to sculpture, has
+exhibited oil paintings, boldly handled and decorative in effect, and
+Madame Rolin-Jacquemyns has engraved in most skilful fashion several
+etchings representing "The Desolate Spots of the Campine."
+
+The most notable of the women-painters of the Belgian School to-day is
+certainly Madame Marie Collart, who with rare skill, has chosen a path
+to herself whereon she walks alone with an admirable instinct for
+intimate rusticity, showing much deep feeling. The painting of Mlle.
+Anna Boch, on the other hand, is bright and gay. She formed one of the
+famous group of the XX., and following the example of several of its
+members, she has now turned her attention to the special study of
+light in the open air. Mlle. Louise Héger, after painting the lonely
+_dunes_ of Flanders, and the Campine, has been studying and skilfully
+representing the slaty tints of the high plateau of the Ardennes.
+
+The most interesting of the "Ménages d'artistes" existing at present
+in the Belgian School is that of the Wytsmans. While Rodolph Wytsman
+seeks out the characteristic aspects of the landscapes of Brabant and
+the silent spots among the Flemish towns, Mme. Juliette Wytsman, for
+her part represents, so to speak, the floral life of the sites chosen
+by her husband. She has indeed created a _genre_ in which she is
+without a rival.
+
+The daughters of the German engraver, Hoppe, one of whom has married
+Bernier, the animal painter, and the other the landscapist, Gilsoul,
+have likewise attained celebrity.
+
+    [Illustration: DUTCH SCHOOL, XVII CENTURY
+    THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE
+    PAINTING IN THE RIJKSMUSEUM AMSTERDAM.
+    Judith Leyster, Painter
+    1600(?)-1660]
+
+The daughters and granddaughters of famous artists form yet another
+section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette
+Ronner, is beyond dispute the foremost painter of still-life in
+Belgium to-day. Her technical qualities are of the highest order, her
+_mise-en-page_, her draughtsmanship and her colour are in the grand
+style, and her works one and all have a really masterly air. Mlle.
+Marguerite Verboeckhoven, the granddaughter of the famous animal
+painter, has set herself to study the delicate gradations of colour
+seen on the Belgian littoral. Mlle. Verwée, daughter of the painter of
+the _Beau Pays de Flandre_, exhibits portraits, which display the
+wealth of her palette; and the still-life subjects by Mlle. Georgette
+Meunier, daughter of the engraver, Jean Baptiste, and niece of the
+great Constantin Meunier, are delicate both in design and in
+colouring. She is a pupil of Alfred Stevens.
+
+Mme. Destrée-Danse and Mlle. Louise Danse, daughters of Auguste Danse,
+the engraver, have revealed themselves worthy of their father's high
+gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie
+Durand, who has done some interesting heads, both prove that in
+Auguste Danse the teacher is fully worthy of the artist.
+
+With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of
+Belgian Fine Art," writes in the following terms:--"In the Antwerp
+Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and
+_L'Enfant malade_, which had the freshness and the limpidity of
+Chardin, with a grace, a delicacy of touch, a feminine sense revealing
+the teaching of that most imperious of masters, Alfred Stevens." Mlle.
+Berthe Art, too, followed this prodigious master painter. She has made
+her position by means of pastels which, while preserving their natural
+charm, have all the solidity of oil-paintings.
+
+Mlle. Marie Antoinette Marcotte at first devoted herself to the
+representation of the life of the poor. Since then, however, she has
+created an altogether original _genre_, which has won for her many a
+success--the painting of glass-house interiors. She was "coached" by
+Emile Claus, the landscapist, among whose pupils were Mme. de Weert
+and Mlle. Montigny.
+
+The number of women painters is ever on the increase. There were as
+many as thirty-nine represented at the Brussels Salon of 1848, while
+at the last Brussels Salon in 1903, they were more than a hundred; and
+to close this rapid survey of feminine art in Belgium, I may record a
+success of another kind. In 1904, Mlle. L. Brohée, after the various
+eliminating trials, found herself among the half-dozen artists
+permitted to take part in the final examination for the Prix de Rome.
+
+Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name
+of a Dutch woman painter given in Siret's "Historical Dictionary." She
+was born at Utrecht, of noble family, and made a speciality in
+portrait painting. Her name is mentioned by J. van Beverwyck. Her
+daughter Cornélie also took up painting, and died at a great age in
+1629.
+
+Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second
+Anne Schurman." She was one of the most learned women of her time, and
+was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La
+Fleur du Paradis des Arts et des Sciences." She specialised in
+portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great
+fame. From the year 1613 she was a member of the Guild of St. Luke,
+of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on
+leaving her entered the studio of Franz Hals. She was married at
+Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also
+a native of Haarlem. She is eulogistically mentioned by Th.
+Schrevelius, the historian of Haarlem, who describes her as a famous
+woman, justly, as he remarks, called "the true guide in the
+arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying
+'Guide.' She died in 1660.
+
+The most celebrated of the Dutch women painters of the 18th century
+was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with
+keen spirit and with extraordinary firmness, are extremely rich and
+varied in their arrangement. She was a pupil of Guillaume Aelst. In
+1695 she married Jurian Pool, and was admitted into the Hague
+Corporation of Painters in 1701, the same year as her husband. Without
+neglecting her duties as a mother (she had ten children) she was
+constantly devoted to her art. In 1708 she was appointed Court Painter
+of the Elector Palatine. Poets have sung the virtues and the gifts of
+this renowned woman.
+
+Agathe and Cornélie van der Myn, sister and daughter of Herman van der
+Myn, accompanied the latter when he settled in London. Notable work
+was produced by three miniaturists: Henriette van Pee, wife of Herman
+Wolters, was born at Amsterdam, in 1692, and became her father's
+pupil. Peter the Great and the King of Prussia visited her studio,
+which had a high reputation, and the customary poets wrote the
+customary verses in her honour. Caroline-Petronille van Cuyck was made
+an honorary member of the _Pictura_ of the Hague, in 1777. Anne
+Folkema, who lived between 1695 and 1768, was an active assistant of
+her brother, Jacques, in his numerous works. Nor must one forget Alida
+Carré, who confined herself, for the most part, to painting fans;
+Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of
+the Confrérie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem
+(1678-1738), and Elisabeth Gertrude Wassenberg, of Groningue,
+(1726-1782), who painted _genre_ and portraits.
+
+At the opening of the 19th century the women painters of still-life,
+flowers and fruit, were still in large numbers.
+
+An interesting figure who has left a poetical memory is Cornélie
+Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of
+the celebrated painters Henry and Ary, who belong to the French
+School. After the death of her husband she settled in Paris, and there
+ended her days. Her attainments, her wit, her eminent merits, made her
+one of the most remarkable women of her day. She was a draughtsman and
+an engraver.
+
+The name of Henriette Ronner is one of great popularity. This
+indefatigable artist is known as "the painter of cats," and she has
+charmingly "hit off" both the heavy laziness of the mature animal, and
+the frolicsomeness of the kitten.
+
+The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so
+well known, tempted that excellent engraver, Philippe Zilcken, who has
+"translated" with marvellous success their freshness and their
+_éclat_. Mme. Bilders van Bosse, of the Hague, is well known by her
+skilfully drawn and powerfully painted landscapes, and Mlle. Thérèse
+Schwartze, of Amsterdam, a painter of high merit, has the art of
+giving character to a portrait; and knows how to group her figures and
+paint them in strong and sombre tones. Mme. Mesdag van Houten, of the
+Hague, wife of the famous marine painter, affects the landscape at
+dark, and realises fully the melancholy tenderness of the hour.
+
+It may be interesting now to name a truly remarkable artist who never
+exhibits--Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten.
+She is an excellent painter of figure pictures and still-life; her
+etchings are of the highest quality, and embrace a large number of
+subjects--interiors with lamp effects, children's heads, landscapes,
+dead birds, bouquets of enormous sunflowers and gaudy tulips. Further,
+she has interpreted in masterly fashion, Eugène Delacroix, Jules
+Dupré, Gustave Courbet and other great masters of the French School.
+
+Mention must be made of Mme. Bisschop-Robertson, who paints popular
+subjects with astounding vigour; Mme. Marie Heyermans, whose pictures
+deal with the life and surroundings of the poor; Mlles. Anna Abrahams
+and Anna Kerling, whose charming still-life pieces are coloured now in
+bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of
+the Hague, who has turned her attention to flower painting; Mlle.
+Nelly Bodenheim, who does some very clever comic scenes, for the
+benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of
+portraits and peasant subjects.
+
+Last we come to Mlle. Marius, whose fair-tinted and most distinguished
+still-life works have been seen and admired. She is an excellent art
+critic, and is now publishing an important work on Dutch painting of
+the 19th century.
+
+                                                              N. JANY.
+
+    [Illustration: FLEMISH SCHOOL, 1552
+    PORTRAIT OF A FLEMISH GENTLEMAN. AFTER THE ORIGINAL PAINTING IN
+    THE NATIONAL GALLERY, LONDON, FROM A CARBON PRINT BY BRAUN,
+    CLÉMENT & CO., PARIS
+    Catharina van Hemessen, Painter
+    16th Century]
+
+    [Illustration: DUTCH SCHOOL, XVII CENTURY
+    YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK. FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PICTURE IN
+    A PRIVATE COLLECTION
+    Judith Leyster, Painter
+    1600(?)-1660]
+
+    [Illustration: DUTCH SCHOOL, XVII AND XVIII CENTURIES
+    PICTURE OF FRUIT WITH INSECTS AND LIZARDS. FROM A PHOTOGRAPH BY
+    ANDERSON AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY,
+    FLORENCE
+    Rachel Ruysch, Painter
+    1664-1750]
+
+    [Illustration: DUTCH AND FLEMISH SCHOOLS, LATE XIX CENTURY
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING.
+    Mme. Gilsoul-Hoppe, Painter
+    Belgium]
+
+    [Illustration: AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Baronne van Hogendorp, Painter Holland]
+
+    [Illustration: STUDY OF STILL LIFE: ROSES IN A BASKET. FROM A
+    TRANSLATOR'S-ETCHING BY P. ZILCKEN Madame G. J. van de Sande
+    Bakhuyzen, Painter Holland, 1826-1895]
+
+    [Illustration: DUTCH SCHOOL, BETWEEN 1880-1890
+    LANDSCAPE NEAR OOSTERBEEK
+    FROM THE ORIGINAL CHALK DRAWING
+    Mevrouw Marie Philippine Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: DUTCH SCHOOL, LATE XIX CENTURY
+    A BLEAK PASTORAL SCENE
+    AFTER THE ORIGINAL WATER-COLOUR
+    Madame Mesdag van Houten, Painter]
+
+    [Illustration: WINDMILL AT HEELSUM AFTER THE ORIGINAL OIL
+    PAINTING Madame Marie Philippine Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAIT STUDY OF A GIRL AFTER THE ORIGINAL PICTURE
+    Mlle. Barbara van Houten, Painter]
+
+    [Illustration: ORPHANS. FROM A PHOTOGRAVURE OF THE ORIGINAL
+    PICTURE PAINTED IN 1887 Mlle. Thérèse Schwartze, Painter]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAIT OF MLLE. THÉRÈSE SCHWARTZE. PAINTED BY HERSELF FOR THE
+    UFFIZI GALLERY, FLORENCE, BY REQUEST OF THE ITALIAN GOVERNMENT.
+    REPRODUCED FROM A PHOTOGRAPH BY BROGI
+    Mlle. Thérèse Schwartze, Painter]
+
+    [Illustration: DUTCH AND FLEMISH SCHOOLS, CONTEMPORARY
+    A POOL NEAR OOSTERBEEK. AFTER THE ORIGINAL PAINTING
+    Madame Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: WITH THE POOR AT HOME. REPRODUCED FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Mademoiselle E. Marcotte,
+    Painter Belgium]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM. REPRODUCED
+    FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL
+    Mademoiselle Thérèse Schwartze, Painter and Pastellist]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    "LOUTJE."
+    FROM A SKETCH
+    Mlle. Barbara van Houten, Painter]
+
+    [Illustration: PORTRAIT OF A. G. C. VAN DUYL, AUTHOR. FROM A
+    PHOTOGRAPH OF THE ORIGINAL PASTEL Mlle. Thérèse Schwartze,
+    Pastellist and Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    STUDY OF STILL LIFE: GRAPES AND PARTRIDGES.
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Mademoiselle Berthe Art, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    PORTRAIT STUDY OF THE COUNTESS FLORENCE FABBRICOTTI
+    Baroness Lambert de Rothschild, Painter]
+
+    [Illustration: PORTRAIT OF MONSIEUR GEVAERT. REPRODUCED FROM THE
+    ORIGINAL PAINTING Baroness Lambert de Rothschild, Painter]
+
+    [Illustration: FLEMISH AND DUTCH SCHOOLS, CONTEMPORARY
+    PORTRAIT OF MLLE. DETHIER. AFTER A PROOF OF THE ORIGINAL ETCHING
+    Mlle. Louise Danse, Painter-Etcher
+    Belgium]
+
+    [Illustration: A DUTCH PEASANT WOMAN. FROM A PHOTOGRAPH OF THE
+    ORIGINAL PAINTING Madame Suse Bisschop-Robertson, Painter
+    Holland]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    "THE LAST MOVE." REPRODUCED FROM THE ORIGINAL PAINTING BY
+    PERMISSION OF MESSRS. BRAUN, CLÉMENT & CO., PARIS, OWNERS OF THE
+    COPYRIGHT
+    Madame Henriette Ronner, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    NEW TENANTS--NOUVEAUX LOCATAIRES. AFTER THE ORIGINAL PICTURE,
+    FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARIS, OWNERS OF
+    THE COPYRIGHT
+    Madame Henriette Ronner, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    STUDY OF A HERON. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Mlle. Georgette Meunier, Painter]
+
+    [Illustration: THE MASSACRE OF THE INNOCENTS. AFTER MATTEO DI
+    GIOVANNI DA SIENA Madame Marie Destrée-Danse, Etcher]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    A SUNSET IN THE CAMPINE. REPRODUCED BY PERMISSION FROM AN
+    ETCHING AFTER THE PAINTING BY JOSEPH COOSEMANS IN THE BRUSSELS
+    MUSEUM
+    Mademoiselle E. Wesmael, Etcher]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    LILIES IN THE COURTYARD OF A HOUSE OF REST AT BRUGES.
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Madame Juliette Wytsman, Painter]
+
+
+
+
+In Germany and Austria, in Russia, Switzerland and Spain
+
+By Wilhelm Schölermann. Translated into English by Wilfrid Sparroy
+
+
+When we look into the past history of the present subject, the first
+German name we come upon is that of the Nun of Nuremberg, Sister
+Margareta, who worked from 1459 to 1470, and who copied many religious
+works. A century later, at Udina, in Italy, Irene von Spilimberg was
+born, descending from a noble German family; and although Irene died
+at the age of nineteen, she yet lived long enough to win the hearty
+admiration of her great master, Titian. As a picture by Irene von
+Spilimberg could not be obtained for this book, the editor has begun
+the German section with Anna Maria Schurman and with Maria Sibylla
+Merian. The first was a clever painter-etcher as well as the most
+learned lady of her time; the second was the daughter of Matthew
+Merian, and the exquisite studies she made, in water-colour, of
+insects and of plants and flowers, have never been excelled in their
+own line.
+
+From Maria Sibylla Merian (1647-1717) we pass on to an admirable
+mezzotint, after Morland, by Maria Prestel, who died in 1794; and then
+we are brought into the heart of the 19th century by the searching
+industry and skill of Anna Maria Ellenrieder, a very capable
+painter-etcher, who lived between the years 1791 and 1863. Ellenrieder
+looked to the past for her inspiration, going to the art of the early
+Dutch masters. She has little or nothing in common with the other
+German women artists of her time. How different is her ideal, for
+instance, from that of the well-known painter of historical subjects,
+the Baroness Hermione von Preuschen, whose dramatic and sensational
+spirit appeals so strongly to the great public, as in that canvas in
+which is represented the Corpse of Irene von Spilimberg, young and
+beautiful, lying in state in her Venetian gondola, draped with black
+and covered with flowers. Artists do not often care for pictures of
+this romantic type; and they find higher and more subtle qualities in
+the quiet wisdom of Julie Wolfthorn, a Berlin painter of note, and a
+follower of the modern school of psychological portraiture. Julie
+Wolfthorn combines depth of feeling and refinement of taste with
+keenness of penetration into the mystery of individual character. Her
+portrait of a young sculptor, given in the illustration on page 304,
+is a good example of the painter's methods.
+
+Another Berlin artist of note is Fräulein Käthe Kollwitz, whose
+principal field of artistic expression has hitherto been restricted to
+the burin and copper plate. She has studied etching almost entirely by
+herself, and by dint of persistent courage and skill has developed her
+gifts in a direction all her own. The subjects that appeal most
+forcibly to her mind are taken with scarcely an exception from the
+darkest and most painful sides of social life and social unrest. Take
+a glance at the father, mother, and child, reproduced on page 302, and
+entitled "Destitution and Despair." Are you not inclined to marvel,
+almost, how a woman had the courage to depict, without flinching, the
+sad truths of such bitter poverty? Can you not fancy that you hear the
+moan of misery, the shrill scream of starvation, the cries of
+rebellion and death, as when, on the outbreak of the strike, the bulk
+of the working classes casts itself upon the streets? Such masses in
+motion have been made real to us in her series of plates from the
+"Peasants' War."
+
+An artist of considerable versatility and intuition is Dora Hitz, of
+Berlin. Born at Altdorf, near Nürnberg, she began her studies at
+Munich, afterwards continuing them at intervals in Paris. In 1878 she
+acted upon the invitation of Carmen Silva, the Poet-Queen of Roumania,
+and executed a series of decorative panels for the royal castle of
+Pétès, at Sinaivo, the pictorial subjects of which were chosen from
+the literary works of her Majesty. Four years later she settled in
+Paris, and there she remained till 1891. During all that time her
+industry never flagged, and she was much indebted to the friendly
+interest which Eugène Carrière took in her work. The portrait of a
+little girl which may be seen here on page 303, belongs to the modern
+collection in the Berlin National Gallery.
+
+Our next lady painter, though of German descent, her grandfather being
+a native of Hamburg, was herself born in Sweden. Her name is Jeanna
+Bauck. When she was twenty-three years of age she saw the fulfilment
+of her life-long yearning to go to Germany for the purpose of studying
+painting, and there, with a few short breaks, she has remained ever
+since, first in Dresden and Düsseldorf, and then at Munich, where she
+has now taken up her abode. She was also in Paris for a while, for the
+sake of study. At first exclusively a landscapist, she afterwards
+turned to portrait painting, an example of which may be found on page
+300. For seven years (1897-1904) she lived in Berlin, and painted
+landscapes and portraits alternately, whilst superintending a
+flourishing school of art for ladies. In drawing your attention to her
+landscape on page 301, I should like to add that Jeanna Bauck takes
+rank among the most serious women painters of to-day.
+
+There is yet another portrait painter who deserves a memory for the
+sake of her refinement and sensibility. I refer to the wife of Wilhelm
+Jensen, the historical novelist and poet of Schleswig-Holstein. Now,
+Frau Marie Jensen (Munich), once a pupil of the late Emil Lugo,
+devotes herself to her art in private. Most of her portraits, too,
+give proof of this same love of retirement, originating as they do in
+the family circle (see page 303).
+
+The portrait of a lady, on page 300, is the work of that very gifted
+portrait painter, Fräulein Maria Davids. This capable artist has
+produced some excellent likenesses; among others those of the poet
+Gustav Frenssen, of Professor Weber, of Freiburg, of Fräulein von
+Sydow, a daughter of the Minister of State, and of Frau Vermehren of
+Lübeck. Another portrait painter of fame and much power of expression,
+is Frau Vilma Parlaghy, her draughtsmanship being particularly good.
+Hungarian by birth, she lives and works for the most part in the
+German capital. Her handling of the brush is vigorous, yet sober, her
+colouring is warm and harmoniously balanced, and her insight into
+character quite strikingly true and convincing. The finest and most
+successful efforts, in my opinion, are the portrait of the aged
+Field-marshal Count von Moltke, taken in his eighty-ninth year,
+shortly before his death, and that of Windhorst, the German statesman.
+
+In Austria, in the dominions of the Emperor Francis Joseph, women
+painters are numerous, but those of more than average gifts are not
+perhaps so plentiful as elsewhere. In the Bohemian capital of Prague,
+Fräulein Hermine Laucota has worked her way up to a position of
+distinction quite on her own grounds. Leading a most retired life,
+devoted chiefly to the pursuit of natural history and art, she studied
+first in Prague, and then partly at Antwerp and in Munich, but since
+the year 1888 she has resided altogether in her native town. It is not
+in colours so much as in etching on the copper plate that she has
+found her medium of artistic expression, and the subjects she has
+chosen are for the most part of a symbolical character, as in the
+distinguished etching on page 307.
+
+To come to Vienna, a couple of names of good repute occur to me: Frau
+Olga Wisinger-Florian and Frau Tina Blau-Lang, the latter a refined
+landscapist (see pages 306 and 308). The two views of the Prater will
+speak for themselves. With their charming freshness and their genial
+breadth of handling, they tell us as plain as words that "all's right
+with the world" in the springtime. Every touch is so bracing that it
+needs no praise. Frau Blau-Lang is an optimist beyond a doubt, and
+that as much by temperament as by choice of motive.
+
+And when we look beyond Austria and Germany, we find everywhere among
+women the same enthusiasm for art, and the same unflagging courage in
+mastering the difficulties that thwart their every effort. That their
+persistence has been crowned with much success is shown in a very
+remarkable manner by this present book. How admirable, for instance,
+is the work done in Finland by Maria Wiik and Helene Schjerfbeck! In
+Switzerland, too, if we take a glance at the country where Anna
+Wasser, at the beginning of the 18th century, achieved fame by her
+paintings--there, too, we are welcomed by a particularly interesting
+painter's painter, Mdlle. Louise Breslau, who, with her thorough
+knowledge of modern realism, never truckles to the taste of the
+general public; and there, also, we find another woman painter whose
+art has been inspired on several occasions by the life of Christ: a
+woman painter so much occupied with the conception of her pictures
+that her technique has a tendency to lag behind the almost literary
+eloquence of her design. But Mdlle. Ottilie Roederstein is
+nevertheless an artist of real ability.
+
+From Switzerland we must turn to Spain if we would do for ourselves
+what the accompanying illustrations will do for us in the pleasantest
+of pleasant ways. Take, for example, the airy, fresh, excellent
+landscape, a "Scene at Comillas," painted in water-colour by the
+Infante Doña Paz de Bourbon. Then, again, the "Carriage Race at
+Naples," by Doña Stuart Sindici, with its splendid dash and dexterity
+of composition, and the court outside a "Roman Hostelry," by Elena
+Brockmann, likewise a sunny scene, simply teem with warmth and colour,
+and with life and beauty. Not quite so strong and independent are the
+"Fisher Boys," by Antonia de Bañuelos, the conception and the
+execution alike being apparently inspired by that mild and noble
+master of Spanish painting, Esteban Murillo. Again, in Russia, we meet
+with a portrait-painter, Olga de Boznanska (page 316), whose work
+unites a certain independent character of its own with the influences
+of her Parisian training: qualities that marked in a much higher and
+more perfect degree the pictorial appeals of that young and
+marvellously spirited genius whose premature death cut short a career
+of infinite promise: Marie Bashkirtseff, the friend of Bastien Lepage,
+and a realist full of subtlety and of penetration.
+
+                                                  WILHELM SCHÖLERMANN.
+
+
+
+
+Some Finnish Women Painters
+
+By Helena Westermarck, Critic and Painter
+
+
+Art in Finland, pictorial art, like much else in that country, is a
+young growth. It is in the nineteenth century that we are first able
+to verify its existence, and it is only in the year 1840, or
+thereabouts, that we find any traces of women who seriously devoted
+themselves to the study of painting. The pioneers in this may be said
+to be Mathilda Rotkirch and Victoria Abey.
+
+Somewhat later, in or about 1870, Fanny Churberg, after working in
+Düsseldorf and Paris, evinced much independent and original talent in
+landscape painting, her art having also an inaugural character, in
+that she was the first who applied herself to the decoration of
+textile fabrics, adapting to her purpose the old national Finnish
+patterns, a practice which has since then had a large following in the
+field of applied design. Her career, unfortunately, was soon ended by
+illness and an early death. After her came the generation of women
+artists who are at present carrying forward a young school of
+enthusiastic workers.
+
+In the sphere of painting, the women artists of Finland study under
+much the same circumstances as their male comrades. The Schools of Art
+subsidized by the State are open both to male and to female pupils,
+and this applies also to all prizes and rewards of merit. Some account
+of the principal women painters may be of interest.
+
+Maria Wiik (1853), after an apprenticeship in the Finnish Schools of
+Art and in Professor Becker's Private Academy, spent several years of
+study in Paris--occasionally moving her easel in the summers to
+Brittany, to Normandy, or even to St. Ives, in England. She has
+further developed her art in later years by visits to Holland and to
+Italy. Her talent lies in the direction of portrait and genre painting
+and she has now the name of being among the best Finnish portrait
+painters. She has executed many public commissions, such as the
+portrait of the Professor at the Rein University in Helsingfors, for
+the Finnish Literary Society, and that of the poet, Z. Topelius, for a
+large public school for girls. Many will remember her portrait of the
+School Inspector, Ohberg, which now hangs in the Helsingfors Board
+School. Maria Wiik has exhibited at the Paris Salons, and at picture
+exhibitions in Moscow, Copenhagen, and Dresden, and besides the prizes
+awarded her in her own country, she has received a bronze medal in
+Paris (1900) for a picture painted in St. Ives, called, "Out into the
+World."
+
+Helene Schjerfbeck (1863), also a pupil of the Finnish Schools of Art
+and of Prof. Becker's Private Academy, continued her studies in Paris
+and afterwards visited Brittany, England, Austria and Italy. She has
+painted some important historical pictures, taking her subjects from
+Finnish and Swedish history, as in her two admirable paintings,
+"Liuköping's Prison in 1600" and "The Death of W. v. Schwerin." She
+has also painted a few landscapes and a number of genre pictures, many
+of them with subjects taken from French and English life. Helene
+Schjerfbeck has exhibited both at home and at the Paris Salons, has
+twice been awarded the lesser money prize given yearly by the Finnish
+State (for the two historical pictures mentioned above), while at the
+Exhibition in Paris in 1889, she received a bronze medal. She has also
+held an appointment as teacher in the Finnish Academy of Art, in the
+department of painting and in the drawing class from the living model.
+Her many pictures have been among the best that our women artists have
+produced.
+
+Venny Soldan-Brofeldt (1860) is another pupil of the Finnish Schools
+of Art and of Prof. Becker's Academy, and has studied later in Paris,
+and in Spain and Italy. Her best work is in the genre style, many of
+her pictures being very characteristic and true scenes of Finnish
+peasant life, such as "Meal time in a Peasant's Hut" and "Pietists."
+Her landscapes, too, are remarkable for a sensitive conception of
+Nature; especially is this true of her pictures of our coast scenery,
+with its low granite rocks, washed over by the sea waves. Mrs.
+Soldan-Brofeldt has illustrated also some books for children, among
+others a part of a large Scandinavian edition of Topelius' Saga tales
+for children. At the Paris Exhibition of 1889, she received a "Mention
+Honorable," and in 1900, a bronze medal. She is the wife of the
+author, Juhani Aho. Brofeldt. Mrs. Soldan-Brofeldt's work is not
+illustrated in this book, as a photograph of her most important
+picture was broken into fragments in its journey from Finland to
+London.
+
+It is characteristic of all these painters that their artistic bias
+was determined by their study in Paris of the French naturalists, who
+inspired them with a stern respect for drawing, and taught them to
+study Nature seriously. Starting from this common standpoint, they
+have, whilst working in their own way, developed along their own
+individual lines.
+
+Many another woman artist deserves mention, but the limited space at
+my disposal permits me to give only a list of their names.
+
+There is Ellen Thesleff, a figure painter; there is Elin
+Danielson-Gambogi (wife of the Italian painter, R. Gambogi),
+well-known for her portraits and landscapes; there is Julia Stigzelius
+de Cock (wife of the Belgian artist, Césare de Cock), a clever
+landscape painter; there is Amélie Lundahl, figure painter; and Ada
+Thilén, with her landscapes; and Hanna Rönnberg, with her subject
+pictures and outdoor scenes; and Anna Sahlstén, a figure painter; and
+last, but not least, I name Annie Torselles-Schybergson, a good
+painter of animals.
+
+                                                   HELENA WESTERMARCK.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM.]
+
+    [Illustration: RUSSIAN SCHOOL, 1884
+    "A MEETING." AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
+    PARIS, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS
+    Mademoiselle Marie Bashkirtseff, Painter
+    1860-1884]
+
+    [Illustration: GERMAN SCHOOL, XVII CENTURY
+    PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM. AFTER ONE OF THE
+    MANY DRAWINGS BY THE SAME ARTIST IN THE BRITISH MUSEUM. THEY
+    ONCE BELONGED TO SIR HANS SLOANE, WHO PURCHASED THEM AT A HIGH
+    PRICE.
+    Maria Sibylla Merian (Frau Graff), Painter
+    1647-1717]
+
+    [Illustration: GERMAN SCHOOL, XVII CENTURY
+    PORTRAIT ETCHED BY HERSELF OF ANNA MARIA SCHURMAN PERHAPS THE
+    MOST FAMOUS LINGUIST OF HER TIME IN EUROPE
+    Anna Maria Schurman, Painter-Etcher
+    1607-1678]
+
+    [Illustration: PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM.
+    REPRODUCED FROM THE ORIGINAL DRAWING IN THE BRITISH MUSEUM Maria
+    Sibylla Merian (Frau Graff), Painter 1647-1717]
+
+    [Illustration: GERMAN SCHOOL, END OF XVIII CENTURY
+    GYPSIES ON A COMMON
+    AFTER GEORGE MORLAND
+    Frau Maria Catharina Prestel, Engraver
+    Died 1794]
+
+    [Illustration: GERMAN SCHOOL, 1817 AND 1820
+    PORTRAIT OF A WOMAN. FROM THE ORIGINAL ETCHING IN THE BRITISH
+    MUSEUM]
+
+    [Illustration: PORTRAIT OF A MAN. REPRODUCED FROM THE ORIGINAL
+    ETCHING IN BRITISH MUSEUM Anna Marie Ellenrieder, Painter-Etcher
+    1791-1863]
+
+    [Illustration: GERMAN SCHOOL, LATE XIX CENTURY
+    A GIRL OF BOHEMIA. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.,
+    PARIS
+    Caroline von Maupeou, Painter]
+
+    [Illustration: BRETON GIRL PRAYING. FROM A PHOTOGRAPH BY BRAUN,
+    CLÉMENT & CO., PARIS Frau Adelaïde Salles-Wagner, Painter]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    PORTRAIT OF FRÄULEIN VON SYDOW. FROM THE ORIGINAL PAINTING
+    Fräulein Maria Davids, Painter
+    PORTRAIT. FROM A PHOTOGRAPH BY HANFSTAENGL KINDLY LENT BY THE
+    ARTIST
+    Jeanna Bauck, Painter]
+
+    [Illustration: GERMAN AND SPANISH SCHOOLS, CONTEMPORARY
+    A WOODLAND LAKE.
+    AFTER THE ORIGINAL PICTURE
+    Jeanna Bauck, Painter, Germany]
+
+    [Illustration: THE CASTLE AND PALACE OF PENA IN CINTRA. AFTER
+    THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY J. LAURENT & CO.,
+    MADRID Maria G. Silva Reis, Painter, Spain]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    MOTHERHOOD. FROM A PHOTOGRAPH LENT BY THE ARTIST
+    Dora Hitz, Painter]
+
+    [Illustration: DESOLATION AND DESPAIR AFTER THE ORIGINAL ETCHING
+    Fräulein Käthe Kollwitz, Painter-Etcher]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    PORTRAIT OF A LITTLE GIRL. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY FRANZ KULLRICH, BERLIN, LENT BY THE ARTIST
+    Dora Hitz, Painter]
+
+    [Illustration: PORTRAIT OF WILHELM JENSEN, POET AND HISTORICAL
+    NOVELIST. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH LENT BY
+    THE ARTIST
+    Frau Marie Jensen, Painter]
+
+    [Illustration: GERMAN AND SWISS SCHOOLS, CONTEMPORARY
+    PORTRAIT OF A SCULPTOR. FROM A PHOTOGRAPH BY FRANZ KULLRICH
+    KINDLY LENT BY THE ARTIST
+    Frau Julie Wolfthorn, Painter
+    Germany]
+
+    [Illustration: "ANAÏS." AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mlle.
+    Louise Breslau, Painter
+    Switzerland]
+
+    [Illustration: SWISS SCHOOL, CONTEMPORARY
+    THEIR DAILY BREAD. AFTER THE ORIGINAL PAINTING, REPRODUCED BY
+    PERMISSION FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO.
+    Mademoiselle Ottilie Roederstein, Painter]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    SPRINGTIME IN THE PRATER, VIENNA. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY J. LÖWY, VIENNA, KINDLY LENT BY THE ARTIST
+    Frau Tina Blau-Lang, Painter]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    BY THE SHORE OF LETHE LAKE
+    AFTER A PROOF OF THE ORIGINAL ETCHING
+    Fräulein Hermine Laucota, Painter-Etcher]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    VIEW IN THE PRATER, VIENNA. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY J. LÖWY, VIENNA, KINDLY LENT BY THE ARTIST
+    Frau Tina Blau-Lang, Painter]
+
+    [Illustration: FINNISH SCHOOL, CONTEMPORARY
+    PORTRAIT OF A LADY.
+    AFTER THE ORIGINAL PICTURE
+    Maria Wiik, Painter]
+
+    [Illustration: FINNISH SCHOOL, 1887
+    THE CONVALESCENT
+    AFTER THE ORIGINAL PAINTING
+    Helene Schjerfbeck, Painter]
+
+    [Illustration: SWISS SCHOOL, CONTEMPORARY
+    "LE MOIS DE MARIE." REPRODUCED AFTER THE ORIGINAL PAINTING FROM
+    A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.
+    Mademoiselle Ottilie Roederstein, Painter]
+
+    [Illustration: FINNISH SCHOOL, FROM 1887 TO ABOUT 1895
+    PREPARING TO LEAVE HOME. FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING, DATED 1887
+    Maria Wiik, Painter]
+
+    [Illustration: AT WORK. REPRODUCED FROM A CARBON-PRINT
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Helene Schjerfbeck,
+    Painter]
+
+    [Illustration: FINNISH AND SWISS SCHOOLS, ABOUT 1904
+    A FINNISH PEASANT GIRL
+    FROM THE ORIGINAL DRAWING
+    Ellen Thesleff, Painter
+    Finland]
+
+    [Illustration: A PORTRAIT-GROUP OF FRIENDS. AFTER THE ORIGINAL
+    PICTURE FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO Mlle. Louise
+    Breslau, Painter Switzerland]
+
+    [Illustration: RUSSIAN SCHOOL, XIX CENTURY
+    PORTRAIT OF MARIE BASHKIRTSEFF. AFTER THE ORIGINAL PASTEL IN THE
+    MUSÉE DU LUXEMBOURG, FROM A PHOTOGRAPH BY LÉVY & SONS, PARIS
+    Mlle. Marie Bashkirtseff, Pastellist
+    1860-1884]
+
+    [Illustration: PORTRAIT OF THE COMTESSE DE TOULOUSE. AFTER THE
+    ORIGINAL PASTEL IN THE MUSÉE DU LUXEMBOURG, FROM A PHOTOGRAPH BY
+    NEWIDEIN Mlle. Marie Bashkirtseff, Pastellist 1860-1884]
+
+    [Illustration: GERMAN AND RUSSIAN SCHOOLS, 1870 AND 1903
+    PORTRAIT (DATED 1870) OF THE LATE LUDWIG WINDHORST, GERMAN
+    STATESMAN FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH
+    Frau Vilma Parlaghy, Painter
+    Germany]
+
+    [Illustration: PORTRAIT OF A LADY (DATED 1903), RECENTLY
+    PURCHASED FOR THE LUXEMBOURG, PARIS Mlle. Olga de Boznanska,
+    Painter Russia]
+
+    [Illustration: SPANISH SCHOOL, 1875
+    A CARRIAGE RACE AT NAPLES
+    FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Doña Stuart Sindici, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1881
+    A SCENE AT COMILLAS. REPRODUCED AFTER THE ORIGINAL WATER-COLOUR,
+    DATED 1881, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Infante Doña Paz de Bourbon, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1887
+    OUTSIDE A ROMAN HOSTELRY
+    FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Doña Elena Brockmann, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1881 AND 1890
+    MY MODEL. AFTER THE ORIGINAL WATER-COLOUR, FROM A PHOTOGRAPH BY
+    LAURENT, MADRID
+    Infante Doña Paz de Bourbon, Painter]
+
+    [Illustration: STUDY OF A BABY LAUGHING. AFTER THE ORIGINAL
+    PICTURE, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID Antonia
+    de Bañuelos, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1883
+    "THE LITTLE FISHERS." AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
+    Antonia de Bañuelos, Painter]
+
+
+
+
+INDEX
+
+
+    ABBÉMA, MLLE. LOUISE: "Winter," 237.
+
+    ABRAN, MADAME: "Study of Tigers," 243.
+
+    ALLINGHAM, MRS. HELEN, R.W.S.: "A Cottage near Crocken Hill," 109;
+      "Ponte Widman, Venice," 137;
+      "Campanile San Stefano, Venice," 137.
+
+    ALMA-TADEMA, MISS ANNA: "Portrait of Miss Anna Alma-Tadema," 156.
+
+    ANDERSON, MRS. SOPHIE: "Elaine," 105.
+
+    ANGELL, MRS. HELEN CORDELIA: "Study of a Bird's Nest," 102.
+
+    ANGUISCIOLA, SOPHONISBA: "Three Sisters of Sophonisba Anguisciola
+         Playing at Chess," 25;
+      "Portrait of Sophonisba Anguisciola," 36;
+      "Portrait of a Lady," 39.
+
+    ANGUS, CHRISTINE: Design, 64.
+
+    ART, MLLE. BERTHE: "Study of Still Life: Grapes and Partridges,"
+        276.
+
+
+    BAKHUYZEN, MME. G. J. VAN DE SANDE: "Study of Still Life: Roses in a
+        Basket," 266.
+
+    BAÑUELOS, ANTONIA DE: "Study of a Baby Laughing," 320;
+      "The Little Fishers," 321.
+
+    BARTON, MISS ROSE, A.R.W.S.: "Almond Blossom in London," 143.
+
+    BASHKIRTSEFF, MLLE. MARIE: "A Meeting," 293;
+      "Portrait of Marie Bashkirtseff," 315;
+      "Portrait of the Comtesse de Toulouse," 315.
+
+    BAUCK, JEANNA, "Portrait," 300;
+      "A Woodland Lake," 301.
+
+    BAUERLË, MISS A., A.R.E.: "A Song of the Sea," 132;
+      "Fauns," 132.
+
+    BEALE, MARY: "Portrait of the English Poet, Abraham Cowley," 81;
+      "Portrait of King Charles II. of England," 81.
+
+    BEAUCLERK, LADY DIANA: "Caricature of Edward Gibbon," 82;
+      "Cupids," 82.
+
+    BEAUX, MISS CECILIA: "Mother and Child," 121;
+      "Portrait," 162.
+
+    BENOITS, MADAME: "Portrait of Marie Pauline, Princesse Borghese,"
+        183.
+
+    BILDERS VAN BOSSE, MME.: "Landscape near Oosterbeek," 267;
+      "Windmill at Heelsum," 269;
+      "A Pool near Oosterbeek," 272.
+
+    BISSCHOP-ROBERTSON, MME. SUSE: "A Dutch Peasant Woman," 278.
+
+    BLATHERWICK, LILY (MRS. A. S. HARTRICK): "Wintry Weather," 155.
+
+    BLAU-LANG, FRAU TINA: "Springtime in the Prater, Vienna," 306;
+      "View in the Prater, Vienna," 308.
+
+    BODENHEIM, MLLE. NELLY: Silhouettes, 12, 72, 292, 332.
+
+    BONHEUR, ROSA: "Study of a Bull," 195;
+      "Shepherd Watching His Sheep," 205;
+      "Ploughing in the Nivernais," 209;
+      "The Horse Fair," 210;
+      "The King of the Desert," 214;
+      "Brisco," 215.
+
+    BOUILLIAR, MLLE.: "Portrait of an Actress," 194.
+
+    BOURBON, DE, INFANTE PAZ: "A Scene at Comillas," 318;
+      "My Model," 320.
+
+    BOVI, MADAME: 90.
+
+    BOZNANSKA, DE, OLGA: "Portrait of a Lady," 316.
+
+    BRESLAU, MLLE. LOUISE: "Anaïs," 304;
+      "A Portrait-Group of Friends," 314.
+
+    BRICKDALE, MISS ELEANOR FORTESCUE, A.R.W.S.: "Youth and the Lady,"
+        73;
+      "To-day for Me," 103;
+      "Sleep, that knits up the Ravell'd Sleave of Care," 114;
+      "He Married a Wife," 126;
+      "Designs," 141;
+      "Iseult of Brittany," 142.
+
+    BROCKMANN, DOÑA ELENA: "Outside a Roman Hostelry," 319.
+
+    BROWNSCOMBE, MISS JENNIE: "The Peace Ball After the Declaration of
+        Independence," 161.
+
+    BUTLER, LADY ELIZABETH: "Missed," 9;
+      "Steady the Drums and Fifes!" 154.
+
+    BYRNE, ANNE FRANCES: "Flowers and Grapes," 94.
+
+
+    CAMERON, MISS KATHARINE: "Hush! Remind not Eros of His Wings," 124.
+
+    CAMERON, MISS MARGARET: "Portrait of Mrs. Blair with her Dogs," 131;
+      "After the Bull-Fight," 155.
+
+    CAPET, MARIE GABRIELLE: "Portrait of Dame de Longrois," 197.
+
+    CARPENTER, MRS. MARGARET: "Portrait of Henrietta Shuckburgh," 96;
+      "Portrait of Margaret Carpenter," 96;
+      "Portrait of John Gibson, R.A., Sculptor," 100;
+      "Portrait of R. P. Bonington, Painter," 100.
+
+    CARPENTIER, MADELEINE: "Les Chandelles," 244.
+
+    CARRIERA, ROSALBA: "Portrait of a Lady Unknown," 20;
+      "Charity and Justice," 37;
+      "Portrait Study of a Lady with her Pet Monkey," 48;
+      "Portrait Study of Cardinal de Polignac," 48;
+      "Portrait Study of a Girl," 51;
+      "Portrait of Rosalba Carriera," 51.
+
+    CASSATT, MISS MARY: "Baby's Toilette," 157;
+      "Childhood in a Garden," 327;
+      "Mother and Two Children," 327.
+
+    CAZIN, MADAME MARIE: "Desolation," 227;
+      "Mother and Child," 239;
+      "The Shepherd," 239.
+
+    CHARDERON, FRANCINE: "Sleep," 229.
+
+    CHASE, MISS MARIAN, R.I.: "An Interesting Story," 130.
+
+    CHATILLON, DE, MME. LAURE: "A Young Adolescent," 219.
+
+    CHAUDET, MME JEANNE ELISABETH: "Portrait of Madame Villot, née
+        Barbier," 202.
+
+    CHEVIOT, MISS LILIAN: "On the Way to the Horse Fair," 143.
+
+    CLAUDIE, MLLE.: "Flora," 252.
+
+    COGNIET, MLLE. MARIE AMÉLIE: "Portrait of Madame Adélaïde
+        d'Orléans," 189.
+
+    COLIN-LIBOUR, MADAME: "Charity," 225.
+
+    COMERRE-PATON, MME. J.: "Mistletoe," 217.
+
+    CONANT, MISS CORNELIA W.: "The End of the Story," 151.
+
+       *       *       *       *       *
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "WE ARE BUT LITTLE CHILDREN WEAK, NOR BORN TO ANY HIGH ESTATE."
+    FROM A LARGE PHOTOGRAVURE OF THE ORIGINAL PICTURE BY PERMISSION
+    OF THE BERLIN PHOTOGRAPHIC COMPANY, LONDON, W.
+    Mrs. Marie Seymour Lucas, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "HER MORNING RIDE"
+    AFTER THE ORIGINAL PICTURE
+    Miss Blanche Jenkins, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "FAITH"
+    FROM THE ORIGINAL PICTURE
+    Miss Flora M. Reid, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "HUSH!" FROM A PHOTOGRAPH OF THE ORIGINAL PICTURE BY PERMISSION
+    OF THE BERLIN PHOTOGRAPHIC CO., LONDON, W.
+    Miss Maude Goodman, Painter]
+
+    [Illustration: THE CHILD HANDEL. FROM A PHOTOGRAPH OF THE
+    ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC CO.,
+    LONDON, W.
+    Miss Margaret Isabel Dicksee, Painter
+    1858-1903]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "NOTHING VENTURE, NOTHING HAVE." FROM A LARGE PHOTOGRAVURE OF
+    THE ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC
+    COMPANY, LONDON, W.
+    Lady Alma-Tadema, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    ISOLA BELLA LAGO MAGGIORE
+    FROM THE ORIGINAL WATER-COLOUR
+    Mrs. Marrable, Painter]
+
+    [Illustration: "I SHOWED HER THE RING AND IMPLORED HER TO MARRY"
+    FROM THE ORIGINAL PICTURE
+    Miss Julia B. Falkard, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    SKIRMISHERS: COCKER SPANIELS. FROM "BRITISH HOUNDS AND
+    GUN-DOGS"]
+
+    [Illustration: BULL TERRIER: POSITION OF TRUST. FROM THE SERIES
+    ON "TERRIERS AND TOYS" PUBLISHED BY THE BERLIN PHOTOGRAPHIC
+    COMPANY, LONDON, W.]
+
+    [Illustration: FOXHOUNDS: A BURNING SCENT. FROM "BRITISH HOUNDS
+    AND GUN-DOGS"
+    Miss Maud Earl, Painter]
+
+    [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
+    PORTRAIT (PAINTED BY HERSELF) OF MADAME ARSÈNE DARMESTETER
+    Madame Arsène Darmesteter, Painter]
+
+    [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
+    STUDY
+    FROM THE ORIGINAL PICTURE
+    Madame Arsène Darmesteter, Painter]
+
+       *       *       *       *       *
+
+    COOL, DE, MME. DELPHINE: "A Good Cigarette," 232.
+
+    COOMANS, MLLE. DIANA: "In the Gynæceum," 228.
+
+    COSWAY, MRS. MARIA: "Lodona," 96.
+
+    CURRAN, MISS A.: "Portrait of Percy Bysshe Shelley," 90.
+
+
+    DANSE, MLLE. LOUISE: "Portrait of Mlle. Dethier," 278.
+
+    DAVIDS, FRÄULEIN: "Portrait of Fräulein von Sydow," 300.
+
+    DAVIN, MADAME C. H. F.: "Portrait of Marshal Lefèvre, Duke of
+        Dantzic," 207.
+
+    DEALY, JANE M. (LADY LEWIS), R.I.: "Day-Dreams," 144;
+      "Baby," 144.
+
+    DEMONT-BRETON, MADAME: "On the Sea-Shore," 226;
+      "Stella Maris," 233.
+
+    DE MORGAN, MRS. EVELYN: "Flora," 91;
+      "Study from the Life," 117;
+      "Drapery Study," 123.
+
+    DESTRÉE-DANSE, MADAME: "The Massacre of the Innocents," 282.
+
+    DICKSEE, MISS MARGARET ISABEL: "In Memoriam," 112.
+
+    DOLCI, AGNESE: "Mary and the Child Jesus," 47;
+      "Jesus Took Bread and Blessed It," 47.
+
+    DUBOS, MLLE. ANGÈLE: "A New Song," 216.
+
+    DUBOURG, MME. VICTORIA: "A Basket of Flowers," 240.
+
+    DUFAU, MLLE.: "Study from a Model," 231;
+      "Impression of a City," 240;
+      "Character in Spain," 243.
+
+    DUFFIELD, MRS. WILLIAM, R.I.: "Yellow Roses," 118.
+
+
+    ELLENRIEDER, ANNA MARIE: "Portrait of a Woman," 298;
+      "Portrait of a Man," 298.
+
+    EMPRESS FREDERICK OF GERMANY, THE: "The Akropolis, Athens," 56.
+
+    ENAULT, MADAME ALIX: "Fleurs de Serre," 225.
+
+
+    FANNER, MISS ALICE: "Riverside Landscape," 135;
+      "A Yorkshire Trout Stream," 156.
+
+    FANSHAWE, CATHERINE MARIA: "A Country Boy," 89.
+
+    FANTIN-LATOUR, MME. (VICTORIA DUBOURG): "A Basket of Flowers," 240.
+
+    FICHEL, MME. JEANNE: "The Bouquet," 216.
+
+    FILLEUL, MADAME: "The Sons of Charles X. of France," 186;
+      "Portrait of the Duc d'Angoulême," 187.
+
+    FLEURY, MME. FANNY: "The Pathway to the Village Church," 235.
+
+    FONTANA, LAVINIA: "Marriage of St. Catharine," 39;
+      "Portrait of Lavinia Fontana Zappi," 40;
+      "Jesus Christ Talking with the Women of Samaria," 41.
+
+    FORBES, MRS. STANHOPE, A.R.W.S.: "The Fisher Wife," 85;
+      "In With You!" 147;
+      "Cuckoo," 147;
+      "May Evening," 149.
+
+    FOULD, MLLE. ACHILLE: "Courtship," 250.
+
+    FOULD, MLLE. CONSUÉLO: "Will You Buy?" 247.
+
+    FRAMPTON, MRS. GEORGE (CHRISTABEL A. COCKERELL): "Bluebells," 136.
+
+
+    GARDNER, ELIZABETH: "Maternal Love," 234;
+      "The Judgment of Paris," 238.
+
+    GENTILESCHI, ARTEMISIA: "Mary Magdalene," 31;
+      "Portrait of Artemisia Gentileschi," 42;
+      "Judith and her Maid with the Head of Holofernes," 45.
+
+    GHISI, DIANA: "A Victor in his Triumphal Chariot," 39.
+
+    GILSOUL-HOPPE, MADAME: "Interior," 266.
+
+    GODEFROID, MLLE. MARIE E.: "Portrait of Madame de Staël," 203;
+      "Portrait of Charles Maurice, Prince of Talleyrand-Périgord," 203.
+
+    GONZALÈS, EVA: "Portrait of a Lady Seated," 223;
+      "The Fruit Girl," 231.
+
+    GOW, MISS MARY L., R.I.: "Mother and Child," 107.
+
+    GRANBY, MARCHIONESS OF: "The Late Cecil Rhodes," 142;
+      "The Late Lord Salisbury," 142.
+
+    GREENAWAY, MISS KATE: "A. for Apple Pie: E. Eat it," 119;
+      "A. for Apple Pie: C. Cut it," 127.
+
+    GUTTI, ROSINA M.: "The Peacemaker," 53.
+
+    GUYARD, MADAME: "Portrait of Madame Victoire de France," 185;
+      "Portrait of Elisabeth of France, Duchess of Parma," 188.
+
+
+    HAMMOND, MISS G. DEMAIN, R.I.: "Memories," 135.
+
+    HART, MISS EMILY: "The End of a Story," 113.
+
+    HAVERS, MISS ALICE: "Blanchisseuses," 108.
+
+    HEITLAND, MISS IVY: "Through the Wood," 107.
+
+    HEMESSEN, CATHARINA VAN: "Portrait of a Flemish Gentleman," 263.
+
+    HEMING, MRS. MATILDA: "Backwater, Weymouth, Dorset," 95.
+
+    HERFORD, MRS. JOHN: "Landscape at Kenilworth," 95.
+
+    HERLAND, MLLE. E.: "Children Eating Soup in a Charity School," 249.
+
+    HILDA, MLLE. E.: "In Search of Prey," 245.
+
+    HITZ, DORA: "Motherhood," 302;
+      "Portrait of a Little Girl," 303.
+
+    HOBSON, MISS A. M., R.I.: "Room at Leicester in which Shakespeare is
+        said to have Acted before Queen Elizabeth," 118.
+
+    HOGENDORP, BARONNE VAN: "Flowers," 266.
+
+    HOLROYD, LADY: "Portrait of Sir Charles Holroyd," 150.
+
+    HOTHAM, AMELIA: "Riverside Landscape," 88.
+
+    HOUDON, MLLE. M. J. A.: "Portrait of Marguerite J. A. Houdon," 202.
+
+    HOUSSAY, MLLE. JOSÉPHINE: "The Lesson," 251.
+
+    HOUTEN, MME. MESDAG VAN: "A Bleak Pastoral Scene," 269.
+
+       *       *       *       *       *
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    CHILDHOOD IN A GARDEN. REPRODUCED FROM THE ORIGINAL PAINTING BY
+    PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK
+    Miss Mary Cassatt, Painter]
+
+    [Illustration: MOTHER AND TWO CHILDREN. REPRODUCED FROM THE
+    ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS,
+    PARIS AND NEW YORK
+    Miss Mary Cassatt, Painter]
+
+       *       *       *       *       *
+
+    HOUTEN, MLLE. BARBARA VAN: "Portrait Study of a Girl," 270;
+      "Loutje," 275.
+
+    HOW, MISS BEATRICE: "Le Repas," 142;
+      "In a Dutch Cottage," 148.
+
+    HUNTER, MRS. MARY Y.: "Joy and the Labourer," Frontispiece;
+      "Olivia," 126;
+      "Where Shall Wisdom be Found?" 130.
+
+    HYDE, MISS HELEN: "Day Dreams," 145;
+      "The Bamboo Fence," 163.
+
+
+    JENSEN, FRAU MARIE: "Portrait of Wilhelm Jensen," 303.
+
+    JOPLING, MRS. LOUISE, R.B.A.: "St. Bridget," 120.
+
+
+    KAUFFMAN, ANGELICA, R.A. "The Sibyl," 67;
+      "Ariadne," 83;
+      "Portrait of Angelica Kauffman, R.A.," 87;
+      "The Vestal Virgin," 87.
+
+    KEMP-WELCH, MISS L. E., R.B.A.: "Labourers of the Night," 115;
+      "After Work," 125.
+
+    KING, MISS JESSIE M.: "The Court-Yard," 159.
+
+    KOCH, ELISA: "The Little Sister," 49.
+
+    KOLLWITZ, FRÄULEIN KÄTHE: "Desolation and Despair," 302.
+
+
+    LAUCOTA, FRÄULEIN HERMINE: "By the Shore of Lethe Lake," 307.
+
+    LARCOMBE, MISS ETHEL: Dedication Page;
+      End-Papers;
+      Initial Letters.
+
+    LE BRUN, MADAME VIGÉE: "Portrait of Madame Vigée Le Brun and her
+        Daughter," 166;
+      "Madame Vigée Le Brun and her Daughter," 177;
+      "Portrait of Queen Marie Antoinette and her Children," 191;
+      "Portrait in the Pinacoteca at Turin," 192;
+      "Portrait of Madame Le Brun," 193;
+      "Portrait of Louise Marie Adélaïde de Bourbon," 193;
+      "Madame Vigée Le Brun at her Easel," 198;
+      "Portrait of Marie Antoinette, Queen of France," 200;
+      "Portrait of the Duchess of Polignac," 201;
+      "Portrait of Madame Molé-Raymond," 204.
+
+    LELEUX, MADAME ARMAND: "Private and Confidential," 220.
+
+    LE ROY, MADAME: "Portrait," 252.
+
+    LESCOT, MADAME HAUDEBOURT: "A Good Daughter," 208.
+
+    LEYSTER, JUDITH: "The Merry Young Man," 257;
+      "Young Man Encouraging a Girl to Smoke and Drink," 264.
+
+    LONGHI, BARBARA: "Mary and the Child Jesus in the Act of Crowning a
+        Saint," 41.
+
+    LOUISE, H.R.H. PRINCESS, DUCHESS OF ARGYLL: "An English Hebe," 13.
+
+    LUCAS-ROBIQUET, MME.: "Bébé et Zizon," 251.
+
+
+    MACBETH, MISS ANN: "Elspeth." 97.
+
+    MACDONALD, MISS BIDDIE: "Portrait of the Lady Alix Egerton," 123.
+
+    MACGREGOR, MISS JESSIE: "In the Reign of Terror," 148.
+
+    MARCOTTE, MLLE. E.: "With the Poor at Home," 272.
+
+    MARTINEAU, MISS EDITH, A.R.W.S.: "The Potato Harvest," 111.
+
+    MAUPEOU, CAROLINE VON: "A Girl of Bohemia," 299.
+
+    MAYER, CONSTANCE: "The Happy Mother," 199.
+
+    MEE, MRS. ANNE: "Portrait of Lady Dalrymple Hamilton," 93.
+
+    MEEN, MRS. MARGARET: "Group of Flowers in a Jar," 94.
+
+    MERIAN, MARIA S.: "Plant Study," 295; "Plant Study," 296.
+
+    MERRITT, MRS. ANNA LEA, R.B.A.: "Love Locked Out," 139.
+
+    MEUNIER, MLLE. GEORGETTE: "Study of a Heron," 282.
+
+    MORIN, EULALIE: "Portrait of Madame Récamier," 187.
+
+    MORISOT, BERTHE: "Portrait of a Young Woman Seated," 211;
+      "The Jetty," 213.
+
+    MOSER, MARY, R.A.: "Vase of Flowers," 94.
+
+
+    NICOLAS, MLLE. MARIE: "Father Ricard," 222.
+
+    NORMAND, MRS. (HENRIETTA RAE): "Ophelia: 'There's Rue for you,'"
+        153.
+
+
+    OFFOR, B. (MRS. F. LITTLER): "Ophelia," 160.
+
+    OPPENHEIM, MLLE. A.: "Romeo and Juliet," 246.
+
+
+    PARLAGHY, FRAU VILMA: "Portrait of the late Ludwig Windhorst," 316.
+
+    PAYMAL-AMOUROUX, MME.: "A Holiday at Sosthène," 232.
+
+    PETIET, MLLE. MARIE: "The Knitter Asleep," 219.
+
+    PHILLOTT, MISS CONSTANCE, A.R.W.S.: "The Herdsman of Admetus," 138.
+
+    PRESTEL, MARIA C.: "Gypsies on a Common," 297.
+
+
+    RÉAL DEL SARTE, MME.: "Do you want a Model?" 251.
+
+    RAGNONI, BARBARA: "The Adoration of the Shepherds," 35.
+
+    READ, CATHARINE: "Portrait of the Lady Georgiana Spencer," 61;
+      "Portrait of Miss Harriot Powell," 84;
+      "Portrait of Miss Jones," 84.
+
+    REIS, MARIA G. SILVA: "The Castle and Palace of Pena in Cintra,"
+        301.
+
+    ROBERTSON, MRS. J.: "Portrait of Mrs. Stuart," 93.
+
+    ROEDERSTEIN, MLLE. OTTILIE: "Their Daily Bread," 305;
+      "Le Mois de Marie," 311.
+
+    ROMANI, JUANA: "Study from a Model," 54.
+
+    ROMANY, MME. ADÈLE: "Portrait of Gaëtano Apollino Baldassare
+        Vestris, Dancer," 171.
+
+    RONGIER, MLLE. JEANNE: "Sitting for a Portrait," 220.
+
+    RONNER, MME. HENRIETTE: "The Last Move," 279;
+      "New Tenants," 281.
+
+    ROTHSCHILD, DE, BARONESS LAMBERT: "Portrait Study of the Countess
+        Florence Fabbricotti," 277;
+      "Portrait of Monsieur Gevaert," 277.
+
+    RUDE, MME. SOPHIE: "Portrait of Madame Rude," 207.
+
+    RUYSCH, RACHEL: "Picture of Fruit with Insects and Lizards," 265.
+
+
+    SALANSON, MLLE. EUGENIE: "At Low Tide," 228.
+
+    SALLES-WAGNER, ADELAÏDE: "Breton Girl Praying," 299.
+
+    SAWYER, MISS AMY: "Panel of a Screen," 159.
+
+    SCHJERFBECK, HELENE: "The Convalescent," 310;
+      "At Work," 313.
+
+    SCHURMAN, ANNA MARIA: "Portrait of Anna Maria Schurman," 296.
+
+    SCHNEIDER, MME. FÉLICIE: "The Last Survivors of a Family," 222.
+
+    SCHWARTZE, THÉRÈSE: "Orphans," 270;
+      "Portrait of Mlle. Thérèse Schwartze," 271;
+      "Portraits of the Children of Mr. A. May," 273;
+      "Portrait of A. G. C. van Duyl," 275.
+
+    SINDICI, DOÑA STUART: "A Carriage Race at Naples," 317.
+
+    SIRANI, ELISABETTA: "The Dream of Saint Anthony of Padua," 43;
+      "The Madonna Weeping," 46;
+      "The Flight into Egypt," 46.
+
+    SISTER A., SIENESE NUN: "Adoration of the Shepherds," 34;
+      "Madonna and Child with St. Catharine and other Saints," 35.
+
+    SISTER B., SIENESE NUN: "The Holy Family with John the Baptist," 34.
+
+    SMYTHE, MISS MINNIE, A.R.W.S.: "A Cottage Girl," 150.
+
+    SONREL, ÉLISABETH: "The Goddesses before Paris," 237.
+
+    SPENCER, LAVINIA, COUNTESS: "A Pinch of Snuff," 90.
+
+    STAPLES, MRS. (M. E. EDWARDS): "Waifs from the Great City," 120.
+
+    STARR, LOUISA (MME. CANZIANA): "Sintram and his Mother," 106.
+
+    STOKES, MRS. MARIANNE: "The Queen and the Page," 79;
+      "Portrait of the Hon. Mrs. Walter James," 129.
+
+    STRONG, MRS. ELIZABETH: "Good Friends," 113.
+
+    SUBLEYRAS, MARIA TIBALDI: "Mary Magdalene at the Feet of Jesus
+        Christ," 52.
+
+    SWAN, MRS. J. M.: "The Music Lesson," 159.
+
+    SWYNNERTON, MRS. A. L.: "The Sense of Sight," 133.
+
+
+    TAVERNIER, DE, MME. E.: "Before the Dance," 227.
+
+    TEMPLETOWN, VISCOUNTESS: "Wood Scene," 94.
+
+    THESLEFF, ELLEN: "A Finnish Peasant Girl," 314.
+
+
+    VALORY, DE, MME. CAROLINE: "The Miniature," 192.
+
+    VALLET-BISSON, MME.: "The Departure," 241.
+
+    VANTEUIL, DE, MLLE.: "Portrait of Marie de Rabutin-Chantal, Marquise
+        de Sévigné," 185.
+
+    VIGRI, CATERINA: "Saint Ursula and her Maidens," 33.
+
+
+    WATERFORD, LOUISA MARCHIONESS OF: "Palm Branches," 99;
+      "Spring," 99;
+      "Jesus Christ among the Doctors," 101.
+
+    WATERNAU, MLLE. HERMINE: "By the Bank of a Stream," 221.
+
+    WATSON, CAROLINE: "Portrait of Sarah, Countess of Kinnoull," 89.
+
+    WENTWORTH, MRS. CECILIA: "Prayer," 160.
+
+    WESMAEL, MLLE. E.: "A Sunset in the Campine," 283.
+
+    WHITE, MISS FLORENCE: "White Treasures," 124.
+
+    WIIK, MARIA: "Portrait of a Lady," 309;
+      "Preparing to Leave Home," 313.
+
+    WOLFTHORN, FRAU JULIE: "Portrait of a Sculptor," 304.
+
+    WYTSMAN, MME. JULIETTE: "Lilies in the Courtyard of a House of Rest
+        at Bruges," 284.
+
+
+    YOUNGMAN, MISS A. M., R.I.: "In a Neapolitan Villa," 118;
+      "Who Loves a Garden loves a Greenhouse too," 119.
+
+
+    ZAPPI, LAVINIA FONTANA: "Marriage of St. Catharine," 39;
+      "Portrait of Lavinia Fontana Zappi," 40;
+      "Jesus Christ Talking with the Woman of Samaria," 41.
+
+    ZILLHARDT, MLLE. JENNY: "Régalez-vous, Mesdames!" 221.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM.]
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Archaic and inconsistent punctuation, spelling and syntax were retained.
+
+The original had illustrations imbedded in the index.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD***
+
+
+******* This file should be named 39000-8.txt or 39000-8.zip *******
+
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+<body>
+<h1>The Project Gutenberg eBook, Women Painters of the World, Edited by Walter
+Shaw Sparrow</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Women Painters of the World</p>
+<p>       From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day</p>
+<p>Editor: Walter Shaw Sparrow</p>
+<p>Release Date: March 23, 2012  [eBook #39000]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Delphine Lettau, Matthew Wheaton,<br />
+    and the Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div id="Cover" class="figcenter">
+<img src="images/cover.jpg" width="400" height="550" alt="" />
+</div>
+
+<h1 class="booktitle">Women Painters of the World</h1>
+
+<p class="spacer">&nbsp;</p>
+
+<div class="figcenter">
+<img src="images/illus001s.jpg" width="200" height="250" alt="" />
+</div>
+
+<p class="h2">The Art and Life Library</p>
+
+<p class="h5">EDITED BY<br />
+<big>WALTER SHAW SPARROW.</big></p>
+
+<hr class="thin" />
+
+<p class="h2">VOLUME I.</p>
+
+<p class="h3">The British Home of To-day</p>
+
+<p class="h5">A BOOK OF MODERN DOMESTIC ARCHITECTURE AND THE APPLIED ARTS.</p>
+
+<p class="h6">(<i>Published June, 1904. Out of Print</i>).</p>
+
+<hr class="thin" />
+
+<p class="h2">VOLUME II.</p>
+
+<p class="h3">The Gospels in Art</p>
+
+<p class="h5">THE LIFE OF CHRIST BY GREAT PAINTERS FROM
+FRA ANGELICO TO HOLMAN HUNT.</p>
+
+<p class="h6">(<i>Published November, 1904</i>).</p>
+
+<hr class="thin" />
+
+<p class="h2">VOLUME III.</p>
+
+<p class="h3">Women Painters of the World</p>
+
+<p class="h5">FROM THE TIME OF CATERINA VIGRI (1413-1463) TO
+ROSA BONHEUR AND THE PRESENT DAY.</p>
+
+<p class="h6 smcap">Dedicated to Her Majesty Queen Alexandra.</p>
+
+<p class="h6">(<i>Published March, 1905</i>).</p>
+
+<hr class="thin" />
+
+<p class="h3">HODDER &amp; STOUGHTON, 27, Paternoster Row, London.</p>
+
+<hr class="chap" />
+
+<div class="trnote">
+<p>Higher resolution versions of all art images are available by clicking on the image.</p>
+</div>
+
+<hr class="chap" />
+
+<p class="caption smcap">British School, 1901</p>
+
+<div class="figcenter" id="i002">
+<a href="images/illus002l.jpg">
+<img src="images/illus002s.jpg" width="400" height="560" title="Select to enlarge." alt="" />
+</a>
+</div>
+
+<p class="caption">&quot;JOY AND THE LABOURER.&quot;<br />
+REPRODUCED FROM THE ORIGINAL PICTURE IN THE
+COLLECTION OF W. A. CADBURY, ESQ.<br />
+Mrs. Mary Young Hunter, Painter</p>
+
+<hr class="chap" />
+
+<div id="TitlePage" class="figcenter">
+<img src="images/illus003s.jpg" width="400" height="579" alt="" />
+</div>
+
+<p class="caption">Women Painters of the World<br />
+<i>from the time of Caterina Vigri 1413-1463</i><br />
+<i>to Rosa Bonheur and the Present Day</i><br />
+<i>Edited by Walter Shaw Sparrow</i><br />
+<br />
+The Art and Life Library<br />
+H&amp;S<br />
+<br /><br /><br /><br />
+1905<br />
+<br />
+<i>Hodder &amp; Stoughton</i><br />
+<i>27 Paternoster Row-London</i></p>
+
+<hr class="chap" />
+
+<div id="dedication" class="figcenter">
+<img src="images/illus004s.jpg" width="400" height="551" alt="" />
+</div>
+
+<p class="caption">DEDICATED BY GRACIOVS PERMISSION<br />
+TO<br />
+HER MAJESTY QVEEN ALEXANDRA<br />
+IN THIS YEAR <span class="smcap">of</span> OVR LORD<br />
+ONE THOVSAND NINE HVNDRED &amp; FIVE</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="h5 smcap">Printed by<br />
+PERCY LUND, HUMPHRIES &amp; CO., LTD.<br />
+The Country Press, Bradford.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_9">[9]</a></span></p>
+
+<p class="caption smcap">British School, 1874</p>
+
+<div class="figcenter" id="i005">
+<a href="images/illus005l.jpg">
+<img src="images/illus005s.jpg" width="400" height="449" title="Select to enlarge." alt="" />
+</a>
+</div>
+
+<p class="caption">"MISSED!"<br />
+REPRODUCED BY PERMISSION OF CHARLES CHESTON, ESQ.,<br />
+FROM: THE ORIGINAL WATER-COLOUR DATED 1874,<br />
+THE YEAR IN WHICH THE PAINTER'S
+FAMOUS "ROLL-CALL"<br />
+WAS PURCHASED BY QUEEN VICTORIA AT THE ROYAL
+ACADEMY.<br />
+Lady Elizabeth Butler, Painter</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_11">[11]</a></span></p>
+
+<h2 id="Preface">PREFACE</h2>
+
+<p id="initial"><img class="dropimg" src="images/illus006s.jpg" width="100" height="102" alt="" />
+<b><span class="hide">W</span>HAT</b> is genius? Is it not both masculine and feminine? Are not some of
+its qualities instinct with manhood, while others delight us with the
+most winning graces of a perfect womanhood? Does not genius make its
+appeal as a single creative agent with a two-fold sex?</p>
+
+<p>But if genius has its Mirandas and its Regans no less than its
+infinite types of men, ranging from Prospero and Ferdinand to Caliban
+and Trinculo, its union of the sexes does not remain always at peace
+within the sphere of art. Sometimes, in the genius of men, the female
+characteristics gain mastery over the male qualities; at other times
+the male attributes of woman's genius win empire and precedence over
+the female; and whenever these things happen, the works produced in
+art soon recede from the world's sympathies, losing all their first
+freshness. They may guide us, perhaps, as finger-posts in history,
+pointing the way to some movement of interest; but their first
+popularity as art is never renewed. Style is the man in the genius of
+men, style is the woman in the genius of the fair. No male artist,
+however gifted he may be, will ever be able to experience all the
+emotional life to which women are subject; and no woman of abilities,
+how much soever she may try, will be able to borrow from men anything
+so invaluable to art as her own intuition and the prescient tenderness
+and grace of her nursery-nature. Thus, then, the bisexuality of genius
+has limits in art, and those limits should be determined by a worker's
+sex.</p>
+
+<p>As examples in art of complete womanliness, mention may be made of two
+exquisite portraits by Madame Le Brun, in which, whilst representing
+her little daughter and herself, the painter discloses the inner
+essence and the life of maternal love, and discloses them with a
+caressing playfulness of passion unattainable by men, and sometimes
+unappreciated by men. Here, indeed, we have the poetry of universal
+motherhood, common to the household hearts of good women the wide
+world over. Such pictures may not be the highest form of painting, but
+highest they are in their own realm of human emotion; and they recall
+to one's memory that truth in which Napoleon the Great ranked the
+gentler sex as the most potent of all creative artists. "The future
+destiny of children," said he, "is always the work of mothers."</p>
+
+<p>But some persons may answer: "Yes, but the achievements of women
+painters have been second-rate. Where is there a woman artist equal to
+any man among the greatest masters?" Persons who do not think are
+constantly asking that question. The greatest geniuses were all
+hustled and moulded into shape by the greatest epochs of ambition in
+the lives of nations, just as the mountains of Switzerland were thrown
+up to their towering heights by tremendous forces underground; and, as
+the Alps do not repeat themselves, here and there, for the pleasure of
+tourists, so the greatest geniuses do not reappear for the pleasure of
+critics or of theorists. And this is not all. Why compare the
+differing genius of women and men? There is room in the garden of art
+for flowers of every<span class="pagenum"><a id="Page_12">[12]</a></span> kind and for butterflies and birds of every
+species; and why should anyone complain because a daisy is not a rose,
+or because nightingales and thrushes, despite their family
+resemblance, have voices of their own, dissimilar in compass and in
+quality?</p>
+
+<p>The present book, then, is a history of woman's garden in the art of
+painting, and its three hundred pictures show what she has grown in
+her garden during the last four centuries and a half. The Editor has
+tried to free his mind of every bias, so that this book, within the
+limits of 332 pages, might be as varied as the subject. The choice of
+pictures has not been easy, and a few disappointments have attended
+the many communications with the owners of copyrights; but only two
+invited artists have declined to contribute. It is not often that so
+much willing and generous help has come to an Editor from so many
+countries; and it is with gratitude that I acknowledge the assistance
+received from the contributors of to-day. Seven pictures are
+reproduced in colour-facsimile, thanks to the courtesy of the
+following artists and collectors: Mrs. Allingham, Miss Ann Macbeth,
+Mr. James Orrock, R.I., Mr. W A. Cadbury, Mr. Charles Cheston, Mr.
+Klackner, and Mr. Charles Dowdeswell.</p>
+
+<p>The Dedication Page, the Initials Letters, the End Papers, are all
+designs by Miss Ethel Larcombe, while the <a href="#TitlePage">Title Page</a>
+and the <a href="#Cover">Cover</a> are
+the work of Mr. David Veazey. The <a href="#silhouette">silhouettes</a> by Mlle. Nelly
+Bodenheim, used as tail-pieces, are published by permission of S. L.
+van Loo&yuml;, Amsterdam.</p>
+
+<p>This volume being the first illustrated history of the Women Painters
+of the World, Her Majesty Queen Alexandra has honoured it by
+graciously accepting the Dedication; and in this encouraging act is
+revealed the untiring interest and solicitude with which Her Majesty
+has ever followed the progress of women's work.</p>
+
+<p class="author">THE EDITOR.</p>
+
+<div class="figcenter">
+<a href="images/illus007l.jpg">
+<img src="images/illus007s.jpg" width="400" height="189" alt="" />
+</a>
+</div>
+
+<p class="caption">SILHOUETTE BY NELLY BODENHEIM, HOLLAND.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_13">[13]</a></span></p>
+
+<p class="caption smcap">School of British Water-Colour, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus008l.jpg">
+<img src="images/illus008s.jpg" width="400" height="656" alt="" />
+</a>
+</div>
+
+<p class="caption">AN ENGLISH HEBE.<br />
+AFTER THE ORIGINAL DRAWING<br />
+H.R.H. The Princess Louise, Duchess of Argyll</p>
+
+<hr class="chap" />
+<p><span class="pagenum"><a id="Page_15">[15]</a></span></p>
+
+<h2>CONTENTS</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Table of Contents">
+<tr>
+  <td class="tdr20"><a href="#Preface">Preface:</a></td>
+  <td class="tdl">"<span class="smcap">On the Scope of the Present Volume.</span>" By the Editor.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_I">Chapter I:</a></td>
+  <td class="tdl">"<span class="smcap">Women Painters in Italy since the Fifteenth Century.</span>" By Walter Shaw Sparrow</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_II">Chapter II:</a></td>
+  <td class="tdl">"<span class="smcap">Early British Women Painters.</span>" By the Editor.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_III">Chapter III:</a></td>
+  <td class="tdl">"<span class="smcap">Modern British Women Painters.</span>" By Ralph Peacock.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_IV">Chapter IV:</a></td>
+  <td class="tdl">"<span class="smcap">Women Painters in the United States of America.</span>" By the Editor.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_V">Chapter V:</a></td>
+  <td class="tdl">"<span class="smcap">Of Women Painters in France.</span>" By L&eacute;once B&eacute;n&eacute;dite. Translated into English by Edgar Preston.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_VI">Chapter VI:</a></td>
+  <td class="tdl">"<span class="smcap">Women Painters in Belgium and in Holland.</span>" By N. Jany. Translated into English by Edgar Preston.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_VII">Chapter VII:</a></td>
+  <td class="tdl">"<span class="smcap">Women Painters in Germany and Austria, in Russia, Switzerland and Spain.</span>" By Wilhelm Sch&ouml;lermann. Translated into English by Wilfrid Sparroy.</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Chapter_VIII">Chapter VIII:</a></td>
+  <td class="tdl">"<span class="smcap">Some Finnish Women Painters.</span>" By Helena Westermarck.</td>
+</tr>
+</table></div>
+
+<p class="spacer">&nbsp;</p>
+
+<h2>FACSIMILE PLATES IN COLOUR</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Facsimile Plates in Color">
+<tr>
+  <td class="tdr20"><a href="#i002">1.</a></td>
+  <td class="tdl">Mrs. Mary Young Hunter. "<span class="smcap">Joy and the Labourer</span>"</td>
+  <td class="tdr10">Frontispiece</td>
+  </tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>&nbsp;</td>
+  <td class="tdrfirst">PAGE</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i005">2.</a></td>
+  <td class="tdl">Lady Elizabeth Butler (Elizabeth Thompson). "<span class="smcap">Missed!</span>"</td>
+  <td class="tdr">9</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i033">3.</a></td>
+  <td class="tdl">H.I.M. The Empress Frederick of Germany (1840-1891). "<span class="smcap">The Akropolis, Athens: from the Balcony of the Crown Prince's House</span>"</td>
+  <td class="tdr">56</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i040">4.</a></td>
+  <td class="tdl">Miss Eleanor Fortescue Brickdale, A.R.W.S. "<span class="smcap">Youth and the Lady</span>"</td>
+  <td class="tdr">73</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i057">5.</a></td>
+  <td class="tdl">Miss Ann Macbeth. "<span class="smcap">Elspeth</span>"</td>
+  <td class="tdr">97</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i067">6.</a></td>
+  <td class="tdl">Mrs. Helen Allingham, R.W.S. "<span class="smcap">A Cottage near Crocken Hill</span>"</td>
+  <td class="tdr">109</td>
+  </tr>
+<tr>
+  <td class="tdr20"><a href="#i097">7.</a></td>
+  <td class="tdl">Helen Hyde. "<span class="smcap">Day Dreams</span>"</td>
+  <td class="tdr">145</td>
+  </tr>
+</table></div>
+
+<p class="spacer">&nbsp;</p>
+
+<h2>REMBRANDT PHOTOGRAVURES</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Rembrant Photogravures">
+<tr>
+  <td class="tdr20"><a href="#i010">1.</a></td>
+  <td class="tdl">Rosalba Carriera. "<span class="smcap">Portrait of a Lady Unknown</span>"</td>
+  <td class="tdr10">20</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#i113">2.</a></td>
+  <td class="tdl">Madame Vig&eacute;e Le Brun. "<span class="smcap">Herself and her Daughter</span>"</td>
+  <td class="tdr">166</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#i115">3.</a></td>
+  <td class="tdl">Madame Ad&egrave;le Romany. "<span class="smcap">Portrait of Ga&euml;tano Apollino Baldassare Vestris, Dancer</span>"</td>
+  <td class="tdr">171</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#i122">4.</a></td>
+  <td class="tdl">Mademoiselle Marie Am&eacute;lie Cogniet. "<span class="smcap">Portrait of Madame Ad&eacute;la&iuml;de D'Orl&eacute;ans</span>"</td>
+  <td class="tdr">189</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#i136">5.</a></td>
+  <td class="tdl">Rosa Bonheur. "<span class="smcap">Shepherd Watching his Sheep</span>"</td>
+  <td class="tdr">205</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#i156">6.</a></td>
+  <td class="tdl">Francine Charderon. "<span class="smcap">Sleep</span>"</td>
+  <td class="tdr">229</td>
+</tr>
+</table></div>
+
+<p class="spacer">&nbsp;</p>
+
+<h2>MONOCHROME PLATES</h2>
+
+<p><span class="pagenum"><a id="Page_16">[16]</a></span></p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Monochrome Plates">
+<tr>
+  <td class="tdr20"><a href="#Page_13">1.</a></td>
+  <td class="tdl">H.R.H. the Princess Louise, Duchess of Argyll. "<span class="smcap">An English Hebe.</span>"</td>
+  <td class="tdr10">13</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_25">2.</a></td>
+  <td class="tdl">Sophonisba Anguisciola. "<span class="smcap">Her Three Sisters Playing at Chess</span>"</td>
+  <td class="tdr">25</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_31">3.</a></td>
+  <td class="tdl">Artemisia Gentileschi. "<span class="smcap">Mary Magdalene</span>"</td>
+  <td class="tdr">31</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_37">4.</a></td>
+  <td class="tdl">Rosalba Carriera. "<span class="smcap">Charity and Justice</span>"</td>
+  <td class="tdr">37</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_43">5.</a></td>
+  <td class="tdl">Elisabetta Sirani. "<span class="smcap">The Dream of St. Anthony of Padua</span>"</td>
+  <td class="tdr">43</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_49">6.</a></td>
+  <td class="tdl">Signorina Elisa Koch. "<span class="smcap">The Little Sister</span>"</td>
+  <td class="tdr">49</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_61">7.</a></td>
+  <td class="tdl">Catharine Read. "<span class="smcap">The Lady Georgiana Spencer</span>"</td>
+  <td class="tdr">61</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_67">8.</a></td>
+  <td class="tdl">Angelica Kauffman, R.A. "<span class="smcap">The Sibyl</span>"</td>
+  <td class="tdr">67</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_85">9.</a></td>
+  <td class="tdl">Mrs. Stanhope Forbes, A.R.W.S. "<span class="smcap">The Fisher Wife</span>"</td>
+  <td class="tdr">85</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_91">10.</a></td>
+  <td class="tdl">Mrs. William De Morgan (Evelyn Pickering). "<span class="smcap">Flora</span>"</td>
+  <td class="tdr">91</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_103">11.</a></td>
+  <td class="tdl">Miss Eleanor Fortescue Brickdale, A.R.W.S. "<span class="smcap">To-day for me</span>"</td>
+  <td class="tdr">103</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_121">12.</a></td>
+  <td class="tdl">Miss Cecilia Beaux. "<span class="smcap">Mother and Child</span>"</td>
+  <td class="tdr">121</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_127">13.</a></td>
+  <td class="tdl">Miss Kate Greenaway. "<span class="smcap">A. for Apple Pie: E. eat it</span>"</td>
+  <td class="tdr">127</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_133">14.</a></td>
+  <td class="tdl">Mrs. Annie L. Swynnerton. "<span class="smcap">The Sense of Sight</span>"</td>
+  <td class="tdr">133</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_139">15.</a></td>
+  <td class="tdl">Mrs. Anna Lea Merritt, R.B.A. "<span class="smcap">Love Locked Out</span>"</td>
+  <td class="tdr">139</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_151">16.</a></td>
+  <td class="tdl">Miss Cornelia W. Conant. "<span class="smcap">The End of the Story</span>"</td>
+  <td class="tdr">151</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_157">17.</a></td>
+  <td class="tdl">Mary Cassatt. "<span class="smcap">Baby's Toilette</span>"</td>
+  <td class="tdr">157</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_163">18.</a></td>
+  <td class="tdl">Helen Hyde. "<span class="smcap">The Bamboo Fence</span>"</td>
+  <td class="tdr">163</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_177">19.</a></td>
+  <td class="tdl">Madame Vig&eacute;e Le Brun. "<span class="smcap">Herself and her Daughter</span>"</td>
+  <td class="tdr">177</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_211">20.</a></td>
+  <td class="tdl">Berthe Morisot. "<span class="smcap">Portrait of a Young Woman Seated</span>"</td>
+  <td class="tdr">211</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_217">21.</a></td>
+  <td class="tdl">Madame Jacqueline Comerre-Paton. "<span class="smcap">Mistletoe</span>"</td>
+  <td class="tdr">217</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_223">22.</a></td>
+  <td class="tdl">Madame Eva Gonzal&egrave;s. "<span class="smcap">Portrait of a Lady</span>"</td>
+  <td class="tdr">223</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_235">23.</a></td>
+  <td class="tdl">Madame Fanny Fleury. "<span class="smcap">The Pathway to the Village Church</span>"</td>
+  <td class="tdr">235</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_241">24.</a></td>
+  <td class="tdl">Madame Vallet-Bisson. "<span class="smcap">The Departure</span>"</td>
+  <td class="tdr">241</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_247">25.</a></td>
+  <td class="tdl">Mlle. Consu&eacute;lo Fould. "<span class="smcap">Will You Buy?</span>"</td>
+  <td class="tdr">247</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_257">26.</a></td>
+  <td class="tdl">Judith Leyster. "<span class="smcap">The Merry Young Man</span>"</td>
+  <td class="tdr">257</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_267">27.</a></td>
+  <td class="tdl">Mevrouw Bilders van Bosse. "<span class="smcap">Landscape near Oosterbeek</span>"</td>
+  <td class="tdr">267</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_273">28.</a></td>
+  <td class="tdl">Mlle. Th&eacute;r&egrave;se Schwartze. "<span class="smcap">The Children of Mr. A. May, Amsterdam</span>"</td>
+  <td class="tdr">273</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_279">29.</a></td>
+  <td class="tdl">Madame Henriette Ronner. "<span class="smcap">The Last Move</span>"</td>
+  <td class="tdr">279</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_293">30.</a></td>
+  <td class="tdl">Mlle. Marie Bashkirtseff. "<span class="smcap">A Meeting</span>"</td>
+  <td class="tdr">293</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_311">31.</a></td>
+  <td class="tdl">Mlle. Ottilie Roederstein. "<span class="smcap">Le Mois de Marie</span>"</td>
+  <td class="tdr">311</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_321">32.</a></td>
+  <td class="tdl">Antonia de Ba&ntilde;uelos. "<span class="smcap">The Little Fishers</span>"</td>
+  <td class="tdr">321</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_327">33.</a></td>
+  <td class="tdl">Mary Cassatt. "<span class="smcap">Childhood in a Garden</span>"</td>
+  <td class="tdr">327</td>
+</tr>
+<tr>
+  <td class="tdr20"><a href="#Page_327">34.</a></td>
+  <td class="tdl">Mary Cassatt. "<span class="smcap">Mother and two Children</span>"</td>
+  <td class="tdr">327</td>
+</tr>
+</table></div>
+
+<p class="spacer">&nbsp;</p>
+
+<h2>DUPLEX PLATES</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Duplex Plates">
+<tr>
+<td class="tdr20"><a href="#Page_79">1.</a></td>
+  <td class="tdl">Mrs. Marianne Stokes. "<span class="smcap">The Queen and the Page.</span>" Duplex Plate</td>
+  <td class="tdr10">79</td>
+</tr>
+<tr>
+<td class="tdr20"><a href="#Page_115">2.</a></td>
+  <td class="tdl">Miss Lucy Kemp-Welch, R.B.A. "<span class="smcap">Labourers of the Night.</span>" Duplex Plate</td>
+  <td class="tdr10">115</td>
+</tr>
+<tr>
+<td class="tdr20"><a href="#Page_183">3.</a></td>
+  <td class="tdl">Madame Benoits. "<span class="smcap">Marie Pauline, Princesse Borghese.</span>" Duplex Plate</td>
+  <td class="tdr10">183</td>
+</tr>
+<tr>
+<td class="tdr20"><a href="#Page_195">4.</a></td>
+  <td class="tdl">Rosa Bonheur. "<span class="smcap">Study of a Bull.</span>" Duplex Plate</td>
+  <td class="tdr10">195</td>
+</tr>
+</table></div>
+
+<hr class="chap" />
+
+<p class="dropcap red">Owing to various reasons, the work of several well-known painters
+could not be obtained until this book had passed through the press,
+and a supplement of pictures has therefore been placed between page
+<a href="#Page_324">324</a> and page <a href="#Page_325">325</a>. It includes work by Lady Alma-Tadema, Mrs. Seymour
+Lucas, Mrs. Marrable, Miss Maud Earl, Miss Julia B. Folkard, Miss
+Maude Goodman, Miss Flora M. Reid, Miss Blanche Jenkins, and Madame
+Ars&egrave;ne Darmesteter.</p>
+
+<p class="red">It is hoped that the Women Painters of To-day may be studied again in
+a second volume. In the present book, dealing with 450 years of work,
+the living painters could not be fully represented, for there are
+thousands of ladies who now win a place in the art exhibitions of
+Europe and America.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_17">[17]</a></span></p>
+
+<h2>WOMEN PAINTERS REPRESENTED</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Women Painters Represented">
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdrfirst">PAGE</td>
+</tr>
+<tr>
+  <td class="tdl">Abb&eacute;ma, Mlle. Louise</td>
+  <td class="tdr"><a href="#Page_237">237</a></td>
+</tr>
+<tr>
+  <td class="tdl">Abran, Madame</td>
+  <td class="tdr"><a href="#Page_243">243</a></td>
+</tr>
+<tr>
+  <td class="tdl">Allingham, Mrs. Helen, R.W.S.</td>
+  <td class="tdr"><a href="#Page_109">109</a>, <a href="#Page_137">137</a></td>
+</tr>
+<tr>
+  <td class="tdl">Alma-Tadema, Miss Anna</td>
+  <td class="tdr"><a href="#Page_156">156</a></td>
+</tr>
+<tr>
+  <td class="tdl">Anderson, Mrs. Sophie</td>
+  <td class="tdr"><a href="#Page_105">105</a></td>
+</tr>
+<tr>
+  <td class="tdl">Angell, Mrs. Coleman</td>
+  <td class="tdr"><a href="#Page_102">102</a></td>
+</tr>
+<tr>
+  <td class="tdl">Anguisciola, Sophonisba</td>
+  <td class="tdr"><a href="#Page_25">25</a>, <a href="#Page_36">36</a>, <a href="#Page_39">39</a></td>
+</tr>
+<tr>
+  <td class="tdl">Angus, Christine</td>
+  <td class="tdr"><a href="#Page_64">64</a></td>
+</tr>
+<tr>
+  <td class="tdl">Art, Mlle. Berthe</td>
+  <td class="tdr"><a href="#Page_276">276</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bakhuyzen, Mme. C. J. van de Sande</td>
+  <td class="tdr"><a href="#Page_266">266</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ba&ntilde;uelos, Antonia de</td>
+  <td class="tdr"><a href="#Page_320">320</a>, <a href="#Page_321">321</a></td>
+</tr>
+<tr>
+  <td class="tdl">Barton, Miss Rose, A.R.W.S.</td>
+  <td class="tdr"><a href="#Page_143">143</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bashkirtseff, Mlle. Marie</td>
+  <td class="tdr"><a href="#Page_293">293</a>, <a href="#Page_315">315</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bauck, Jeanna</td>
+  <td class="tdr"><a href="#Page_300">300</a>, <a href="#Page_301">301</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bauerl&euml;, Miss A., A.R.E.</td>
+  <td class="tdr"><a href="#Page_132">132</a></td>
+</tr>
+<tr>
+  <td class="tdl">Beale, Mary</td>
+  <td class="tdr"><a href="#Page_81">81</a></td>
+</tr>
+<tr>
+  <td class="tdl">Beauclerk, Lady Diana</td>
+  <td class="tdr"><a href="#Page_82">82</a></td>
+</tr>
+<tr>
+  <td class="tdl">Beaux, Miss Cecilia</td>
+  <td class="tdr"><a href="#Page_121">121</a>, <a href="#Page_162">162</a></td>
+</tr>
+<tr>
+  <td class="tdl">Benoits, Madame</td>
+  <td class="tdr"><a href="#Page_183">183</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bilders van Bosse, Mme.</td>
+  <td class="tdr"><a href="#Page_267">267</a>, <a href="#Page_269">269</a>, <a href="#Page_272">272</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bisschop-Robertson, Mme. Suse</td>
+  <td class="tdr"><a href="#Page_278">278</a></td>
+</tr>
+<tr>
+  <td class="tdl">Blatherwick, Lily (Mrs. A. S. Hartrick)</td>
+  <td class="tdr"><a href="#Page_155">155</a></td>
+</tr>
+<tr>
+  <td class="tdl">Blau-Lang, Frau Tina</td>
+  <td class="tdr"><a href="#Page_306">306</a>, <a href="#Page_308">308</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bodenheim, Mlle. Nelly</td>
+  <td class="tdr"><a href="#Page_12">12</a>, <a href="#Page_72">72</a>, <a href="#Page_292">292</a>, <a href="#Page_332">332</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bonheur, Rosa</td>
+  <td class="tdr"><a href="#Page_195">195</a>, <a href="#Page_205">205</a>, <a href="#Page_209">209</a>, <a href="#Page_210">210</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bouillier, Mlle.</td>
+  <td class="tdr"><a href="#Page_194">194</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bourbon, de, Infante Paz</td>
+  <td class="tdr"><a href="#Page_318">318</a>, <a href="#Page_320">320</a></td>
+</tr>
+<tr>
+  <td class="tdl">Bovi, Madame</td>
+  <td class="tdr"><a href="#Page_90">90</a></td>
+</tr>
+<tr>
+  <td class="tdl">Boznauska, de, Olga</td>
+  <td class="tdr"><a href="#Page_316">316</a></td>
+</tr>
+<tr>
+  <td class="tdl">Breslau, Mlle. Louise</td>
+  <td class="tdr"><a href="#Page_304">304</a>, <a href="#Page_314">314</a></td>
+</tr>
+<tr>
+  <td class="tdl">Brickdale, Miss E. Fortescue, A.R.W.S.</td>
+  <td class="tdr"><a href="#Page_73">73</a>, <a href="#Page_103">103</a>, <a href="#Page_114">114</a>, <a href="#Page_126">126</a>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a></td>
+</tr>
+<tr>
+  <td class="tdl">Brockmann, Do&ntilde;a Elena</td>
+  <td class="tdr"><a href="#Page_319">319</a></td>
+</tr>
+<tr>
+  <td class="tdl">Brownscombe, Miss Jennie</td>
+  <td class="tdr"><a href="#Page_161">161</a></td>
+</tr>
+<tr>
+  <td class="tdl">Butler, Lady Elizabeth</td>
+  <td class="tdr"><a href="#Page_154">154</a></td>
+</tr>
+<tr>
+  <td class="tdl">Byrne, Anne Frances</td>
+  <td class="tdr"><a href="#Page_94">94</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cameron, Miss Katharine</td>
+  <td class="tdr"><a href="#Page_124">124</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cameron, Miss Margaret</td>
+  <td class="tdr"><a href="#Page_131">131</a>, <a href="#Page_155">155</a></td>
+</tr>
+<tr>
+  <td class="tdl">Capet, Marie Gabrielle</td>
+  <td class="tdr"><a href="#Page_197">197</a></td>
+</tr>
+<tr>
+  <td class="tdl">Carpenter, Mrs. Margaret</td>
+  <td class="tdr"><a href="#Page_96">96</a>, <a href="#Page_100">100</a></td>
+</tr>
+<tr>
+  <td class="tdl">Carpentier, Madeleine</td>
+  <td class="tdr"><a href="#Page_244">244</a></td>
+</tr>
+<tr>
+  <td class="tdl">Carriera, Rosalba</td>
+  <td class="tdr"><a href="#Page_20">20</a>, <a href="#Page_37">37</a>, <a href="#Page_48">48</a>, <a href="#Page_51">51</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cassatt, Miss Mary</td>
+  <td class="tdr"><a href="#Page_157">157</a>, <a href="#Page_327">327</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cazin, Madame Marie</td>
+  <td class="tdr"><a href="#Page_227">227</a>, <a href="#Page_239">239</a></td>
+</tr>
+<tr>
+  <td class="tdl">Charderon, Francine</td>
+  <td class="tdr"><a href="#Page_229">229</a></td>
+</tr>
+<tr>
+  <td class="tdl">Chase, Miss Marian, R.I.</td>
+  <td class="tdr"><a href="#Page_130">130</a></td>
+</tr>
+<tr>
+  <td class="tdl">Chatillon, de, Mme. Laure</td>
+  <td class="tdr"><a href="#Page_219">219</a></td>
+</tr>
+<tr>
+  <td class="tdl">Chaudet, Elisabeth</td>
+  <td class="tdr"><a href="#Page_202">202</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cheviot, Miss Lilian</td>
+  <td class="tdr"><a href="#Page_143">143</a></td>
+</tr>
+<tr>
+  <td class="tdl">Claudie, Mlle.</td>
+  <td class="tdr"><a href="#Page_252">252</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cogniet, Mlle. Marie Am&eacute;lie</td>
+  <td class="tdr"><a href="#Page_189">189</a></td>
+</tr>
+<tr>
+  <td class="tdl">Colin-Libour, Madame</td>
+  <td class="tdr"><a href="#Page_325">325</a></td>
+</tr>
+<tr>
+  <td class="tdl">Comerre-Paton, Mme. J.</td>
+  <td class="tdr"><a href="#Page_217">217</a></td>
+</tr>
+<tr>
+  <td class="tdl">Conant, Miss Cornelia</td>
+  <td class="tdr"><a href="#Page_151">151</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cool, de, Mme. Delphine</td>
+  <td class="tdr"><a href="#Page_232">232</a></td>
+</tr>
+<tr>
+  <td class="tdl">Coomans, Mlle. Diana</td>
+  <td class="tdr"><a href="#Page_228">228</a></td>
+</tr>
+<tr>
+  <td class="tdl">Cosway, Maria</td>
+  <td class="tdr"><a href="#Page_96">96</a></td>
+</tr>
+<tr>
+  <td class="tdl">Curran, Miss A.</td>
+  <td class="tdr"><a href="#Page_90">90</a></td>
+</tr>
+<tr>
+  <td class="tdl">Danse, Mlle. Louise</td>
+  <td class="tdr"><a href="#Page_278">278</a></td>
+</tr>
+<tr>
+  <td class="tdl">Davids, Fr&auml;ulein</td>
+  <td class="tdr"><a href="#Page_300">300</a></td>
+</tr>
+<tr>
+  <td class="tdl">Davin, Madame</td>
+  <td class="tdr"><a href="#Page_207">207</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dealy, Jane M. (Mrs. Lewis)</td>
+  <td class="tdr"><a href="#Page_144">144</a></td>
+</tr>
+<tr>
+  <td class="tdl">Demont-Breton, Madame</td>
+  <td class="tdr"><a href="#Page_226">226</a>, <a href="#Page_233">233</a></td>
+</tr>
+<tr>
+  <td class="tdl">De Morgan, Mrs. Evelyn</td>
+  <td class="tdr"><a href="#Page_91">91</a>, <a href="#Page_117">117</a>, <a href="#Page_123">123</a></td>
+</tr>
+<tr>
+  <td class="tdl">Destr&eacute;e-Danse, Madame</td>
+  <td class="tdr"><a href="#Page_282">282</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dieksee, Miss Margaret Isabel</td>
+  <td class="tdr"><a href="#Page_112">112</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dolci, Agnese</td>
+  <td class="tdr"><a href="#Page_47">47</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dubos, Mlle. Ang&egrave;le</td>
+  <td class="tdr"><a href="#Page_216">216</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dubourg, Mme. Victoria</td>
+  <td class="tdr"><a href="#Page_240">240</a></td>
+</tr>
+<tr>
+  <td class="tdl">Dufau, Mlle.</td>
+  <td class="tdr"><a href="#Page_231">231</a>, <a href="#Page_240">240</a>, <a href="#Page_243">243</a></td>
+</tr>
+<tr>
+  <td class="tdl">Duffield, Mrs. William</td>
+  <td class="tdr"><a href="#Page_118">118</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ellenrieder, Anna Marie</td>
+  <td class="tdr"><a href="#Page_298">298</a></td>
+</tr>
+<tr>
+  <td class="tdl">Empress Frederick of Germany</td>
+  <td class="tdr"><a href="#Page_56">56</a></td>
+</tr>
+<tr>
+  <td class="tdl">Enault, Madame Alix</td>
+  <td class="tdr"><a href="#Page_225">225</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fanner, Miss Alice</td>
+  <td class="tdr"><a href="#Page_135">135</a>, <a href="#Page_156">156</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fanshawe, Catherine Maria</td>
+  <td class="tdr"><a href="#Page_89">89</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fautin-Latour, Mme. (Victoria Dubourg)</td>
+  <td class="tdr"><a href="#Page_240">240</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fichel, Mme. Jeanne</td>
+  <td class="tdr"><a href="#Page_216">216</a></td>
+</tr>
+<tr>
+  <td class="tdl">Filleul, Madame</td>
+  <td class="tdr"><a href="#Page_186">186</a>, <a href="#Page_187">187</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fleury, Mme. Fanny</td>
+  <td class="tdr"><a href="#Page_235">235</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fontana, Lavinia</td>
+  <td class="tdr"><a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a></td>
+</tr>
+<tr>
+  <td class="tdl">Forbes, Mrs. Stanhope</td>
+  <td class="tdr"><a href="#Page_85">85</a>, <a href="#Page_147">147</a>, <a href="#Page_149">149</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fould, Mlle. Achille</td>
+  <td class="tdr"><a href="#Page_250">250</a></td>
+</tr>
+<tr>
+  <td class="tdl">Fould, Mlle. Consu&eacute;lo</td>
+  <td class="tdr"><a href="#Page_247">247</a></td>
+</tr>
+<tr>
+  <td class="tdl">Frampton, Mrs. George</td>
+  <td class="tdr"><a href="#Page_136">136</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gardner, Elizabeth</td>
+  <td class="tdr"><a href="#Page_234">234</a>, <a href="#Page_238">238</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gentileschi, Artemisia</td>
+  <td class="tdr"><a href="#Page_31">31</a>, <a href="#Page_42">42</a>, <a href="#Page_45">45</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ghisi, Diana</td>
+  <td class="tdr"><a href="#Page_39">39</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gilsoni-Hoppe, Madame</td>
+  <td class="tdr"><a href="#Page_266">266</a></td>
+</tr>
+<tr>
+  <td class="tdl">Godefroid, Mlle. Marie E.</td>
+  <td class="tdr"><a href="#Page_203">203</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gonzal&egrave;s, Eva</td>
+  <td class="tdr"><a href="#Page_223">223</a>, <a href="#Page_231">231</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gow, Miss Mary L., R.I.</td>
+  <td class="tdr"><a href="#Page_107">107</a></td>
+</tr>
+<tr>
+  <td class="tdl">Granby, Marchioness of</td>
+  <td class="tdr"><a href="#Page_142">142</a></td>
+</tr>
+<tr>
+  <td class="tdl">Greenaway, Miss Kate</td>
+  <td class="tdr"><a href="#Page_119">119</a>, <a href="#Page_127">127</a></td>
+</tr>
+<tr>
+  <td class="tdl">Gutti, Rosina M.</td>
+  <td class="tdr"><a href="#Page_53">53</a></td>
+</tr>
+<tr>
+  <td class="tdl">Guyard, Madame</td>
+  <td class="tdr"><a href="#Page_185">185</a>, <a href="#Page_188">188</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hammond, Miss G. Demain, R.I.</td>
+  <td class="tdr"><a href="#Page_135">135</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hart, Miss Emily</td>
+  <td class="tdr"><a href="#Page_113">113</a></td>
+</tr>
+<tr>
+  <td class="tdl">Havers, Miss Alice</td>
+  <td class="tdr"><a href="#Page_108">108</a></td>
+</tr>
+<tr>
+  <td class="tdl">Heitland, Miss Ivy</td>
+  <td class="tdr"><a href="#Page_107">107</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hemessen, Catharina van</td>
+  <td class="tdr"><a href="#Page_263">263</a></td>
+</tr>
+<tr>
+  <td class="tdl">Heming, Mrs. Matilda</td>
+  <td class="tdr"><a href="#Page_95">95</a></td>
+</tr>
+<tr>
+  <td class="tdl">Herford, Mrs. John</td>
+  <td class="tdr"><a href="#Page_95">95</a></td>
+</tr>
+<tr>
+  <td class="tdl">Herland, Mlle. E.</td>
+  <td class="tdr"><a href="#Page_249">249</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hilda, Mlle. E.</td>
+  <td class="tdr"><a href="#Page_245">245</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hitz, Dora</td>
+  <td class="tdr"><a href="#Page_302">302</a>, <a href="#Page_303">303</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hobson, Miss A. M., R.I.</td>
+  <td class="tdr"><a href="#Page_118">118</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hogendorp, Baronne van</td>
+  <td class="tdr"><a href="#Page_266">266</a></td>
+</tr>
+<tr>
+  <td class="tdl">Holroyd, Lady<span class="pagenum"><a id="Page_18">[18]</a></span></td>
+  <td class="tdr"><a href="#Page_150">150</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hotham, Amelia</td>
+  <td class="tdr"><a href="#Page_88">88</a></td>
+</tr>
+<tr>
+  <td class="tdl">Houdon, Mlle. M. J. A.</td>
+  <td class="tdr"><a href="#Page_202">202</a></td>
+</tr>
+<tr>
+  <td class="tdl">Houssay, Mlle. Jos&eacute;phine</td>
+  <td class="tdr"><a href="#Page_251">251</a></td>
+</tr>
+<tr>
+  <td class="tdl">Houten, Mme. Mesdag van</td>
+  <td class="tdr"><a href="#Page_269">269</a></td>
+</tr>
+<tr>
+  <td class="tdl">Houten, Mlle. Barbara van</td>
+  <td class="tdr"><a href="#Page_270">270</a>, <a href="#Page_275">275</a></td>
+</tr>
+<tr>
+  <td class="tdl">How, Miss Beatrice</td>
+  <td class="tdr"><a href="#Page_142">142</a>, <a href="#Page_148">148</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hunter, Mrs. Mary V., Frontispiece,</td>
+  <td class="tdr"><a href="#Page_126">126</a>, <a href="#Page_130">130</a></td>
+</tr>
+<tr>
+  <td class="tdl">Hyde, Miss Helen</td>
+  <td class="tdr"><a href="#Page_145">145</a>, <a href="#Page_163">163</a></td>
+</tr>
+<tr>
+  <td class="tdl">Jensen, Frau Marie</td>
+  <td class="tdr"><a href="#Page_303">303</a></td>
+</tr>
+<tr>
+  <td class="tdl">Jopling, Mrs. Louisa, R.B.A.</td>
+  <td class="tdr"><a href="#Page_120">120</a></td>
+</tr>
+<tr>
+  <td class="tdl">Kauffman, Angelica, R.A.</td>
+  <td class="tdr"><a href="#Page_67">67</a>, <a href="#Page_83">83</a>, <a href="#Page_87">87</a></td>
+</tr>
+<tr>
+  <td class="tdl">Kemp-Welch, Miss L. E., R.B.A.</td>
+  <td class="tdr"><a href="#Page_115">115</a>, <a href="#Page_125">125</a></td>
+</tr>
+<tr>
+  <td class="tdl">King, Miss Jessie M.</td>
+  <td class="tdr"><a href="#Page_159">159</a></td>
+</tr>
+<tr>
+  <td class="tdl">Koch, Elisa</td>
+  <td class="tdr"><a href="#Page_49">49</a></td>
+</tr>
+<tr>
+  <td class="tdl">Kollwitz, Fr&auml;ulein K&auml;the</td>
+  <td class="tdr"><a href="#Page_302">302</a></td>
+</tr>
+<tr>
+  <td class="tdl">Laucota, Fr&auml;ulein Herstine</td>
+  <td class="tdr"><a href="#Page_307">307</a></td>
+</tr>
+<tr>
+  <td class="tdl">Larcombe, Miss Ethel,</td>
+  <td class="tdr"><a href="#dedication">Dedication Page</a>, <a href="#endpapers">End-papers</a>, <a href="#initial">Initial Letters</a></td>
+</tr>
+<tr>
+  <td class="tdl">Le Brun, Madame Vig&eacute;e</td>
+  <td class="tdr"><a href="#Page_166">166</a>, <a href="#Page_177">177</a>, <a href="#Page_191">191</a>, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>, <a href="#Page_198">198</a>, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_204">204</a></td>
+</tr>
+<tr>
+  <td class="tdl">Leleux, Madame Armand</td>
+  <td class="tdr"><a href="#Page_220">220</a></td>
+</tr>
+<tr>
+  <td class="tdl">Le Roy, Madame</td>
+  <td class="tdr"><a href="#Page_252">252</a></td>
+</tr>
+<tr>
+  <td class="tdl">Lescot, Madame Haudebourt</td>
+  <td class="tdr"><a href="#Page_208">208</a></td>
+</tr>
+<tr>
+  <td class="tdl">Leyster, Judith</td>
+  <td class="tdr"><a href="#Page_257">257</a>, <a href="#Page_264">264</a></td>
+</tr>
+<tr>
+  <td class="tdl">Longhi, Barbara</td>
+  <td class="tdr"><a href="#Page_41">41</a></td>
+</tr>
+<tr>
+  <td class="tdl">Louise, H.R.H. Princess, Duchess of Argyll</td>
+  <td class="tdr"><a href="#Page_13">13</a></td>
+</tr>
+<tr>
+  <td class="tdl">Lucas-Robiquet, Mme.</td>
+  <td class="tdr"><a href="#Page_251">251</a></td>
+</tr>
+<tr>
+  <td class="tdl">Macbeth, Miss Ann</td>
+  <td class="tdr"><a href="#Page_97">97</a></td>
+</tr>
+<tr>
+  <td class="tdl">Macdonald, Miss Biddie</td>
+  <td class="tdr"><a href="#Page_123">123</a></td>
+</tr>
+<tr>
+  <td class="tdl">Macgregor, Miss Jessie</td>
+  <td class="tdr"><a href="#Page_148">148</a></td>
+</tr>
+<tr>
+  <td class="tdl">Marcotte, Mlle. E.</td>
+  <td class="tdr"><a href="#Page_272">272</a></td>
+</tr>
+<tr>
+  <td class="tdl">Martineau, Miss Edith, A.R.W.S.</td>
+  <td class="tdr"><a href="#Page_111">111</a></td>
+</tr>
+<tr>
+  <td class="tdl">Maupeou, Caroline von</td>
+  <td class="tdr"><a href="#Page_299">299</a></td>
+</tr>
+<tr>
+  <td class="tdl">Mayer, Constance</td>
+  <td class="tdr"><a href="#Page_199">199</a></td>
+</tr>
+<tr>
+  <td class="tdl">Mee, Mrs. Anne</td>
+  <td class="tdr"><a href="#Page_93">93</a></td>
+</tr>
+<tr>
+  <td class="tdl">Meen, Mrs. Margaret</td>
+  <td class="tdr"><a href="#Page_94">94</a></td>
+</tr>
+<tr>
+  <td class="tdl">Merian, Maria S.</td>
+  <td class="tdr"><a href="#Page_295">295</a>, <a href="#Page_296">296</a></td>
+</tr>
+<tr>
+  <td class="tdl">Merritt, Mrs. Anna Lea, R.B.A.</td>
+  <td class="tdr"><a href="#Page_139">139</a></td>
+</tr>
+<tr>
+  <td class="tdl">Meunier, Mlle. Georgette</td>
+  <td class="tdr"><a href="#Page_282">282</a></td>
+</tr>
+<tr>
+  <td class="tdl">Morin, Eulalie</td>
+  <td class="tdr"><a href="#Page_187">187</a></td>
+</tr>
+<tr>
+  <td class="tdl">Morisot, Berthe</td>
+  <td class="tdr"><a href="#Page_211">211</a>, <a href="#Page_213">213</a></td>
+</tr>
+<tr>
+  <td class="tdl">Moser, Mary, R.A.</td>
+  <td class="tdr"><a href="#Page_94">94</a></td>
+</tr>
+<tr>
+  <td class="tdl">Nicolas, Mlle. Marie</td>
+  <td class="tdr"><a href="#Page_222">222</a></td>
+</tr>
+<tr>
+  <td class="tdl">Normand, Mrs. (Henrietta Rae)</td>
+  <td class="tdr"><a href="#Page_153">153</a></td>
+</tr>
+<tr>
+  <td class="tdl">Offor, B. (Mrs. F. Littler)</td>
+  <td class="tdr"><a href="#Page_160">160</a></td>
+</tr>
+<tr>
+  <td class="tdl">Oppenheim, Mlle. A.</td>
+  <td class="tdr"><a href="#Page_246">246</a></td>
+</tr>
+<tr>
+  <td class="tdl">Parlaghy, Frau Vilms</td>
+  <td class="tdr"><a href="#Page_316">316</a></td>
+</tr>
+<tr>
+  <td class="tdl">Paymal-Amouroux, Mme.</td>
+  <td class="tdr"><a href="#Page_232">232</a></td>
+</tr>
+<tr>
+  <td class="tdl">Petiet, Mlle. Marie</td>
+  <td class="tdr"><a href="#Page_219">219</a></td>
+</tr>
+<tr>
+  <td class="tdl">Phillott, Miss Constance, A.R.W.S.</td>
+  <td class="tdr"><a href="#Page_138">138</a></td>
+</tr>
+<tr>
+  <td class="tdl">Prestel, Maria C.</td>
+  <td class="tdr"><a href="#Page_297">297</a></td>
+</tr>
+<tr>
+  <td class="tdl">R&eacute;al del Sarte, Mme.</td>
+  <td class="tdr"><a href="#Page_251">251</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ragnoni, Barbara</td>
+  <td class="tdr"><a href="#Page_35">35</a></td>
+</tr>
+<tr>
+  <td class="tdl">Read, Catharine</td>
+  <td class="tdr"><a href="#Page_61">61</a>, <a href="#Page_84">84</a></td>
+</tr>
+<tr>
+  <td class="tdl">Reis, Maria G. Silva</td>
+  <td class="tdr"><a href="#Page_301">301</a></td>
+</tr>
+<tr>
+  <td class="tdl">Robertson, Mrs. J.</td>
+  <td class="tdr"><a href="#Page_93">93</a></td>
+</tr>
+<tr>
+  <td class="tdl">Roederstein, Mlle. Ottilie</td>
+  <td class="tdr"><a href="#Page_305">305</a>, <a href="#Page_311">311</a></td>
+</tr>
+<tr>
+  <td class="tdl">Romani, Juana</td>
+  <td class="tdr"><a href="#Page_54">54</a></td>
+</tr>
+<tr>
+  <td class="tdl">Romany, Mme. Ad&egrave;le</td>
+  <td class="tdr"><a href="#Page_171">171</a></td>
+</tr>
+<tr>
+  <td class="tdl">Rongier, Mlle., Jeanne</td>
+  <td class="tdr"><a href="#Page_320">320</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ronner, Mme. Henriette</td>
+  <td class="tdr"><a href="#Page_279">279</a>, <a href="#Page_281">281</a></td>
+</tr>
+<tr>
+  <td class="tdl">Rothschild, de, Baroness Lambert</td>
+  <td class="tdr"><a href="#Page_277">277</a></td>
+</tr>
+<tr>
+  <td class="tdl">Rude, Mme. Sophie</td>
+  <td class="tdr"><a href="#Page_207">207</a></td>
+</tr>
+<tr>
+  <td class="tdl">Ruysch, Rachel</td>
+  <td class="tdr"><a href="#Page_265">265</a></td>
+</tr>
+<tr>
+  <td class="tdl">Salanson, Mlle. Eug&eacute;nie</td>
+  <td class="tdr"><a href="#Page_228">228</a></td>
+</tr>
+<tr>
+  <td class="tdl">Salles-Wagner, Adela&iuml;de</td>
+  <td class="tdr"><a href="#Page_299">299</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sawyer, Miss Amy</td>
+  <td class="tdr"><a href="#Page_159">159</a></td>
+</tr>
+<tr>
+  <td class="tdl">Schjerfbeck, Helene</td>
+  <td class="tdr"><a href="#Page_310">310</a>, <a href="#Page_313">313</a></td>
+</tr>
+<tr>
+  <td class="tdl">Schurman, Anna Maria</td>
+  <td class="tdr"><a href="#Page_296">296</a></td>
+</tr>
+<tr>
+  <td class="tdl">Schneider, Mme. F&eacute;licie</td>
+  <td class="tdr"><a href="#Page_222">222</a></td>
+</tr>
+<tr>
+  <td class="tdl">Schwartze, Th&eacute;r&egrave;se</td>
+  <td class="tdr"><a href="#Page_270">270</a>, <a href="#Page_271">271</a>, <a href="#Page_273">273</a>, <a href="#Page_275">275</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sindici, Do&ntilde;a Stuart</td>
+  <td class="tdr"><a href="#Page_317">317</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sirani, Elisabetta</td>
+  <td class="tdr"><a href="#Page_43">43</a>, <a href="#Page_46">46</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sister A, Sienese Nun</td>
+  <td class="tdr"><a href="#Page_34">34</a>, <a href="#Page_35">35</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sister B, Sienese Nun</td>
+  <td class="tdr"><a href="#Page_34">34</a></td>
+</tr>
+<tr>
+  <td class="tdl">Smythe, Miss Minnie, A.R.W.S.</td>
+  <td class="tdr"><a href="#Page_150">150</a></td>
+</tr>
+<tr>
+  <td class="tdl">Sonrel, &Eacute;lisabeth</td>
+  <td class="tdr"><a href="#Page_237">237</a></td>
+</tr>
+<tr>
+  <td class="tdl">Spencer, Lavinia, Countess</td>
+  <td class="tdr"><a href="#Page_90">90</a></td>
+</tr>
+<tr>
+  <td class="tdl">Staples, Mrs. (M. E. Edwards)</td>
+  <td class="tdr"><a href="#Page_120">120</a></td>
+</tr>
+<tr>
+  <td class="tdl">Starr, Louisa (Mme. Canziana)</td>
+  <td class="tdr"><a href="#Page_106">106</a></td>
+</tr>
+<tr>
+  <td class="tdl">Stokes, Mrs. Marianne</td>
+  <td class="tdr"><a href="#Page_79">79</a>, <a href="#Page_129">129</a></td>
+</tr>
+<tr>
+  <td class="tdl">Strong, Mrs. Elizabeth</td>
+  <td class="tdr"><a href="#Page_113">113</a></td>
+</tr>
+<tr>
+  <td class="tdl">Subleyras, Maria Tibaldi</td>
+  <td class="tdr"><a href="#Page_52">52</a></td>
+</tr>
+<tr>
+  <td class="tdl">Swon, Mrs. J. M.</td>
+  <td class="tdr"><a href="#Page_159">159</a></td>
+</tr>
+<tr>
+  <td class="tdl">Swynnerton, Mrs. A. L.</td>
+  <td class="tdr"><a href="#Page_133">133</a></td>
+</tr>
+<tr>
+  <td class="tdl">Tavernier, de, Mme. E.</td>
+  <td class="tdr"><a href="#Page_227">227</a></td>
+</tr>
+<tr>
+  <td class="tdl">Templetown, Viscountess</td>
+  <td class="tdr"><a href="#Page_94">94</a></td>
+</tr>
+<tr>
+  <td class="tdl">Thesleff, Ellen</td>
+  <td class="tdr"><a href="#Page_314">314</a></td>
+</tr>
+<tr>
+  <td class="tdl">Valory, de, Mme. Caroline</td>
+  <td class="tdr"><a href="#Page_192">192</a></td>
+</tr>
+<tr>
+  <td class="tdl">Vallet-Bisson, Mme.</td>
+  <td class="tdr"><a href="#Page_241">241</a></td>
+</tr>
+<tr>
+  <td class="tdl">Vanteuil, de, Mlle.</td>
+  <td class="tdr"><a href="#Page_185">185</a></td>
+</tr>
+<tr>
+  <td class="tdl">Vigri, Caterina</td>
+  <td class="tdr"><a href="#Page_33">33</a></td>
+</tr>
+<tr>
+  <td class="tdl">Waterford, Louisa Lady</td>
+  <td class="tdr"><a href="#Page_99">99</a>, <a href="#Page_101">101</a></td>
+</tr>
+<tr>
+  <td class="tdl">Waternau, Mlle. Hermine</td>
+  <td class="tdr"><a href="#Page_221">221</a></td>
+</tr>
+<tr>
+  <td class="tdl">Watson, Caroline</td>
+  <td class="tdr"><a href="#Page_89">89</a></td>
+</tr>
+<tr>
+  <td class="tdl">Wentworth, Mrs. Cecilia</td>
+  <td class="tdr"><a href="#Page_160">160</a></td>
+</tr>
+<tr>
+  <td class="tdl">Wesmael, Mlle. E.</td>
+  <td class="tdr"><a href="#Page_283">283</a></td>
+</tr>
+<tr>
+  <td class="tdl">White, Miss Florence</td>
+  <td class="tdr"><a href="#Page_124">124</a></td>
+</tr>
+<tr>
+  <td class="tdl">Wiik, Maria</td>
+  <td class="tdr"><a href="#Page_309">309</a>, <a href="#Page_313">313</a></td>
+</tr>
+<tr>
+  <td class="tdl">Wolfthorn, Frau Julie</td>
+  <td class="tdr"><a href="#Page_304">304</a></td>
+</tr>
+<tr>
+  <td class="tdl">Wytsman, Mme. Juliette</td>
+  <td class="tdr"><a href="#Page_284">284</a></td>
+</tr>
+<tr>
+  <td class="tdl">Youngman, Miss A. M., R.I.</td>
+  <td class="tdr"><a href="#Page_118">118</a>, <a href="#Page_119">119</a></td>
+</tr>
+<tr>
+  <td class="tdl">Zappi, Lavinia Fontana</td>
+  <td class="tdr"><a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a></td>
+</tr>
+<tr>
+  <td class="tdl">Zillhardt, Mlle. Jenny</td>
+  <td class="tdr"><a href="#Page_221">221</a></td>
+</tr>
+</table></div>
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_20">[20]</a></span></p>
+
+<p class="caption"><span class="smcap">Venetian School. 1675-1757</span></p>
+
+<div class="figcenter">
+<a id="i010" href="images/illus010l.jpg">
+<img src="images/illus010s.jpg" width="400" height="503" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LADY UNKNOWN.<br />
+AFTER THE PASTEL IN THE MUS&Eacute;E DE
+CHANTILLY,<br />FROM A PHOTOGRAPH
+BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_21">[21]</a></span></p>
+
+<h2 id="Chapter_I">Women Painters in Italy since the Fifteenth Century</h2>
+
+<p class="h3">By Walter Shaw Sparrow</p>
+
+<p><img class="dropimg" src="images/illus011s.jpg" width="102" height="100" alt="" />
+<b><span class="hide">O</span>LDER</b> than the authenticated history of Greek art is a tradition that
+connects a girl's name with the discovery of a great craft, the craft
+of modelling portraits in relief. Kora, known as the virgin of
+Corinth, and daughter of a potter named Butades, sat one evening with
+her betrothed in her father's house; a torch burned, a fire of wood
+bickered in a brasier, throwing on the wall in shadow a clear
+silhouette of the young man's profile; and Kora, moved by a sudden
+impulse, took from the hearth a charred piece of wood and outlined the
+shadow. When the girl's father, Butades, saw the sketch which she had
+made, he filled in the outline with his potters' clay, forming the
+first medallion.</p>
+
+<p>It is a pretty, chivalrous tradition, and it recalls to one's memory
+the fact that the ancient Greeks had really some women artists of
+note, like Aristarete, daughter and pupil of Nearchus, celebrated for
+her picture of Aesculapius; or like Anaxandra (about B.C. 228),
+daughter of the painter Nealces, or like Helena, who painted the
+battle of Issus, about B.C. 333.</p>
+
+<p>Passing from Greece to ancient Rome, we find only one woman painter,
+Lala by name, and she was a Greek by birth and education. Lala lived
+and laboured in the first century before the birth of Christ. She went
+to Rome during the last days of the republic, and won for herself a
+great reputation by her miniature portraits of ladies.</p>
+
+<p>As the early Christians turned away from all luxury and adornment, the
+influence of Christ's life was very slow in gaining its benign
+ascendency in the arts; but among the civilisations which were founded
+on the ruins of Rome's decline and<span class="pagenum"><a id="Page_22">[22]</a></span> fall, there were some women who
+still deserve to be remembered for their patronage of art.
+Amalasontha, daughter of Theodoric the Great, Theodelinda, Queen of
+the Lombards, Hroswitha, in her convent at Gandershein, and Ava, the
+first German poetess, these ladies, and many others, made colonising
+names, names that visited distant lands and gave ambition to other
+women.</p>
+
+<p>Briefly, the Renaissance was heralded by a long, troubled dawn; but it
+came at last, and its effects on the destinies of women were immediate
+and far-reaching. In Italy, one by one, the Universities were opened
+to the fair, that of Bologna leading the way in the 13th century, when
+Betisia Gozzadini studied there with success, dressed as a boy, like
+Plato's pupil, Axiothea. And a line of girl graduates connects Betisia
+Gozzadini with the women lecturers who became so famous at Bologna in
+the 18th century: Anna Manzolini, Laura Bassi, Clotilde Tambroni,
+Maria Agnesi, and Maria Dalle-Donne.</p>
+
+<p>It is not easy to explain why the Italian towns and universities gave
+so much encouragement to the higher aspirations of girls. In poetry,
+in art, in learning, that encouragement was equally remarkable, and I
+am tempted to assign its origin to the martial temper of the Middle
+Ages, which drew many young men from the universities to take part in
+the exercises of the tilt-yard or in the perils of the battlefield,
+leaving the fields of learning in need of zealous labourers. Women, on
+the other hand, exposed their hearts, but not their lives, to the
+hazards of duels, tournaments and wars; they lived longer than men, as
+a rule, and hence it was worth while to encourage publicly those gifts
+of the female mind and spirit which had long been cultivated privately
+for the benefit of peaceful nunneries.</p>
+
+<p>Still, whatever the origin of it may have been, the pride taken by the
+Italians in their gifted women is among the most important facts in
+the history of their Renaissance. But for that pride, the scores of
+ladies who became noted in the arts would have remained unknown in
+their homes, and the story of those times would lack in its social
+life a counterpart of that radiant chivalry that cast so much
+tenderness and sanctity<span class="pagenum"><a id="Page_23">[23]</a></span> about the Motherhood of Mary and the Infancy
+of Jesus Christ.</p>
+
+<p>As this chapter is nothing more than a brief introduction to the study
+of a very important subject, I can say only a few words about the
+different groups of painters into which the women artists of Italy are
+divided, beginning with the early nuns, whose art was not so much a
+craft as a confession of faith.</p>
+
+<p>Caterina Vigri was the earliest of these nuns, and the picture by
+which she is represented on page <a href="#Page_33">33</a>, "St. Ursula and her Maidens," was
+painted in the year 1456. Not only is it typical of the young
+Bolognese school, but, despite the primitiveness of the drawing, it
+has two qualities in which the swift temperaments of women, so
+truth-telling in their emotions, commonly manifest themselves in art:
+the first is a certain naturalness of gesture and of pose; the second
+is an evident wish to impart life and liveliness to the faces, even
+although that liveliness and life may not accord with the subject in
+its higher spiritual significance. It is this natural wish of women to
+be homely and attractive that so frequently brings their art nearer to
+the people's sympathies than the work done by men; and if we study the
+four illustrations on pages <a href="#Page_34">34</a> and <a href="#Page_35">35</a>, representing pictures by the
+Sienese nuns of Santa Marta, we shall see how motherly in tenderness
+was the feminine ideal of Christ's infancy. I can gain no information
+about Barbara Ragnoni and the two other sister nuns, whose names have
+passed into Time's limbo of forgotten things, and whom I have ventured
+to describe as Sister A. and Sister B. They were true artists, each
+one having a sweet graciousness of her own, playful, yet devout and
+reverent, devotional but not austere. In these pictures the maternal
+instincts are at play; the painters are so happy in their subject that
+their whole womanhood responds to it, making it a holy experience of
+their own glad hearts. There is much to admire also in the way in
+which the figures are grouped and co-ordinated; and how charming is
+that glympse of country painted by Barbara Ragnoni in her "Adoration
+of the Shepherds."</p>
+
+<p>These were not the only gifted and gracious nuns in the early history
+of Italian art. There was Plautilla Nelli,<span class="pagenum"><a id="Page_24">[24]</a></span> who formed her style on
+that of Fra Bartolommeo; she became prioress of a convent in Florence,
+the convent of St. Catherine, and died in 1588, aged sixty-five.
+Barbara Longhi of Ravenna, another painter of the same period, was not
+a nun, but I mention her now in order that attention may be drawn to a
+painter having a genuine sympathy and style (see page <a href="#Page_41">41</a>).</p>
+
+<p>We pass on to a little bevy of emigrants, women painters who visited
+foreign courts where they met with great successes. Sophonisba
+Anguisciola, born of a noble family in Cremona, was enriched by Philip
+II. of Spain; Artemesia Gentileschi came to London with her father and
+found a patron in Charles I.; Maria La Caffa (17th century), a flower
+painter, came upon her M&aelig;cenas in the Court of Tyrol; it was in German
+Courts that Isabella del Pozzo (17th century), like Felicita Sartori
+(18th century), plucked bay leaves and laurels; and Violanta Beatrice
+Siries, after making for herself a name in Paris, returned home to
+Florence and painted many famous persons of the 18th century. Then we
+have Rosalba Carriera, whose career ended in blindness and loss of
+reason, and whose whole life is a touching story. As a child she made
+Point of Venice lace; at the age of fourteen or fifteen she painted
+snuff boxes with flowers and pretty faces; then miniatures of
+well-known persons kept her brushes busy; but this minute art tried
+her eyes so seriously that Rosalba adopted pastels instead, and soon
+became the most famous pastellist of her period. She journeyed pretty
+well all over the Continent, winning an extraordinary success wherever
+she went, as well as a place in all the Academies of note, from the
+Clementina at Bologna to the Royal Academy at Paris. Rosalba Carriera
+arrived in Paris in April 1720; she kept a diary of her experiences,
+and students of French history should read it in the edition annotated
+by Alfred Sensier. But here we are concerned with the art alone of
+Rosalba Carriera, an art rich in colour, swift and nervous in drawing,
+full of character, and modelled always with vigour and with ease.</p>
+
+<p>Returning now to an earlier traveller, Sophonisba Anguisciola, we meet
+with another portraitist of real merit, more<span class="pagenum"><a id="Page_25">[25]</a></span>
+self-contained than
+Rosalba, less impetuous, but fresh, witty, sincere and charming. It is
+probable that she was born in 1533. After studying for some time at
+Cremona, under Bernardino Campi, Sophonisba Anguisciola began to make
+fun of the little girls of the period. Vasari set the greatest store
+by one of these satirical sketches, representing a boy with a lobster
+clawed to his finger, and a small girl laughing at his nimbleness. The
+subject of another skit was an old woman studying the Alphabet, much
+to the amusement of a baby girl.</p>
+
+<p><span class="pagenum"><a id="Page_27">[27]</a></span></p>
+
+<p class="caption"><span class="smcap">School of Cremona, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus012l.jpg">
+<img src="images/illus012s.jpg" width="400" height="310" alt="" />
+</a>
+</div>
+
+<p class="caption">THREE SISTERS OF SOPHONISBA ANGUISCIOLA PLAYING AT CHESS.<br />
+FROM A
+PHOTOGRAPH BY HANFSTAENGL<br />AFTER THE PAINTING IN THE RACZYNSKI
+COLLECTION.<br />VASARI SAW THIS PICTURE AND SAID THAT "THE FIGURES WANTED
+ONLY VOICE TO BE ALIVE."<br />
+Sophonisba Anguisciola or Angussola, Painter<br />
+1533(?)-1626</p>
+
+<p>That Sophonisba Anguisciola was very young when she first attracted
+notice from the great, is proved by the fact that she sent a likeness
+of herself&mdash;a likeness now at Vienna&mdash;to Pope Julius III., who died in
+1555. It was in her twenty-seventh year that she made her way, with
+ten attendants, to the Spanish Court, there to paint a history in
+admired portraits of the great age of the <i>auto-da-f&eacute;</i>: a history
+which <i>tempus edax</i> has devoured, leaving us only those works which
+Sophonisba turned out in her native country, far away from the dark
+tragedies of the Escorial. Philip the Second married his proteg&eacute;e to a
+wealthy Sicilian noble, Don Fabrizio de Mon&ccedil;ada, giving her a huge
+dowry of 12,000 ducats, a pension of 1,400 scudi, and a dress loaded
+with pearls, besides other presents.</p>
+
+<p>Sophonisba retired with her husband to Palermo, where she soon became
+a widow. Then Philip and his Queen wished her to return to Madrid; but
+the artist pleaded an excuse, the excuse of homesickness, and set sail
+for Italy. The captain of the galley of war, Orazio Lomellini, was a
+handsome man of good family, a native of Genoa; his gallantry had
+suffered a sea-change, was altogether breezy, sailor-like, delightful;
+and Sophonisba not only fell in love with him, she took him at a
+leap-year advantage, and soon changed her "weeds" for a bridal dress.</p>
+
+<p>When Van Dyck met her at Genoa (1622), and painted several members of
+her husband's family, Sophonisba was upwards of eighty-seven years
+old, and quite blind; but the blithe old lady still went on painting
+so well in her familiar conversations that Van Dyck said he had learnt
+more from her talk than from<span class="pagenum"><a id="Page_28">[28]</a></span> his other teachers. Had Steele an
+inkling of this magnificent compliment when he said that to love the
+Lady Elizabeth Hastings was a liberal education? Addison may have
+heard of it in Italy, and in turning over his thoughts before Master
+Richard, may have dropped it generously. But, however this may be,
+Stirling gives too much point to Van Dyck's words; for he says boldly,
+in <i>The Annals of the Artists of Spain</i>, that my painter's portraits
+are little inferior to those by Titian. "Of this evidence is
+afforded," says he, "by that beautiful portrait of her, which is now
+no mean gem of the galleries and libraries of Althorp."</p>
+
+<p>Perhaps one may defy critics to name a single latter-day "realist"
+among the fair who has attained to Artemisia Gentileschi's masterful
+and singular ruthlessness, as in the several pictures of Judith that
+she painted. One of these pictures will be found on page
+<a href="#Page_45">45</a>. It is the
+least relentless of the series, but it shows clearly enough the grip
+of Artemisia's hand in tragedy. Curiously, the suave Guido was
+Artemisia's first teacher, but she learnt more from Domenichino, and
+more still from the years she passed at Naples, then known as "the
+sink of all iniquity." But Artemisia Gentileschi is sometimes kind in
+her work, and gentle; she does not always remind us of that Artemisia
+who fought so well at Salamis, causing Xerxes to cry: "Behold! the men
+behave like women, and the women like men!" In her excellent
+portraits, and in pictures like the "Mary Magdalene," on page <a href="#Page_31">31</a>, she
+blends some graciousness of thought with vigour and variety of
+technique.</p>
+
+<p>Lavinia Fontana and Elisabetta Sirani were the ablest women painters
+whose travels did not extend beyond Italy. The first was a member of
+the old Roman Academy, and Pope Gregory XIII. made her his portraitist
+in ordinary. She was born of good family in Bologna, anno 1552. It was
+her father that shaped the laggard talents of Lodovico Carracci, and
+from him came the girl's first lessons in drawing. Lavinia spent most
+of her life in Rome, where, for close on two generations, she held
+society by the austere truth of her portraiture. Ladies of high rank
+vied with one another to become her sitters, and a long red line<span class="pagenum"><a id="Page_29">[29]</a></span> of
+cardinals sat to her. Pope Paul the Fifth was among Lavinia's models;
+very high prices were paid readily for her work, and not a few
+noblemen wished to marry her; but the artist remained true to the
+young Count of Imola, Giovanni Paolo Zappi, a good, kind,
+simple-hearted fellow, an aristocratic Barnaby Rudge. Him she married,
+and it was her ill-hap to see his simplicity repeat itself in one of
+their two sons, a lad who kept the Pope's antechamber merry.</p>
+
+<p>My artist's style, though modelled to some extent on that of the
+Carracci, has a distinction of its own. Even the arid K&uuml;gler gives
+Lavinia his rare good word, reckoning her a better artist than her
+father, and adding: "Her work is clever and bold, and in portraiture,
+especially, she has left good things."</p>
+
+<p>Does Elisabetta Sirani take precedence of Lady Waterford? Perhaps they
+may be regarded as two equal queens in the world of woman's art, each
+with a beautiful artistic intellect. Even at the age of nineteen, as
+old Bartsch admits, Elisabetta etched exquisite plates; and, before
+she was twenty-three, her paintings were sought after by all the
+patron-critics of her country. Yet her male rivals hinted that she was
+dishonest, that she did not paint her own pictures, but had "ghosts"
+to win fame and fortune for her&mdash;especially her father, a poor
+"ghost," afflicted with inherited gout. Elisabetta happily soon turned
+the sneer against her rivals. This she did by working before an
+audience of distinguished persons, like Cosimo, Crown Prince of
+Tuscany, who on May 13th, 1664, stood by whilst she painted a likeness
+of his uncle, the Prince Leopold.</p>
+
+<p>Malvasia gives in his spirited monograph a list of 150 pictures by
+Elisabetta Sirani; and Lanzi deemed it marvellous that one who died so
+young should yet have brought to completion so many hopeful efforts of
+real genius. The brilliant girl painted with great rapidity. One of
+her finest achievements&mdash;the "Baptism of Christ"&mdash;is a very large
+picture, and the story of its conception is noteworthy. Elisabetta was
+little more than twenty at the time, and the clergy who had been sent
+to order the work for the Church of the Certosini at Bologna, looked<span class="pagenum"><a id="Page_30">[30]</a></span>
+on whilst she, radiant with inspiration, made her first impulsive
+sketch in pen-and-ink. The beholders were enchanted, and the huge
+picture, differing little in essentials from the sketch, was painted
+almost as rapidly as Dumas repeopled the distant past. In brief,
+Elisabetta Sirani, like all women of genius, worked under an intuitive
+rather than technical guidance; and in her art, consequently, as in
+Lady Waterford's, we find those blemishes and beauties which belong to
+a native habit of spontaneous workmanship.</p>
+
+<p>As to her private life, it is full of heroic virtues. The noble girl
+kept the whole family: her mother, who was stricken with paralysis;
+her father, who suffered intolerably from the gout; and her two
+sisters, whom she educated with a large class of girl art-students.
+Then Cupid came, saw, and was overcome, and Elisabetta, by way of
+celebrating this unkind victory, painted the little god in the act of
+crowning his victor. But the pity of it all was this: the girl had so
+many taut strings to her bow that the frail bow could not but break.
+Elisabetta's health gave way, a painful disease of the stomach
+assailed her; and yet to the last day but one of her short life&mdash;i.e.,
+August 27th, 1665&mdash;she remained true to her colours, and was one of
+art's truest soldiers. "The best way not to feel pain is not to think
+of it," said she, and then went slowly back to her studio.</p>
+
+<p>The present book contains adequate examples of the work of Elisabetta
+Sirani, of Lavinia Fontana Zappi, of Artemisia Gentileschi, of
+Sophonisba Anguisciola, of Rosalba Carriera; and there is a good
+drawing by Diana Ghisi, the painter-engraver, an excellent copy by
+Maria Tibaldi Subleyras, and two characteristic pictures by Agnese
+Dolci, sister of Carlo Dolci and his equal in talent. These painters
+and the early nuns, Caterina Vigri and the three sisters of Santa
+Marta, Siena, are enough to represent the old Italian schools; while
+three characteristic pictures by Elisa Koch, Juana Romani, and Rosina
+Gutti, unite the present with the far-distant past, a past separated
+from the present day by four hundred and fifty years.</p>
+
+<p class="author">WALTER SHAW SPARROW.</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p><span class="pagenum"><a id="Page_31">[31]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus013l.jpg">
+<img src="images/illus013s.jpg" width="400" height="514" alt="" />
+</a>
+</div>
+
+<p class="caption">"MARY MAGDALENE."<br />
+AFTER THE PAINTING IN THE PITTI GALLERY FLORENCE.<br />
+FROM A PHOTOGRAPH BY ANDERSON, ROME<br />
+Artemisia Lomi, called Artemisia Gentileschi, Painter<br />
+1590-1642</p>
+
+<p><span class="pagenum"><a id="Page_33">[33]</a></span></p>
+
+<hr class="pic" />
+
+<p class="caption"><span class="smcap">Bolognese School, XV Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus014l.jpg">
+<img src="images/illus014s.jpg" width="400" height="531" alt="" />
+</a>
+</div>
+
+<p class="caption">SAINT URSULA AND HER MAIDENS.<br />FROM A PHOTOGRAPH BY ALINARI<br />AFTER THE
+ORIGINAL PICTURE IN THE ROYAL ACADEMY OF FINE ARTS, VENICE<br />
+Santa Caterina Vigri di Bologna, Painter<br />
+1413-1463</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_34">[34]</a></span></p>
+
+<p class="caption"><span class="smcap">Sienese SchooL, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus015lt.jpg">
+<img src="images/illus015st.jpg" width="400" height="210" alt="" />
+</a>
+</div>
+
+<p class="caption">ADORATION OF THE SHEPHERDS.<br />
+AFTER THE ORIGINAL PICTURE AT SIENA IN THE
+PROVINCIAL INSTITUTE OF FINE ARTS<br />
+Sister A., Convent of Santa Marta, Siena, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus015lb.jpg">
+<img src="images/illus015sb.jpg" width="400" height="565" alt="" />
+</a>
+</div>
+
+<p class="caption">THE HOLY FAMILY WITH JOHN THE BAPTIST.<br />
+AFTER THE ORIGINAL PICTURE AT
+SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS<br />
+Sister B., Convent of Santa Marta, Siena, Painter<br />
+About 1500</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_35">[35]</a></span></p>
+
+<p class="caption"><span class="smcap">Sienese SchooL, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus016ll.jpg">
+<img src="images/illus016sl.jpg" width="400" height="633" alt="" />
+</a>
+</div>
+
+<p class="caption">THE ADORATION OF THE SHEPHERDS.<br />
+AFTER THE ORIGINAL PICTURE AT SIENA IN
+THE PROVINCIAL INSTITUTE OF FINE ARTS<br />
+Sister Barbara Ragnoni, Painter<br />
+About 1500</p>
+
+<div class="figcenter">
+<a href="images/illus016lr.jpg">
+<img src="images/illus016sr.jpg" width="400" height="588" alt="" />
+</a>
+</div>
+
+<p class="caption">MADONNA AND CHILD, WITH ST CATHARINE AND OTHER SAINTS.<br />
+AFTER THE
+ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE<br />
+Sister A., Convent of Santa Marta, Siena, Painter About 1500</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_36">[36]</a></span></p>
+
+<p class="caption"><span class="smcap">School of Cremona, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus017l.jpg">
+<img src="images/illus017s.jpg" width="400" height="514" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (PAINTED BY HERSELF) OF SOPHONISBA ANGUISCIOLA OR ANGUSSOLA,<br />
+FAR-FAMED IN HER TIME AS ONE OF THE LEADING ITALIAN ARTISTS;<br />
+SHE DID
+MUCH WORK FOR PHILIP II. OF SPAIN.<br />
+WHEN SHE WAS VERY OLD AND BLIND,
+VAN DYCK MET HER AT GENOA,<br />
+AND SAID THAT HE HAD LEARNT MORE FROM HER
+TALK THAN FROM HIS OTHER TEACHERS.<br />
+FROM A PHOTOGRAPH BY ANDERSON,
+ROME,<br />
+AFTER THE ORIGINAL PAINTING AT MILAN IN THE POLDI-PEZZOLI
+COLLECTION<br />
+Sophonisba Auguisciola or Angussola, Painter<br />
+1533(?)-1626</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_37">[37]</a></span></p>
+
+<p class="caption"><span class="smcap">Venetian School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus018l.jpg">
+<img src="images/illus018s.jpg" width="400" height="500" alt="" />
+</a>
+</div>
+
+<p class="caption">CHARITY AND JUSTICE.<br />
+AFTER THE PASTEL IN THE ROYAL GALLERY DRESDEN.<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_39">[39]</a></span></p>
+
+<p class="caption"><span class="smcap">Italian School XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus019ltl.jpg">
+<img src="images/illus019stl.jpg" width="300" height="405" alt="" />
+</a>
+</div>
+
+<p class="caption">MARRIAGE OF ST. CATHARINE,<br />
+AFTER AN ETCHING BY N. MUXEL<br />
+Lavinia Fontana Zappi, Painter<br />
+1552-1614(?)</p>
+
+<div class="figcenter">
+<a href="images/illus019ltr.jpg">
+<img src="images/illus019str.jpg" width="300" height="382" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LADY.<br />
+AFTER AN ETCHING BY N. MUXEL<br />
+Sophonisba Anguisciola, Painter<br />
+1533-(?)1626</p>
+
+<div class="figcenter">
+<a href="images/illus019lb.jpg">
+<img src="images/illus019sb.jpg" width="400" height="287" alt="" />
+</a>
+</div>
+
+<p class="caption">A VICTOR IN HIS TRIUMPHAL CHARIOT.<br />
+AFTER THE DRAWING IN
+THE PRINT ROOM OF THE BRITISH MUSEUM,<br />
+FROM A PHOTOGRAPH BY W. E. GRAY<br />
+Diana Ghisi, called Mantuana, Painter-Engraver<br />
+1530-1590</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_40">[40]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus020l.jpg">
+<img src="images/illus020s.jpg" width="400" height="552" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (EXECUTED BY HERSELF) OF LAVINIA FONTANA ZAPPI,<br />
+PAINTER IN
+ORDINARY TO POPE GREGORY XIII.<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp;
+CO., PARIS,<br />AFTER THE ORIGINAL PAINTING IN THE UFFIZI GALLERY,
+FLORENCE<br />
+Lavinia Fontana Zappi, Painter<br />
+1552-1614(?)</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_41">[41]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVI Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus021ll.jpg">
+<img src="images/illus021sl.jpg" width="400" height="518" alt="" />
+</a>
+</div>
+
+<p class="caption">JESUS CHRIST TALKING WITH THE WOMAN OF SAMARIA.<br />
+AFTER THE ORIGINAL
+PAINTING IN THE NATIONAL MUSEUM, NAPLES.<br />
+FROM A PHOTOGRAPH BY ALINARI<br />
+Lavinia Fontana Zappi, Painter<br />
+1552-1614(?)</p>
+
+<div class="figcenter">
+<a href="images/illus021lr.jpg">
+<img src="images/illus021sr.jpg" width="400" height="467" alt="" />
+</a>
+</div>
+
+<p class="caption">MARY AND THE CHILD JESUS IN THE ACT OF CROWNING A SAINT.<br />
+AFTER THE
+ORIGINAL PAINTING IN THE LOUVRE, PARIS,<br />
+FROM A PHOTOGRAPH BY MESSRS.
+W. A. MANSELL &amp; CO.<br />
+Barbara Longhi, Painter<br />
+End of 16th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_42">[42]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus022l.jpg">
+<img src="images/illus022s.jpg" width="400" height="485" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT: (EXECUTED BY HERSELF) OF ARTEMISIA GENTILESCHI,<br />
+WHO LIVED FOR
+A TIME IN ENGLAND AND WORKED FOR CHARLES THE FIRST.<br />FROM A PHOTOGRAPH
+BY HANFSTAENGL<br />AFTER THE ORIGINAL PAINTING IN EARL SPENCER'S
+COLLECTION<br />
+Artemisia Lomi, called Artemisia Gentileschi, Painter<br />
+1590-1642</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_43">[43]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus023l.jpg">
+<img src="images/illus023s.jpg" width="400" height="553" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE DREAM OF SAINT ANTHONY OF PADUA."<br />
+FROM A PHOTOGRAPH BY ANDERSON,
+ROME,<br />AFTER THE PAINTING IN THE PINACOTECA IN BOLOGNA<br />
+Elisabetta Sirani, Painter<br />
+1638-1665</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_45">[45]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus024l.jpg">
+<img src="images/illus024s.jpg" width="400" height="484" alt="" />
+</a>
+</div>
+
+<p class="caption">JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES.<br />
+FROM A PHOTOGRAPH BY
+ALINARI<br />
+AFTER THE ORIGINAL PAINTING IN THE PITTI GALLERY, FLORENCE<br />
+Artemisia Lomi, called Artemisia Gentileschi, Painter<br />
+1590-1642</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_46">[46]</a></span></p>
+
+<p class="caption"><span class="smcap">Bolognese School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus025lt.jpg">
+<img src="images/illus025st.jpg" width="300" height="389" alt="" />
+</a>
+</div>
+
+<p class="caption">THE MADONNA WEEPING.<br />
+FROM AN ORIGINAL ETCHING DATED 1657
+IN THE BRITISH MUSEUM<br />
+Elisabetta Sirani, Painter-Etcher<br />
+1638-1665</p>
+
+<div class="figcenter">
+<a href="images/illus025lb.jpg">
+<img src="images/illus025sb.jpg" width="400" height="365" alt="" />
+</a>
+</div>
+
+<p class="caption">THE FLIGHT INTO EGYPT.<br />
+FROM THE ORIGINAL ETCHING IN THE
+BRITISH MUSEUM<br />
+Elisabetta Sirani, Painter-Etcher<br />
+1638-1665</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_47">[47]</a></span></p>
+
+<p class="caption"><span class="smcap">Florentine School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus026ll.jpg">
+<img src="images/illus026sl.jpg" width="400" height="517" alt="" />
+</a>
+</div>
+
+<p class="caption">MARY AND THE CHILD JESUS.<br />
+FROM A PHOTOGRAPH BY BRAUN, CLEMENT &amp; CO.,
+PARIS,<br />
+AFTER THE ORIGINAL PAINTING IN THE BESANCON MUSEUM<br />
+Agnese Dolci Painter<br />
+Died about 1686</p>
+
+<div class="figcenter">
+<a href="images/illus026lr.jpg">
+<img src="images/illus026sr.jpg" width="400" height="489" alt="" />
+</a>
+</div>
+
+<p class="caption">"JESUS TOOK BREAD AND BLESSED IT..."<br />
+FROM A PHOTOGRAPH BY BRAUN
+CL&Eacute;MENT &amp; CO., PARIS,<br />
+AFTER THE ORIGINAL PAINTING IN THE LOUVRE<br />
+Agnese Dolci Painter<br />
+Died about 1686</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_48">[48]</a></span></p>
+
+<p class="caption"><span class="smcap">Venetian School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus027ll.jpg">
+<img src="images/illus027sl.jpg" width="400" height="510" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT STUDY OF A LADY WITH HER PET MONKEY.<br />
+FROM A PHOTOGRAPH BY
+L&Eacute;VY &amp;SONS<br />
+AFTER THE ORIGINAL PASTEL IN THE LOUVRE, PARIS<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<div class="figcenter">
+<a href="images/illus027lr.jpg">
+<img src="images/illus027sr.jpg" width="400" height="505" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT STUDY OF CARDINAL DE POLIGNAC.<br />FROM A PHOTOGRAPH BY ANDERSON<br />
+AFTER THE ORIGINAL PASTEL IN VENICE<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_49">[49]</a></span></p>
+
+<p class="caption"><span class="smcap">Italian School, about 1889</span></p>
+
+<div class="figcenter">
+<a href="images/illus028l.jpg">
+<img src="images/illus028s.jpg" width="400" height="601" alt="" />
+</a>
+</div>
+
+<p class="caption">THE LITTLE SISTER.<br />
+REPRODUCED FROM A PHOTOGRAPH<br />BY PERMISSION OF
+BRAUN, CLEMENT &amp; CO., PARIS<br />
+Signorina Elisa Koch Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_51">[51]</a></span></p>
+
+<p class="caption"><span class="smcap">Venetian School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus029ll.jpg">
+<img src="images/illus029sl.jpg" width="400" height="513" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT STUDY OF A GIRL.<br />
+FROM A PHOTOGRAPH BY L&Eacute;VY &amp; SONS, PARIS,<br />
+AFTER THE ORIGINAL PASTEL IN THE LOUVRE<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<div class="figcenter">
+<a href="images/illus029lr.jpg">
+<img src="images/illus029sr.jpg" width="400" height="507" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF ROSALBA CARRIERA,<br />
+THE MOST FAMOUS PASTELLIST OF HER TIME.<br />
+FROM ANDERSON'S PHOTOGRAPH OF THE ORIGINAL PASTEL IN ROME<br />
+Rosalba Carriera, Pastellist<br />
+1675-1757</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_52">[52]</a></span></p>
+
+<p class="caption"><span class="smcap">Roman School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus030l.jpg">
+<img src="images/illus030s.jpg" width="600" height="243" alt="" />
+</a>
+</div>
+
+<p class="caption">MARY MAGDALENE AT THE FEET OF JESUS CHRIST IN THE HOUSE OF SIMON THE
+PHARISEE.<br />FROM A PHOTOGRAPH BY ALINARI<br />
+AFTER THE PAINTING IN ROME IN
+THE GALLERIA CAPITOLINA.<br />
+IT IS A COPY AFTER A PICTURE BY THE ARTIST'S
+HUSBAND, PIERRE SUBLEYRAS,<br />
+A PICTURE NOW IN THE LOUVRE, PARIS.<br />MARIA
+TIBALDI SUBLEYRAS PRESENTED THIS COPY TO POPE BENEDICT XIV,<br />
+WHO SENT
+HER A THOUSAND SCUDI,<br />
+AND PLACED HER WORK IN HIS COLLECTION AT THE
+CAPITOL<br />
+Maria Tibaldi Subleyras, Painter<br />
+Born 1707</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_53">[53]</a></span></p>
+
+<p class="caption"><span class="smcap">Italian School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus031l.jpg">
+<img src="images/illus031s.jpg" width="400" height="278" alt="" />
+</a>
+</div>
+
+<p class="caption">THE PEACEMAKER.<br />
+REPRODUCED AFTER THE ORIGINAL DRAWING<br />
+FROM A PHOTOGRAPH BY THE
+AUTOTYPE CO.,<br />
+NEW OXFORD STREET, LONDON<br />
+Rosina Mantovani Gutti, Artist</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_54">[54]</a></span></p>
+
+<p class="caption"><span class="smcap">Italian School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus032l.jpg">
+<img src="images/illus032s.jpg" width="400" height="555" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY FROM A MODEL.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Juana Romani, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_56">[56]</a></span></p>
+
+<p class="caption" id="i033"><span class="smcap">School of English Water Colour, XIX. Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus033l.jpg">
+<img src="images/illus033s.jpg" width="400" height="286" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE AKROPOLIS, ATHENS:<br />
+FROM THE BALCONY OF THE CROWN PRINCE'S HOUSE."<br />
+FROM THE WATER-COLOUR DRAWING IN THE COLLECTION OF JAMES ORROCK, ESQ.,
+R.I.<br />
+H.I.M. The Empress Frederick of Germany, R.I.<br />
+1840-1901</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_57">[57]</a></span></p>
+
+<h2 id="Chapter_II">Early British Women Painters</h2>
+
+<p><img class="dropimg" src="images/illus034s.jpg" width="105" height="100" alt="" />
+<b><span class="hide">E</span>VERYBODY</b> knows that it has fallen to England's lot to gem the remote
+seas with shining repetitions of herself. But everybody does not
+remember that she has done this quite at haphazard, just as the winds
+carry seeds from a garden to a waste ground. In herself, with fitful
+moments of purposeful energy, England has been self-critical and
+self-distrustful, disinclined to value her own doings or to take
+precautions when in the midst of dangers. But for the individual
+enterprise of her children, which she has often disowned and punished,
+her colonies would have been the Isle of Man and the Isle of Wight.
+And it is singular to note also that the history of England's genius
+in art has followed the traditional character of her devious
+makeshifts in commerce and in war. Despite all inherent weaknesses,
+she has achieved at random a recognised greatness in art, and is so
+surprised at it that she hesitates always to encourage the gifts of
+her own craftsmen, preferring rather to have confidence in the work
+which she can buy from men of genius in other countries. From the time
+of Henry VIII. to the coming of the school of Reynolds, she allowed
+her own painters to starve in order that she might employ strangers;
+and to-day, as in the past, she butterflies from foreign school to
+foreign school and treats her own native arts to side-glances and
+half-friendly nods.</p>
+
+<p>Now, as this has ever been England's disposition, it is not surprising
+to find that Englishwomen, as well as Englishmen, long hesitated to
+follow the arts professionally. At a time when Italy and France had
+scores of women painters, England had scarcely one. Perhaps the
+earliest of any note, if we except Susannah Penelope Gibson, a
+miniature painter, was Mrs. Mary Beale, daughter of a Suffolk
+clergyman named Cradock. She lived between the years 1632 and 1697.<span class="pagenum"><a id="Page_58">[58]</a></span>
+After modelling her style on that of Lely, she worked with great
+courage, showing much real talent, particularly in quiet portraiture.
+She painted broadly and well, drew with force and discrimination, and
+although she told the truth plainly at a time when other painters
+flattered and fawned, she yet achieved success, and was encouraged by
+the highest in the land, from King Charles the Second to Archbishop
+Tillotson. Time has robbed her colour of its first freshness, but the
+character remains, and the portraits on page <a href="#Page_81">81</a> represent Mary Beale
+in a characteristic manner.</p>
+
+<p>The next English women painters in order of merit were Lady Diana
+Beauclerk, an amateur with much untutored talent, and Catharine Read,
+a distinguished professional artist of the Reynolds period. That she
+was appreciated in her day is proved by the fact that her portraits
+were engraved, side by side with those of Reynolds and Gainsborough.
+To-day she is forgotten, and very little can be learnt about her life
+or about the present owners of her pictures. Catharine Read lived near
+St. James's and sent frequently to the exhibitions. In 1770 she went
+to the East Indies, but in a few years returned to London, where she
+died in or about the year 1786.</p>
+
+<p>Angelica Kauffman, R.A., though born at Coire, the capital of the
+Grisons, belongs to the British school, and holds in the early history
+of that school a position similar to that which has been assigned in
+France to Madame Vig&eacute;e Le Brun. The art of the two ladies differs
+widely to be sure, that of Angelica Kauffman having less mirth, less
+wit, less sprightliness and homeful sincerity; it is quite artificial
+in spirit, with a strong bias towards the sentimental; but it has for
+all that considerable charm and ability, qualities, let us remember,
+that won the admiration of Reynolds and of Goethe. Turner, also,
+possessed two of her drawings, as I am told by his descendant, Mr
+Charles Mallord W. Turner. But in recent times Angelica Kauffman has
+been remembered for the romance of her personal life and treated with
+cool contempt in all that appertains to her work. Critics have
+searched in her pictures for manly qualities, and finding there the
+temperament of a sentimental woman, their judgment<span class="pagenum"><a id="Page_59">[59]</a></span> has failed them.
+The very men who would be astonished beyond measure if a prima donna
+sang to them in a voice like the leading tenor's, do not hesitate to
+complain when the voice in a woman's painting is one filled with
+womanhood.</p>
+
+<p>In England, at the close of the 18th century, quite a number of ladies
+came to the front in art, like Caroline Watson, the admirable stipple
+engraver (page <a href="#Page_89">89</a>), or like Catherine Maria Fanshawe, a painter-etcher
+who could put a body into a peasant's smock and could show in a rustic
+figure the mingled influences of Morland and Gainsborough, while
+keeping a tender sympathy of her own (page <a href="#Page_89">89</a>). Amelia Hotham, too, in
+the native art of water-colour, attained to a broad and vigorous style
+in landscape, while taking far too many hints from the scenic pomp
+that Francis Nicholson made popular in outdoor scenes (page <a href="#Page_88">88</a>).
+Nevertheless, Amelia Hotham's work has interest in the history of
+British water-colour, like that of three other ladies who followed
+her, the Viscountess Templetown (page <a href="#Page_94">94</a>), Matilda Heming and Mrs.
+John Herford, the grandmother of Mrs. Allingham. Matilda Heming's
+picture on page <a href="#Page_95">95</a>, "Backwater, Weymouth, Dorset," is weak in the
+drawing of the hills, but the rest of the design is quite admirable,
+the boats particularly being very well drawn. We see, then, that
+during the last decades of the 18th century, and at the beginning of
+the nineteenth, a little band of Englishwomen studied landscape
+painting seriously; and this fact is worth remembering, as women have
+seldom been drawn in art to nature in the woods and fields. The
+gentler sex, as a rule, has not appreciated landscapes.</p>
+
+<p>On the other hand, they have shown in art a great love for the beauty
+of flowers, the colour and the forms of insects, and the
+"other-naturalness" of many kinds of animals. Maria Sibylla Merian,
+Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell,
+Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch&mdash;these ladies will
+not be forgotten, let us hope, as long as there are students who take
+delight in plants, flowers, birds and animals.</p>
+
+<p>Among the flower and fruit painters in England, during the 18th
+century and the first few decades of the nineteenth,<span class="pagenum"><a id="Page_60">[60]</a></span> conspicuous
+places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and
+Anne Frances Byrne, illustrations of whose pictures will be found on
+page <a href="#Page_94">94</a>; and the reader will do well to compare this early work with
+that of Mrs. Coleman Angell, the female counterpart of William Hunt
+(page <a href="#Page_102">102</a>).</p>
+
+<p>Whilst these flower-painters were busy, another small group of ladies
+won considerable popularity by their little figure-subjects, such as
+the Countess Spencer's drawing on page <a href="#Page_90">90</a>, or again, like the fanciful
+miniatures by Mrs. Mee or the sentimental portraits by Mrs. J.
+Robertson, types of which are given on page <a href="#Page_93">93</a>. Miss Curran's portrait
+of Shelley is a valuable portrait-sketch historically (page <a href="#Page_90">90</a>), and
+it has something of the charm that distinguishes the able portraits
+drawn to-day by the Marchioness of Granby.</p>
+
+<p>What can be said about Mrs. Margaret Carpenter? Is she not to be
+placed among those quiet, unpretentious portrait-painters whose
+thoughts are so wrapped up in their determination to be true that they
+never think of striving after exhibition-room effects? Margaret
+Carpenter gives us the character of her sitters, and not technical
+displays of her own cleverness. Born at Salisbury, in 1793, the
+daughter of Captain Geddes, this able painter came to London in 1814,
+and married, in 1817, William Carpenter, who for many years was Keeper
+of the Print Room in the British Museum. She exhibited often at the
+Royal Academy until 1864, and made a great reputation by her
+portraits. She died in 1872, leaving a son, William Carpenter
+(1819-1899), to continue the art tradition which she had herself
+carried on in her family.</p>
+
+<p><span class="pagenum"><a id="Page_61">[61]</a></span></p>
+
+<p class="caption"><span class="smcap">English School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus035l.jpg">
+<img src="images/illus035s.jpg" width="400" height="545" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE LADY GEORGIANA SPENCER.<br />
+AFTER THE PAINTING IN THE
+COLLECTION OF EARL SPENCER.<br />
+FROM A PHOTOGRAPH BY HANFSTAENGL<br />
+Catharine Read, Painter<br />
+Died about 1786</p>
+
+<p>Some may think that Margaret Carpenter began the modern history of
+women painters in England; others may grant that distinction to the
+intuitive and radiant work of Lady Waterford, that most gifted of all
+amateurs. It seems truer to say that Margaret Carpenter is best
+described as a connecting-link between the old and the new, and that
+Lady Waterford is not only so faithful to herself but so spontaneous,
+that her good gifts belong to no particular school or period. They
+certainly owed<span class="pagenum"><a id="Page_63">[63]</a></span> much to the colour of the Venetian School, far more
+to that old source of inspiration than to any influence of the 19th
+century. But the main characteristics of Lady Waterford's appeal come
+to us from the painter's own heart and beautiful &aelig;sthetic intellect.
+The ease with which she composed, and the charming animation of all
+her designs, these were natural qualities uninfluenced by any
+teaching; and they won the ardent admiration of the late Mr. G. F.
+Watts. It is the spirit alone of Lady Waterford's art that we should
+admire; we must not look closely at the drawing, for Lady Waterford
+neither tried nor wished to perfect her faulty technical equipment.
+Most of her art-work was done after a day spent in other charities. It
+was Lady Waterford's joy to dole out alms herself, and it never
+occurred to her that she might do such good actions by proxy, just as
+Queen Charlotte picked up five old books in the booths of Holywell
+Street. The truth is that Lady Waterford valued practicalness more
+than imagination, as do the great majority of women; she longed to
+<i>see</i> the good she did, and she could not realise to herself that art
+has a permanent ethical influence. Closing her eyes to this truth,
+Lady Waterford wrote as follows to one of her friends:&mdash;</p>
+
+<p>"I could never attain to even one work that I see in my mind's
+eye, and if I could it would be less than those of the great men
+of old, <i>whose greatest works have not quelled evil or taught
+good</i>.... I could not live for art&mdash;it would not be what I am
+put in the world to do. I do not despise art, but I should feel
+that it was not given for that. Two homes have been given me,
+and it is to try to do what I can in them that they are given
+for brief life."</p>
+
+<p>Is not that pathetic? Is it not the very music of a woman's
+rationalism? What has "quelled evil?" But if our hearts and
+minds rise to an entire sympathy with Lady Waterford's sketches,
+we shall certainly feel that a noble spirit in art does indeed
+"teach good," is a spiritual almsgiving for all time, a charity
+that goes on ministering, through long generations, to that
+which is best in human nature.</p>
+
+<p class="author">WALTER SHAW SPARROW.</p>
+
+<p><span class="pagenum"><a id="Page_64">[64]</a></span></p>
+
+<p class="spacer">&nbsp;</p>
+
+<div class="figcenter">
+<a href="images/illus036l.jpg">
+<img src="images/illus036s.jpg" width="300" height="308" alt="" />
+</a>
+</div>
+
+<p class="caption">DESIGN BY CHRISTINE ANGUS.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_65">[65]</a></span></p>
+
+<h2 id="Chapter_III">Modern British Women Painters</h2>
+
+<p class="h3">By Ralph Peacock</p>
+
+<p><img class="dropimg" src="images/illus037s.jpg" width="105" height="100" alt="" />
+<b><span class="hide">I</span>T</b> is the privilege of man, in his youth, to ignore his limitations.
+For this ignorance he pays in failure the price of a possible success.
+In his wiser middle age he does not repent, he finds that it is only
+by some sort of an attack on his limitations that apparent results are
+attained, and he learns to take on faith the difference there is in
+fact between the attainment and the attempt. The experience of a woman
+is, I take it, very similar. It follows in no way that, because her
+limitations are different from, and in a physical sense greater than,
+man's, the brutal laws which go to produce results are in her case
+different. She is marching along the same road, and though she may
+have other stopping places by the way and perhaps may take up more
+modest quarters in the end, it is a journey and an arrival, an effort
+and a result, and the things seen by the wayside become of
+significance to her as the painted banners under which she seeks her
+way.</p>
+
+<p>Englishwomen do not seem to have done much in painting before the
+generation or two that are just past. Public opinion was against them.
+The early Victorian conditions under which a woman like Charlotte
+Bront&euml; produced her great results in another art are more or less
+familiar to all, and in the matter of painting the voice of prejudice
+has had still more to say. By these days it has croaked itself into
+the feeble hoarseness of a respectable and decent old age, and we can
+already look back to a succession of women painters who seem to have
+been conscious at first of their leading-strings, but who have shown a
+development more than corresponding to that of the conditions under
+which they worked. Kate Greenaway, who died only a few years ago, was
+no doubt a good example of the charming results to be<span class="pagenum"><a id="Page_66">[66]</a></span> obtained in
+leading-strings. To compare her with an artist who works in a similar
+field to-day is to note an advance, not only of a generation, but of
+the changing educational conditions within the generation. It is a far
+cry from Kate Greenaway to Miss Alice Woodward, for instance, and it
+is difficult to imagine that another age will say anything more, or
+less, of Miss Woodward than that she was a most distinguished artist.
+The leading-strings are gone.</p>
+
+<p>It will always be a special field for women, the production of work in
+the first place for children, and it is unnecessary to spend time in
+emphasising or over-emphasising its importance. Art itself reckons
+little with motives and much with results. In a more general view it
+would, perhaps, be better to start this small article with some notice
+of the women painters of the seventeenth, eighteenth and early
+nineteenth centuries. There is Mrs. Mary Beale, who was a child when
+Cromwell was Lord Protector, and who later on painted a most excellent
+portrait of Charles II. There is some work of hers in the National
+Portrait Gallery, London, work of the quiet, genuine kind, and better
+than most of the painting that came for some time afterwards. Then
+there is Angelica Kauffman, R.A., who provides us with perhaps the
+only well-known name of the early periods, and there are some
+portrait-painters of interest, like Miss Catharine Read, of Reynolds'
+time, or like Mrs. Anne Mee, of the early part of last century. But it
+must be confessed that it would be a sorry list for a couple of
+centuries if it were a fact that women had had the same opportunities
+and no greater disabilities than the men of the period. It is not
+indeed until we reach such painters as Margaret Carpenter, the
+portrait painter, Mrs. Matilda Heming, the landscapist, and Lady
+Waterford, that more than charming amateur who might have done so
+much, that we begin to feel we have a reasonable genesis of the worker
+of to-day. These painters show to us now rather the influences of
+their time or the limitations of their opportunities, than
+personalities which are outside such considerations, but they
+nevertheless provide us with evidence of a very genuine and lively
+activity.</p>
+
+<p><span class="pagenum"><a id="Page_67">[67]</a></span></p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="caption"><span class="smcap">British School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus038l.jpg">
+<img src="images/illus038s.jpg" width="400" height="516" alt="" />
+</a>
+</div>
+
+<p class="caption">THE SIBYL.<br />
+AFTER THE PICTURE IN THE ROYAL GALLERY, DRESDEN.<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Maria Angelica Kauffman, R.A., Painter<br />
+1741-1807</p>
+
+<p><span class="pagenum"><a id="Page_69">[69]</a></span></p>
+
+<p>The work of Mrs. Heming is interesting in a rather more special way.
+It is distinctly rare to find the ordinary landscapist of her time
+working with an eye to truth rather than to the making of a so-called
+composition of the period, rare enough in fact to place her quite
+above the ordinary.</p>
+
+<p>It is at first sight a curious thing that more women painters have not
+even in these days been attracted by pure landscape. It is strange in
+the sense that they have among them such painters as Lady Butler and
+Miss Lucy Kemp-Welch. But no branch of art is more that of the
+specialists than landscape. It developed later in history than any
+other, and it calls to those who would tire of the didactic in human
+thought and who might find in the study of any obviously human affair
+something to remind them of a phase of experience they would, in
+paint, avoid. No doubt the Empress Frederick turned to landscape as an
+occupation of relief from the pressing human affairs in which her life
+was involved, and it is just in such a way that the natural
+landscapist turns from the human side of life to the more abstract
+emotions he finds in the garden of the Great Spirit.</p>
+
+<p>Women, I believe, are more held by the personal than the abstract.
+Mrs. Allingham may be one of the exceptions. In any case Mrs.
+Allingham claims quite a special place for herself in any
+sketch-survey of the work of English women painters. Few women have
+shown a more definitely English sympathy in landscape than she has.
+Her method is simple, obvious and plain for all to see. For that
+reason it would fail to appeal in any way to the Eclectics, or to
+those among them, at any rate, who, in the words of a subtle Eclectic,
+confound the natural with the commonplace. A distinctly home-bred
+feeling, such as Mrs. Allingham has among women, or, in the grand
+manner, Fred Walker among men, is however a very rare thing and is
+becoming rarer. How far it may, in individual cases, change to other
+things may be seen in some of the more modern painters, in the
+remarkably strong work of Miss Margaret Cameron, Miss Biddie
+Macdonald, Miss Alice Fanner, and Miss Beatrice How. This latter
+painter has not merely been affected in matters<span class="pagenum"><a id="Page_70">[70]</a></span> of technique, but
+gives us, most delightfully, the very sentiment of the country people
+she paints. It is quite a little miracle of transplanted adaptability.</p>
+
+<p>It has been said that every good woman has in her marching outfit a
+supply of adaptability which, in sum total, accounts for most of the
+happiness enjoyed by the human race at large. If so, it may be added
+that in its superior manifestations the affair is sub-conscious,
+artistic, most natural and not at all one of the commonplaces of life.
+It perhaps explains, or rather is illustrated by, the number of
+painters in the very first rank among women who have shown in their
+work the influence of some near relative. In any case, Lady
+Alma-Tadema for one has produced work so extraordinarily good in
+itself that it is easy to believe the similarity of her technique to
+that of Sir Laurence Alma-Tadema to be merely one of the happy chances
+of her life. A very similar thought arises in connection with the work
+of the late Miss Margaret Dicksee. It is easy to influence technique,
+but first causes are not set in action by human hands. If one who did
+not know her may say so, there is written on the canvases that Miss
+Dicksee has left behind the evidence of a most lovable nature.</p>
+
+<p>Mrs. Stanhope Forbes, Miss Lucy Kemp-Welch and Lady Granby are
+isolated examples whose work has no connection in itself and shows
+very little affinity, beneath the surface, with the special influences
+of their time. The strong brushwork of Mrs. Stanhope Forbes, it is
+true, may be said to have arrived by way of Newlyn, but the fanciful
+sentiment underlying her work has an arrival quite of its own. Miss
+Lucy Kemp-Welch has made, and deserved, a place for herself the last
+few years, and she stands alone among women as an animal painter of
+power. Lady Granby, who is an amateur, is also an artist. Magna est
+ars et prevalet. Ave!</p>
+
+<p>Miss Mary Gow, the late Alice Havers, Miss Jessie Macgregor, Miss Anna
+Alma-Tadema, Miss Lily Blatherwick, Miss Amy Sawyer, and Louisa Starr
+(Madame Canziana) also make a special appeal, each in her own way.</p>
+
+<p><span class="pagenum"><a id="Page_71">[71]</a></span></p>
+
+<p>Mrs. Swynnerton is a lady who has given us a great deal of work of a
+very high order indeed. In the first place she has always something to
+say that is worth saying. Her work is exuberant with the joy of life,
+the joy of colour. Her very brush is surcharged with a high and lavish
+spirit. Blue eyes look out, so blue, from happy sunburnt faces, so
+sunburnt, that take their places on her canvases as in a drama to tell
+us something of her thoughts and of themselves. Mrs. Swynnerton, plus
+her faults, is genuine through and through. The work of another
+painter, Mrs. De Morgan, naturally comes into consideration when we
+turn to symbolism. More tenaciously in earnest and more austere in
+every way than Mrs. Swynnerton, her work is as the poles apart. The
+one romps, if the term be allowed, in a flower-spangled meadow, the
+other's province is the study; and, as is the way with students, her
+mind is often on the thought of the past rather than with affairs of
+the present. Before one of Mrs. De Morgan's pictures one thinks
+through, by way of Burne-Jones, to Botticelli and the great ancestors
+of art, and it is saying a very great deal for Mrs. De Morgan that in
+such case one can bless the passive hand that gives and the hand that
+receives.</p>
+
+<p>Her work may very well lead us to a small band of artists, not
+definitely connected in themselves, but allied with each other in the
+sense that they work for somewhat similar ends: Mrs. Marianne Stokes,
+Miss Eleanor Fortescue Brickdale and Mrs. Young Hunter. To these,
+perhaps, may one day be added a name very little known at present,
+Miss Milicent E. Gray. It is not unusual in speaking of the work of
+either of these first three artists, and more especially of Miss
+Eleanor Brickdale, to refer to the pre-Raphaelite influence in art. It
+is, however, extremely probable that the influence takes direct effect
+in these days more as a method than as a conviction. The great
+conviction itself has leavened Art, and the individualities of these
+painters are so strong that it becomes in their case a nearer interest
+to ignore all potters and regard the clay. Mrs. Young Hunter has a
+quaint flitting fancy that wanders over hill and dale and seizes from
+life subtle little touches that<span class="pagenum"><a id="Page_72">[72]</a></span> are full of the elusiveness of tales
+told after school hours.</p>
+
+<p>Mrs. Marianne Stokes is made of sterner stuff. She has worked of late
+in that most stern and stubborn medium, tempera, and small things of
+hers in various exhibitions attract one always with the desire to know
+more of her most attractive work. Miss Eleanor Brickdale works, or
+plays, always with an idea. And the idea she is not satisfied to leave
+until it has taken on for other eyes a most cunning and beautiful
+bodily shape, in line, in form, in colour&mdash;above all in line. She is
+probably, without knowing it, as good an antithesis as may be found of
+the Impressionist, so-called. The Impressionist is the incarnation of
+the abstract in terms of paint, the Symbolist uses the material to
+convey definite abstractions in thought. It is, by contrast with
+music, the motive of symphony as compared to the motive of Oratorio or
+opera, and the apposite methods may be equally well, or badly, used or
+abused. Abuse may lead the militant Impressionist to an impasse of
+assertive agnosticism as pedantic in its way as the lucubrations of
+the most literary pedant in paint. On the other side of the lantern
+you may have Watts, and the painted canvases of a Whistler. So be it.</p>
+
+<p>Art is a long lane with many turnings, and down each there may be
+found a little house with a fireside and human hearts thereby.</p>
+
+<p class="author">RALPH PEACOCK.</p>
+
+<div id="silhouette" class="figcenter">
+<a href="images/illus039l.jpg">
+<img src="images/illus039s.jpg" width="300" height="232" alt="" />
+</a>
+</div>
+
+<p class="caption">SILHOUETTE BY NELLY BODENHEIM</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_73">[73]</a></span></p>
+
+<p class="caption" id="i040"><span class="smcap">School of British Water-Colour, 1900.</span></p>
+
+<div class="figcenter">
+<a href="images/illus040l.jpg">
+<img src="images/illus040s.jpg" width="600" height="354" alt="" />
+</a>
+</div>
+
+<p class="caption">YOUTH AND THE LADY.<br />
+REPRODUCED FROM THE ORIGINAL WATER-COLOUR,<br />
+BY KIND
+PERMISSION OF CHARLES DOWDESWELL, ESQ.,<br />
+THE OWNER OF THE PICTURE AND
+ITS COPYRIGHT.<br />
+Miss Eleanor Fortescue Brickdale, Painter</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_75">[75]</a></span></p>
+
+<h2 id="Chapter_IV">Women Painters in the United States of America</h2>
+
+<p><img class="dropimg" src="images/illus041s.jpg" width="99" height="100" alt="" />
+<b><span class="hide">D</span>URING</b> the 19th century, in the United States of America, there came
+slowly into existence a new school of painting&mdash;new often in temper
+rather than in manner, for its followers usually came to Europe for
+their methods. Race, climate, religion, commerce, social life,
+influence art, and the painters of the United States reveal in their
+work all the characteristics for which their country has long been
+famous: vivacity, invention, constant enterprise, a democratic
+enthusiasm, a love of truth (truth often united with romance or else
+with sensationalism), and last, but not least, a rare felicity in
+transforming borrowed knowledge into something quite original. It is
+not often that a civilisation embodies itself in the genius of one
+man, giving an epitome of all its dominant qualities; but in Mr. John
+S. Sargent, R.A., we recognise a painter of tremendous gifts who does
+for the United States what the manly, swaggering Rubens did for
+Flanders, symbolising a people and a civilisation.</p>
+
+<p>One sign of the democratic spirit in the progress of American Art is
+to be noticed in the fact that women have participated largely in the
+honours gained by the pioneers. It is noteworthy, for instance, that
+the first book on Women Painters should have been written by an
+American lady, Mrs Ellet, as far back as 1859. Mrs. Ellet showed great
+industry, but following a custom rashly encouraged by writers on art,
+she believed that she could teach painting and sculpture by the use of
+words alone, in recording biographical facts, and in offering
+criticisms on work that her readers could not see in illustrations.
+Written history is the phonograph of all past centuries, but the
+understanding of art owes little to its words.</p>
+
+<p>Still, the enthusiasm that fired Mrs. Ellet was shared by many of her
+countrywomen, and to it we owe some<span class="pagenum"><a id="Page_76">[76]</a></span> truly clever artists, like the
+four sculptors, Harriet Hosmer, Florence Freeman, Edmonia Lewis and
+Emma Stebbins, or like the following painters: Emily Sartain
+(portraits and genre), Sara M. Peale (portraits), Mrs. J. W. Dewing
+(portraits, subject pictures, flowers and still-life), Annie C. Shaw
+(cattle and landscapes), Mrs. Ad&egrave;le Fassett (portraits) Mrs. Elisa
+Greatorex (landscapes), Mrs. Henry A. Loop (portraits), Ella A. Moss
+(portraits), Jennie Brownscombe (subject pictures), May Alcott (copies
+after J. M. W. Turner and still-life), Elizabeth Boott (figure
+subjects), Charlotte B. Coman (landscapes in the manner of Corot), and
+that delicate recorder of pleasant secrets learnt from nature in the
+fields, Fidelia Bridges. The very titles of this lady's pictures have
+the fragrance of field flowers or else they glow with the plumage of
+birds. It has been said of Fidelia Bridges that her art sings little
+pastoral lyrics, and her art is certainly very fresh and sweet,
+charmed with much sympathetic appreciation of nature in some of her
+unnumbered smiling moods. For Fidelia Bridges, like Birket Foster,
+paints as though the year were all springtime, a series of twelve May
+months, all full of gaiety and bounty. She seldom takes heed of that
+eternal warfare which accompanies Nature's bountifulness, filling the
+seed-carrying winds with the presence of death, and setting every
+living thing to prey upon another. To this part of Nature's life
+Fidelia Bridges usually shuts her eyes, unlike Miss E. M. Carpenter,
+whose landscape art reveals at times the menacing suggestion of great
+rivers and of high solitary mountains.</p>
+
+<p>It would serve no useful purpose to enumerate all the earlier women
+painters of the United States. They worked bravely and well, and if
+their doings are now forgotten or undervalued, it is only because the
+harvest sowed by them is being reaped by the present generation.
+To-day the names of at least two American women painters, Mary Cassatt
+and Cecilia Beaux, are known in every country where good art is
+studied. Mary Cassatt, the only pupil of Degas, is bracketed always
+with Berthe Morisot, for both ladies became Impressionists at about
+the same time, adding the charm of their personalities to a rugged
+revolt in art.<span class="pagenum"><a id="Page_77">[77]</a></span> The work of each has great interest, but that of Mary
+Cassatt is the more attractive and the more enduring. It is not
+overburdened with a heavy adherence to methods originated by men; and
+it is richer with the emotions of the painter's own heart. To Mary
+Cassatt, Impressionism is a chosen dialect, a means by which she can
+express herself in colour and form; to Berthe Morisot, on the other
+hand, it was in itself the final word in painting. So, mistaking the
+clay of art for the finished statue, she obeyed the methods of a
+school with so much zeal and so much self-sacrifice that her own
+nature became enslaved to the difficulties of technique. Compare
+Berthe Morisot's able study (page <a href="#Page_211">211</a>) with the charming homeliness of
+Mary Cassatt's picture (page <a href="#Page_157">157</a>), and you will see at a glance how
+wide is the difference between the emotional and &aelig;sthetic value of the
+subjects represented. Berthe Morisot remains a student, while Mary
+Cassatt passes beyond technique to a universal delight in childhood.
+She feels both the pathos and the humour of the beginnings of our
+life, and she makes infancy welcome in art because she understands it
+and shows no maudlin sentiment.</p>
+
+<p>Something of the same kind is done by Miss Cornelia Conant, in her
+domestic picture called "The End of the Story" (page <a href="#Page_151">151</a>); and another
+view of child-life, delightfully rendered by Helen Hyde, may be seen
+in colour on page <a href="#Page_145">145</a>.</p>
+
+<p>The pictures by which Miss Cecilia Beaux is represented in this book
+show very clearly that her genius has dramatic strength, sustention,
+and flexibility. The portrait on page <a href="#Page_162">162</a> is handled with a sculptural
+vigour that responds admirably to the character of the sitter, while
+the "Mother and Child" (page <a href="#Page_121">121</a>) has a quietness of tone, a reserved
+simplicity of style, a permeating suggestion of pathos, having much in
+common with Whistler's portrait of his mother. Miss Cecilia Beaux is a
+dramatist in her studies of character, and her art is probably more
+subtle and more various than that of any woman painter who has devoted
+her life to portraiture. The reader will do well to contrast her style
+with that of Mrs. Anna Lea Merritt, the first<span class="pagenum"><a id="Page_78">[78]</a></span> woman painter whose
+work was purchased by the Chantrey Fund, London (page <a href="#Page_139">139</a>).</p>
+
+<p>It is fitting now that a list should be given of other leading artists
+of the United States, though their work is not represented here, owing
+to the adventures in delays that attend a despatch of letters from
+London to America.</p>
+
+<p>1. Sarah C. Sears (Mrs. J. Montgomery Sears), pupil of Turner, Brush
+and Tarbell; prizes at New York, 1893, Chicago, 1893, Paris, 1900,
+Buffalo, 1901, Charleston, 1902.<br />
+2. Miss Mary L. Macomber, pupil of
+Boston Museum; prizes at Boston, 1895, Atlanta, 1895, National Academy
+of Design, 1897, Pittsburgh, 1901.<br />
+3. Miss Katherine Abbot, bronze
+medal at Paris, 1900.<br />
+4. Miss Elizabeth F. Bonsall, pupil of Howard
+Pyle, prize winner at Philadelphia, 1885, 1888, 1897.<br />
+5. Miss Matilda
+Browne, pupil of Dewey and Bisbing, medals at Chicago, 1890, National
+Academy of Design, 1899 and 1901.<br />
+6. Miss Maria Brooks, pupil of the
+Royal Academy Schools, London.<br />
+7. Mrs. Brewster Sewell, pupil of Duran
+in Paris, of Chase in New York; winner of several prizes, as at
+Charleston in 1902.<br />
+8. Rosina Emmet Sherwood, pupil of Chase and of
+Julian's School, Paris; prizes in Paris, 1889, Chicago, 1893, Buffalo,
+1901.<br />
+9. Mrs. Emily M. Scott, prizes at Buffalo, 1901, New York, 1902.<br />
+10. Miss Rhoda H. Nicolls, born in England and studied in England; a
+frequent prize-winner.<br />
+11. Edith M. Prellwitz, a frequent prize-winner
+and a pupil of Brush, in New York, of Julian, in Paris.<br />
+12. Lydia
+Field Emmet, pupil of Bouguereau, in Paris, of Chase, in New York;
+prizes at Chicago, 1893, Atlanta, 1895, Buffalo, 1901.<br />
+13. Mrs. Kenyon
+Cox, pupil of the National Academy of Design; prize-winner at Paris,
+1900, at Buffalo, 1901.<br />
+14. Emma L. Cooper, Medals at Chicago, 1893,
+Atlanta, 1895.<br />
+15. Mrs. Charlotte B. Comans, Medal at San Francisco,
+1894.<br />
+16. Miss Clara S. MacChesney;<br />
+and last, but not least, Miss Mary
+F. MacMonnies.</p>
+
+<p class="author">W. S. S.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_79">[79]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus042l.jpg">
+<img src="images/illus042s.jpg" width="400" height="420" alt="" />
+</a>
+</div>
+
+<p class="caption">THE QUEEN AND THE PAGE.<br />
+AFTER THE ORIGINAL PAINTING,<br />
+FROM A PHOTOGRAPH
+BY DIXON &amp; SON, LONDON<br />
+Mrs. Marianne Stokes, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_81">[81]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus043ll.jpg">
+<img src="images/illus043sl.jpg" width="400" height="447" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE ENGLISH POET, ABRAHAM COWLEY (1618-1667).<br />FROM A
+PHOTOGRAPH BY W. A. MANSELL &amp; CO.,<br />AFTER THE ORIGINAL PAINTING IN THE
+NATIONAL PORTRAIT GALLERY, LONDON<br />
+Mrs. Mary Beale, born Cradock, Painter<br />
+1632-1697</p>
+
+<div class="figcenter">
+<a href="images/illus043lr.jpg">
+<img src="images/illus043sr.jpg" width="400" height="453" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF KING CHARLES II OF ENGLAND.<br />FROM A PHOTOGRAPH BY W. A.
+MANSELL &amp; CO.,<br />AFTER THE ORIGINAL PAINTING IN THE NATIONAL PORTRAIT
+GALLERY, LONDON<br />
+Mrs. Mary Beale, born Cradock, Painter<br />
+1632-1697</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_82">[82]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus044lt.jpg">
+<img src="images/illus044st.jpg" width="300" height="367" alt="" />
+</a>
+</div>
+
+<p class="caption">CARICATURE OF EDWARD GIBBON, HISTORIAN.<br />IN THE PRINT ROOM, THE BRITISH
+MUSEUM<br />
+Lady Diana Beauclerk, Amateur<br />
+1734-1808</p>
+
+<div class="figcenter">
+<a href="images/illus044lb.jpg">
+<img src="images/illus044sb.jpg" width="400" height="403" alt="" />
+</a>
+</div>
+
+<p class="caption">CUPIDS.<br />AFTER AN ENGRAVING BY F. BARTOLOZZI, R.A.<br />
+Lady Diana Beauclerk, Amateur<br />
+1734-1808</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_83">[83]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus045l.jpg">
+<img src="images/illus045s.jpg" width="400" height="505" alt="" />
+</a>
+</div>
+
+<p class="caption">ARIADNE.<br />
+AFTER THE ORIGINAL PAINTING IN THE DRESDEN GALLERY,<br />FROM A
+PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH<br />
+Maria Angelica Kauffman. R.A., Painter<br />
+1741-1807</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_84">[84]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus046ll.jpg">
+<img src="images/illus046sl.jpg" width="400" height="505" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MISS HARRIOT POWELL.<br />
+FROM A MEZZOTINT BY RICHARD HOUSTON.<br />
+THE PROOF LENT BY MR. ALFRED DAVIS<br />
+Miss Catharine Read, Painter<br />
+Died about 1786</p>
+
+<div class="figcenter">
+<a href="images/illus046lr.jpg">
+<img src="images/illus046sr.jpg" width="400" height="495" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MISS JONES.<br />
+FROM AN ENGRAVING BY J. WATSON, DATED 1767.<br />
+THE PRINT LENT BY MR. ALFRED DAVIS<br />
+Miss Catharine Read, Painter<br />
+Died about 1786</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_85">[85]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus047l.jpg">
+<img src="images/illus047s.jpg" width="400" height="573" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE FISHER WIFE."<br />
+AFTER THE DRAWING IN WATER-COLOUR AND CRAYON,<br />FROM
+A PHOTOGRAPH BY W. E. GRAY, LONDON<br />
+Mrs. Stanhope Forbes, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_87">[87]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus048ll.jpg">
+<img src="images/illus048sl.jpg" width="400" height="533" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (PAINTED BY HERSELF) OF ANGELICA KAUFFMAN, R.A.,<br />
+AFTER THE
+ORIGINAL PICTURE IN THE UFFIZI GALLERY.<br />FROM A PHOTOGRAPH BY ALINARI<br />
+Maria Angelica Kauffman, R.A., Painter<br />
+1741-1807</p>
+
+<div class="figcenter">
+<a href="images/illus048lr.jpg">
+<img src="images/illus048sr.jpg" width="400" height="498" alt="" />
+</a>
+</div>
+
+<p class="caption">THE VESTAL VIRGIN.<br />
+AFTER THE ORIGINAL PICTURE IN THE ROYAL GALLERY,
+DRESDEN,<br />FROM A PHOTOGRAPH BY HANFSTAENGL<br />
+Maria Angelica Kauffman, R.A., Painter<br />
+1741-1807</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_88">[88]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, 1793</span></p>
+
+<div class="figcenter">
+<a href="images/illus049l.jpg">
+<img src="images/illus049s.jpg" width="400" height="288" alt="" />
+</a>
+</div>
+
+<p class="caption">RIVERSIDE LANDSCAPE WITH A CASTLE IN THE DISTANCE.<br />
+PAINTED IN 1793,
+WHEN TURNER AND GIRTIN WERE ONLY EIGHTEEN.<br />
+THE BREADTH AND MANNER OF
+THIS DRAWING ARE THEREFORE REMARKABLE,<br />
+ESPECIALLY AS COMING FROM A
+LADY OF THAT TIME.<br />
+THE SCENIC POMP OF THE DESIGN POINTS TO THE
+INFLUENCE OF FRANCIS NICHOLSON.<br />AFTER THE ORIGINAL WATER-COLOUR
+(19-5/8 INCHES BY 26-3/4 INCHES)<br />IN THE PRINT ROOM OF THE BRITISH
+MUSEUM,<br />FROM A PHOTOGRAPH BY W. E. GRAY<br />
+Amelia Hotham, Painter<br />
+End of 18th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_89">[89]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, End of XVIII Century and Beginning of
+XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus050ll.jpg">
+<img src="images/illus050sl.jpg" width="400" height="580" alt="" />
+</a>
+</div>
+
+<p class="caption">A COUNTRY BOY.<br />
+REPRODUCED FROM AN ORIGINAL SOFT-GROUND ETCHING<br />THAT
+SHOWS THE MINGLED INFLUENCES OF GAINSBOROUGH AND MORLAND<br />
+Catherine Maria Fanshawe, Painter-Etcher<br />
+1765-1834</p>
+
+<div class="figcenter">
+<a href="images/illus050lr.jpg">
+<img src="images/illus050sr.jpg" width="400" height="476" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF SARAH,
+COUNTESS OF KINNOULL,<br />FROM A STIPPLE ENGRAVING<br />
+AFTER A MINIATURE BY SAMUEL SHELLEY<br />
+Caroline Watson, Engraver to Queen Caroline<br />
+1760(?)-1814</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_90">[90]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus051ll.jpg">
+<img src="images/illus051sl.jpg" width="400" height="530" alt="" />
+</a>
+</div>
+
+<p class="caption">A PINCH OF SNUFF.<br />
+AFTER AN ENGRAVING BY MADAME BOVI, A PUPIL OF F. BARTOLOZZI, R.A.<br />THE
+PRINT LENT BY MR. ALFRED DAVIS<br />
+Lavinia Countess Spencer, Amateur<br />
+Died 1831</p>
+
+<div class="figcenter">
+<a href="images/illus051lr.jpg">
+<img src="images/illus051sr.jpg" width="400" height="478" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF PERCY BYSSHE SHELLEY (1792-1822).<br />
+AFTER THE ORIGINAL
+DRAWING IN THE NATIONAL PORTRAIT GALLERY, LONDON.<br />FROM A PHOTOGRAPH BY
+J. CASWALL SMITH<br />
+Miss A. Curran, Amateur<br />
+Died 1847</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_91">[91]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus052l.jpg">
+<img src="images/illus052s.jpg" width="300" height="680" alt="" />
+</a>
+</div>
+
+<p class="caption">"FLORA."<br />
+REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Miss Evelyn Pickering (Mrs. William De Morgan), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_93">[93]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus053ll.jpg">
+<img src="images/illus053sl.jpg" width="400" height="562" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MRS. STUART<br />
+FROM A MEZZOTINT BY S. W. REYNOLDS,<br />KINDLY
+LENT BY MR. ALFRED DAVIS<br />
+Mrs. J. Robertson, Painter<br />
+Worked 1824 to 1844</p>
+
+<div class="figcenter">
+<a href="images/illus053lr.jpg">
+<img src="images/illus053sr.jpg" width="400" height="510" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF LADY DALRYMPLE HAMILTON,
+DAUGHTER OF ADMIRAL LORD DUNCAN<br />
+FROM AN ENGRAVING BY J. AGAR<br />
+Mrs. Anne Mee, born Foldsone, Painter<br />
+Died very old in 1851</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_94">[94]</a></span></p>
+
+<p class="caption"><span class="smcap">British School 1764 to 1826</span></p>
+
+<div class="figcenter">
+<a href="images/illus054ltl.jpg">
+<img src="images/illus054stl.jpg" width="300" height="390" alt="" />
+</a>
+</div>
+
+<p class="caption">VASE OF FLOWERS.<br />PAINTED IN
+1764 AND FORMERLY IN THE COLLECTION OF QUEEN CHARLOTTE.<br />AFTER THE
+TEMPERA PAINTING AT SOUTH KENSINGTON<br />
+Mary Moser, R.A. (Mrs. Hugh Lloyd)<br />
+1744-1819</p>
+
+<div class="figcenter">
+<a href="images/illus054ltr.jpg">
+<img src="images/illus054str.jpg" width="300" height="397" alt="" />
+</a>
+</div>
+
+<p class="caption">GROUP OF FLOWERS IN A JAR.<br />
+PAINTED IN 1806 FOR PRINCESS ELIZABETH,
+DAUGHTER OF GEORGE III.<br />AFTER THE WATER-COLOUR AT SOUTH KENSINGTON<br />
+Mrs. Margaret Meen, Painter<br />
+Worked 1775 to 1810</p>
+
+<div class="figcenter">
+<a href="images/illus054lbl.jpg">
+<img src="images/illus054sbl.jpg" width="300" height="385" alt="" />
+</a>
+</div>
+
+<p class="caption">FLOWERS AND GRAPES.<br />PAINTED IN 1826.<br />AFTER THE
+WATER-COLOUR AT SOUTH KENSINGTON<br />
+Miss Anne Frances Byrne, Painter<br />
+1775-1837</p>
+
+<div class="figcenter">
+<a href="images/illus054lbr.jpg">
+<img src="images/illus054sbr.jpg" width="300" height="370" alt="" />
+</a>
+</div>
+
+<p class="caption">WOOD SCENE.<br />AFTER THE DRAWING IN INDIA INK ON A
+WATER-COLOUR TINT AT SOUTH KENSINGTON<br />
+Viscountess Templetown, Amateur<br />
+Died 1824</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_95">[95]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, Early XIX. Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus055lt.jpg">
+<img src="images/illus055st.jpg" width="400" height="247" alt="" />
+</a>
+</div>
+
+<p class="caption">BACKWATER, WEYMOUTH, DORSET.<br />
+AFTER THE ORIGINAL WATER-COLOUR IN THE
+BRITISH MUSEUM<br />FROM A PHOTOGRAPH BY W. E. GRAY, LONDON<br />
+Mrs. Matilda Heming, born Lowry, Painter<br />
+1808-1855</p>
+
+<div class="figcenter">
+<a href="images/illus055lb.jpg">
+<img src="images/illus055sb.jpg" width="400" height="275" alt="" />
+</a>
+</div>
+
+<p class="caption">LANDSCAPE AT KENILWORTH<br />
+AFTER AN ORIGINAL WATER-COLOUR<br />
+BY THE GRANDMOTHER OF MRS. HELEN ALLINGHAM, R.W.S.<br />
+Mrs. John Herford, Amateur</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_96">[96]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus056ltl.jpg">
+<img src="images/illus056stl.jpg" width="300" height="372" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF HENRIETTA SHUCKBURGH,<br />
+AFTER THE WATER-COLOUR IN THE
+BRITISH MUSEUM<br />
+Mrs. Margaret Carpenter, born Geddes, Painter<br />
+1793-1872</p>
+
+<div class="figcenter">
+<a href="images/illus056ltr.jpg">
+<img src="images/illus056str.jpg" width="300" height="382" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARGARET CARPENTER.<br />
+AFTER THE WATER-COLOUR IN THE BRITISH
+MUSEUM<br />
+Mrs. Margaret Carpenter, born Geddes, Painter<br />
+1793-1872</p>
+
+<div class="figcenter">
+<a href="images/illus056lb.jpg">
+<img src="images/illus056sb.jpg" width="400" height="326" alt="" />
+</a>
+</div>
+
+<p class="caption">LODONA.<br />FROM POPE'S "WINDSOR FOREST."<br />
+FROM THE ENGRAVING BY F. BARTOLOZZI, R.A.<br />
+Mrs. Maria Cosway, born Hadfield, Painter<br />
+1759-1838</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_97">[97]</a></span></p>
+
+<p class="caption" id="i057"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus057l.jpg">
+<img src="images/illus057s.jpg" width="400" height="392" alt="" />
+</a>
+</div>
+
+<p class="caption">"ELSPETH."<br />
+AFTER THE ORIGINAL PORTRAIT IN BODY-COLOUR,<br />BY KIND
+PERMISSION OF MRS. J. M. CURRIE, LONDON<br />
+Miss Ann Macbeth, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_99">[99]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus058lt.jpg">
+<img src="images/illus058st.jpg" width="500" height="219" alt="" />
+</a>
+</div>
+
+<p class="caption">PALM BRANCHES.<br />
+AFTER THE ORIGINAL DRAWING<br />FROM A PHOTOGRAPH BY J.
+CASWALL SMITH, LONDON<br />
+Louisa Marchioness of Waterford, Painter<br />
+1818-1891</p>
+
+<div class="figcenter">
+<a href="images/illus058lb.jpg">
+<img src="images/illus058sb.jpg" width="400" height="293" alt="" />
+</a>
+</div>
+
+<p class="caption">SPRING.<br />
+AFTER THE ORIGINAL DRAWING IN WATER-COLOUR<br />FROM A PHOTOGRAPH
+BY J. CASWALL SMITH<br />
+Louisa Marchioness of Waterford, Painter<br />
+1818-1891</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_100">[100]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus059ll.jpg">
+<img src="images/illus059sl.jpg" width="400" height="491" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF JOHN GIBSON, R.A., SCULPTOR (1791-1866).<br />
+AFTER THE
+PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON,<br />FROM A PHOTOGRAPH
+BY W. A. MANSELL &amp; CO.<br />
+Mrs. Margaret Carpenter, born Geddes, Painter<br />
+1793-1872</p>
+
+<div class="figcenter">
+<a href="images/illus059lr.jpg">
+<img src="images/illus059sr.jpg" width="400" height="470" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF R. P BONINGTON, PAINTER (1801-1828).<br />
+AFTER THE PAINTING IN
+THE NATIONAL PORTRAIT GALLERY, LONDON,<br />FROM A PHOTOGRAPH BY W. A.
+MANSELL &amp; CO.<br />
+Mrs. Margaret Carpenter, born Geddes, Painter<br />
+1793-1872</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_101">[101]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus060l.jpg">
+<img src="images/illus060s.jpg" width="600" height="287" alt="" />
+</a>
+</div>
+
+<p class="caption">JESUS CHRIST AMONG THE DOCTORS<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />FROM A
+PHOTOGRAPH BY J. CASWALL SMITH<br />
+Louisa Marchioness of Waterford, Painter<br />
+1818-1891</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_102">[102]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus061l.jpg">
+<img src="images/illus061s.jpg" width="400" height="302" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF A BIRD'S NEST.<br />
+REPRODUCED FROM THE ORIGINAL DRAWING IN
+WATER-COLOUR<br />BY PERMISSION OF MESSRS. BROWN &amp; PHILLIPS<br />
+Mrs. Helen Cordelia Angell, born Coleman, Painter<br />
+1847-1884</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_103">[103]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1901</span></p>
+
+<div class="figcenter">
+<a href="images/illus062l.jpg">
+<img src="images/illus062s.jpg" width="400" height="574" alt="" />
+</a>
+</div>
+
+<p class="caption">"TO-DAY FOR ME."<br />FROM A PHOTOGRAPH BY H. DIXON &amp; SON,<br />
+AFTER THE
+WATER-COLOUR IN THE COLLECTION OF MISS EVANS<br />
+Miss Eleanor Fortescue Brickdale, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_105">[105]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1871</span></p>
+
+<div class="figcenter">
+<a href="images/illus063l.jpg">
+<img src="images/illus063s.jpg" width="400" height="278" alt="" />
+</a>
+</div>
+
+<p class="caption">ELAINE.<br />REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+BY
+PERMISSION OF THE ARTS COMMITTEE,<br />THE WALKER ART GALLERY, LIVERPOOL<br />
+Mrs. Sophie Anderson, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_106">[106]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1873</span></p>
+
+<div class="figcenter">
+<a href="images/illus064l.jpg">
+<img src="images/illus064s.jpg" width="400" height="506" alt="" />
+</a>
+</div>
+
+<p class="caption">SINTRAM AND HIS MOTHER (VIDE DE LA MOTTE FOUQUE).<br />
+REPRODUCED FROM A
+PHOTOGRAPH<br />BY PERMISSION OF THE ARTS COMMITTEE,<br />THE WALKER GALLERY,
+LIVERPOOL<br />
+Louisa Starr (Madame Canziana), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_107">[107]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, 1875-1895</span></p>
+
+<div class="figcenter">
+<a href="images/illus065ll.jpg">
+<img src="images/illus065sl.jpg" width="400" height="506" alt="" />
+</a>
+</div>
+
+<p class="caption">THROUGH THE WOOD.<br />
+REPRODUCED FROM THE ORIGINAL WATER-COLOUR<br />AT SOUTH
+KENSINGTON<br />
+Miss Ivy Heitland, Painter<br />
+1875-1895</p>
+
+<div class="figcenter">
+<a href="images/illus065lr.jpg">
+<img src="images/illus065sr.jpg" width="400" height="594" alt="" />
+</a>
+</div>
+
+<p class="caption">MOTHER AND CHILD.<br />DATED 1894.<br />
+FROM THE WATER-COLOUR IN THE IONIDES
+COLLECTION<br />AT SOUTH KENSINGTON<br />
+Miss Mary L. Gow, R.I., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_108">[108]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1880</span></p>
+
+<div class="figcenter">
+<a href="images/illus066l.jpg">
+<img src="images/illus066s.jpg" width="499" height="309" alt="" />
+</a>
+</div>
+
+<p class="caption">"BLANCHISSEUSES."<br />
+REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL
+PAINTING<br />BY PERMISSION OF THE ARTS COMMITTEE,<br />THE WALKER ART GALLERY,
+LIVERPOOL<br />
+Miss Alice Havers, Painter<br />
+Died 1890</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_109">[109]</a></span></p>
+
+<p class="caption" id="i067"><span class="smcap">School of British Water-Colour, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus067l.jpg">
+<img src="images/illus067s.jpg" width="400" height="551" alt="" />
+</a>
+</div>
+
+<p class="caption">A COTTAGE NEAR CROCKEN HILL<br />
+FROM THE ORIGINAL WATER-COLOUR<br />
+Mrs. Helen Allingham, R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><br /><a id="Page_111">[111]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, 1888</span></p>
+
+<div class="figcenter">
+<a href="images/illus068l.jpg">
+<img src="images/illus068s.jpg" width="400" height="320" alt="" />
+</a>
+</div>
+
+<p class="caption">THE POTATO HARVEST.<br />
+AFTER THE ORIGINAL WATER-COLOUR, DATED 1888,<br />FROM
+A PHOTOGRAPH KINDLY LENT BY THE ARTIST<br />
+Miss Edith Martineau, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_112">[112]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus069l.jpg">
+<img src="images/illus069s.jpg" width="400" height="560" alt="" />
+</a>
+</div>
+
+<p class="caption">IN MEMORIAM.<br />AFTER A PHOTOGRAPH BY HENRY DIXON &amp; SON,<br />
+BY KIND
+PERMISSION OF MISS MARY A. DICKSEE AND FRANK DICKSEE, ESQ., R.A.<br />
+Miss Margaret Isabel Dicksee, Painter<br />
+1858-1903</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_113">[113]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1887 and 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus070ll.jpg">
+<img src="images/illus070sl.jpg" width="400" height="515" alt="" />
+</a>
+</div>
+
+<p class="caption">GOOD FRIENDS.<br />
+AFTER THE ORIGINAL PAINTING, DATED 1887,<br />FROM A
+PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Mrs. Elizabeth Strong, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus070lr.jpg">
+<img src="images/illus070sr.jpg" width="400" height="545" alt="" />
+</a>
+</div>
+
+<p class="caption">THE END OF A STORY.<br />
+AFTER THE ORIGINAL PAINTING<br />FROM A PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Miss Emily Hart, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_114">[114]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1900</span></p>
+
+<div class="figcenter">
+<a href="images/illus071l.jpg">
+<img src="images/illus071s.jpg" width="400" height="544" alt="" />
+</a>
+</div>
+
+<p class="caption">"SLEEP, THAT KNITS UP THE RAVELL'D SLEAVE OF CARE."<br />
+FROM A PHOTOGRAPH
+BY DIXON &amp; SON, LONDON,<br />AFTER THE ORIGINAL WATER-COLOUR IN THE
+COLLECTION OF MISS EVANS<br />
+Miss Eleanor Fortescue Brickdale, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_115">[115]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus072l.jpg">
+<img src="images/illus072s.jpg" width="400" height="306" alt="" />
+</a>
+</div>
+
+<p class="caption">LABOURERS OF THE NIGHT.<br />
+FROM THE STUDY IN OIL-COLOUR ON DRAWING PAPER<br />
+Miss Lucy E. Kemp-Welch, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_117">[117]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus073l.jpg">
+<img src="images/illus073s.jpg" width="400" height="625" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY FROM THE LIFE.<br />
+AFTER THE ORIGINAL CHALK DRAWING<br />
+Evelyn Pickering (Mrs. William De Morgan), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_118">[118]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus074ltl.jpg">
+<img src="images/illus074stl.jpg" width="300" height="500" alt="" />
+</a>
+</div>
+
+<p class="caption">YELLOW ROSES.<br />AFTER THE ORIGINAL WATER-COLOUR<br />
+Mrs. William Duffield, R.I.</p>
+
+<div class="figcenter">
+<a href="images/illus074ltr.jpg">
+<img src="images/illus074str.jpg" width="300" height="397" alt="" />
+</a>
+</div>
+
+<p class="caption">FROM A NEAPOLITAN VILLA.<br />AFTER THE ORIGINAL WATER-COLOUR<br />
+Miss A. M. Youngman, R.I.</p>
+
+<div class="figcenter">
+<a href="images/illus074lb.jpg">
+<img src="images/illus074sb.jpg" width="400" height="290" alt="" />
+</a>
+</div>
+
+<p class="caption">ROOM AT LEICESTER<br />
+IN WHICH SHAKESPEARE IS SAID TO HAVE
+ACTED BEFORE QUEEN ELIZABETH.<br />AFTER THE ORIGINAL SKETCH IN
+WATER-COLOUR DATED 1903<br />
+Miss Alice M. Hobson, R.I., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_119">[119]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus075lt.jpg">
+<img src="images/illus075st.jpg" width="400" height="301" alt="" />
+</a>
+</div>
+
+<p class="caption">"A FOR APPLE-PIE: E EAT IT."<br />
+AFTER THE ORIGINAL DRAWING
+IN THE COLLECTION OF JOHN GREENAWAY, ESQ.<br />REPRODUCED BY PERMISSION OF
+FREDERICK WARNE &amp; CO.<br />
+Miss Kate Greenaway, Illustrator<br />
+1846-1901</p>
+
+<div class="figcenter">
+<a href="images/illus075lb.jpg">
+<img src="images/illus075sb.jpg" width="400" height="271" alt="" />
+</a>
+</div>
+
+<p class="caption">"WHO LOVES A GARDEN LOVES A GREENHOUSE TOO"<br />
+AFTER THE
+ORIGINAL PICTURE<br />EXHIBITED AT THE ROYAL INSTITUTE OF WATER-COLOUR IN
+1904<br />
+Miss A. M. Youngman, R.I.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_120">[120]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus076ll.jpg">
+<img src="images/illus076sl.jpg" width="300" height="516" alt="" />
+</a>
+</div>
+
+<p class="caption">ST. BRIDGET.<br />
+FROM A PHOTOGRAPH BY R. J. W. HAINES<br />
+Mrs. Louise Jopling, R.B.A., Painter</p>
+
+<div class="figcenter">
+<a href="images/illus076lr.jpg">
+<img src="images/illus076sr.jpg" width="400" height="572" alt="" />
+</a>
+</div>
+
+<p class="caption">WAIFS FROM THE GREAT CITY.<br />COPYRIGHT RESERVED BY THE ARTIST<br />
+Mrs. Staples (M. Ellen Edwards), Illustrator</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_121">[121]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus077l.jpg">
+<img src="images/illus077s.jpg" width="400" height="678" alt="" />
+</a>
+</div>
+
+<p class="caption">MOTHER AND CHILD<br />
+AFTER THE ORIGINAL PAINTING<br />
+Miss Cecilia Beaux, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_123">[123]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus078ll.jpg">
+<img src="images/illus078sl.jpg" width="300" height="574" alt="" />
+</a>
+</div>
+
+<p class="caption">DRAPERY STUDY.<br />
+REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL DRAWING<br />
+Evelyn Pickering (Mrs. William De Morgan)</p>
+
+<div class="figcenter">
+<a href="images/illus078lr.jpg">
+<img src="images/illus078sr.jpg" width="400" height="461" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE LADY ALIX. EGERTON,<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL
+PAINTING<br />
+Miss Biddie Macdonald, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_124">[124]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus079ll.jpg">
+<img src="images/illus079sl.jpg" width="400" height="534" alt="" />
+</a>
+</div>
+
+<p class="caption">WHITE TREASURES<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY THE
+AUTOTYPE CO. NEW OXFORD STREET, LONDON<br />
+Miss Florence White, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus079lr.jpg">
+<img src="images/illus079sr.jpg" width="400" height="553" alt="" />
+</a>
+</div>
+
+<p class="caption">"HUSH! REMIND NOT EROS OF HIS WINGS."<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />
+Miss Katharine Cameron, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_125">[125]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus080l.jpg">
+<img src="images/illus080s.jpg" width="400" height="273" alt="" />
+</a>
+</div>
+
+<p class="caption">AFTER WORK<br />
+A STUDY IN LEAD PENCIL<br />
+Miss Lucy Kemp-Welch, Artist</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_126">[126]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus081ll.jpg">
+<img src="images/illus081sl.jpg" width="400" height="545" alt="" />
+</a>
+</div>
+
+<p class="caption">"OLIVIA."<br />
+REPRODUCED FROM THE ORIGINAL DRAWING<br />BY PERMISSION OF
+MESSRS. BROWN &amp; PHILLIPS, LONDON<br />
+Mrs. Mary Young Hunter, Illustrator</p>
+
+<div class="figcenter">
+<a href="images/illus081lr.jpg">
+<img src="images/illus081sr.jpg" width="400" height="537" alt="" />
+</a>
+</div>
+
+<p class="caption">"HE MARRIED A WIFE."<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />IN THE COLLECTION
+OF MISS EVANS<br />
+Miss Eleanor Fortescue Brickdale, A.R.W.S., Painter</p>
+
+<p><span class="pagenum"><a id="Page_127">[127]</a></span></p>
+
+<hr class="pic" />
+
+<p class="caption"><span class="smcap">British School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus082l.jpg">
+<img src="images/illus082s.jpg" width="400" height="273" alt="" />
+</a>
+</div>
+
+<p class="caption">"A. FOR APPLE PIE: C. CUT IT."<br />
+AFTER THE WATER COLOUR DRAWING<br />IN THE
+COLLECTION OF JOHN GREENAWAY, ESQ.,<br />REPRODUCED BY PERMISSION OF
+MESSRS. FREDERICK WARNE &amp; CO.,<br />OWNERS OF THE COPYRIGHT<br />
+Miss Kate Greenaway, Designer<br />
+1846-1901</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_129">[129]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus083l.jpg">
+<img src="images/illus083s.jpg" width="400" height="397" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE HON MRS. WALTER JAMES.<br />
+AFTER THE ORIGINAL PICTURE<br />FROM
+A PHOTOGRAPH BY MESSRS. DIXON &amp; SON, LONDON<br />
+Mrs. Marianne Stokes, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_130">[130]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus084lt.jpg">
+<img src="images/illus084st.jpg" width="500" height="212" alt="" />
+</a>
+</div>
+
+<p class="caption">AN INTERESTING STORY<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />
+Miss Marian Chase, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus084lb.jpg">
+<img src="images/illus084sb.jpg" width="400" height="311" alt="" />
+</a>
+</div>
+
+<p class="caption">"WHERE SHALL WISDOM BE FOUND?"<br />
+AFTER AN ORIGINAL PICTURE PAINTED IN 1902<br />
+Mrs. Mary Young Hunter, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_131">[131]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus085l.jpg">
+<img src="images/illus085s.jpg" width="400" height="438" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MRS. BLAIR WITH HER DOGS.<br />
+AFTER AN ORIGINAL PAINTING<br />THAT
+GAINED A "MENTION HONORABLE" IN THE SALON OF 1904<br />
+Miss Margaret Cameron, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_132">[132]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus086lt.jpg">
+<img src="images/illus086st.jpg" width="400" height="286" alt="" />
+</a>
+</div>
+
+<p class="caption">A SONG OF THE SEA<br />
+FROM THE ORIGINAL ETCHING<br />
+Miss Amelia Bauerl&euml;, Painter-Etcher</p>
+
+<div class="figcenter">
+<a href="images/illus086lb.jpg">
+<img src="images/illus086sb.jpg" width="400" height="234" alt="" />
+</a>
+</div>
+
+<p class="caption">FAUNS<br />
+FROM THE ORIGINAL ETCHING<br />
+Miss Amelia Bauerl&euml;, Painter-Etcher</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_133">[133]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1895</span></p>
+
+<div class="figcenter">
+<a href="images/illus087l.jpg">
+<img src="images/illus087s.jpg" width="400" height="340" alt="" />
+</a>
+</div>
+
+<p class="caption">THE SENSE OF SIGHT.<br />
+REPRODUCED FROM THE PAINTING IN THE WALKER
+GALLERY, LIVERPOOL,<br />BY PERMISSION OF THE ARTS COMMITTEE<br />
+Mrs. Annie L. Swynnerton, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_135">[135]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus088lt.jpg">
+<img src="images/illus088st.jpg" width="400" height="300" alt="" />
+</a>
+</div>
+
+<p class="caption">RIVERSIDE LANDSCAPE<br />
+AFTER THE ORIGINAL PAINTING<br />
+Miss Alice Fanner, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus088lb.jpg">
+<img src="images/illus088sb.jpg" width="400" height="425" alt="" />
+</a>
+</div>
+
+<p class="caption">MEMORIES.<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />EXHIBITED IN 1904 AT THE
+ROYAL INSTITUTE OF PAINTERS<br />IN WATER-COLOUR<br />
+Miss Gertrude Demain Hammond, R.I., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_136">[136]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1903</span></p>
+
+<div class="figcenter">
+<a href="images/illus089l.jpg">
+<img src="images/illus089s.jpg" width="500" height="248" alt="" />
+</a>
+</div>
+
+<p class="caption">BLUEBELLS<br />
+FROM THE ORIGINAL PAINTING<br />
+THE ROYAL ACADEMY, 1903<br />
+Miss Christabel A. Cockerell (Mrs. Geo. Frampton), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_137">[137]</a></span></p>
+
+<p class="caption"><span class="smcap">School of British Water-Colour, 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus090ll.jpg">
+<img src="images/illus090sl.jpg" width="400" height="539" alt="" />
+</a>
+</div>
+
+<p class="caption">PONTE WIDMAN, VENICE.<br />
+AFTER THE ORIGINAL OUT-DOOR SKETCH<br />IN
+WATER-COLOUR<br />
+Mrs. Helen Allingham, R.W.S., Painter</p>
+
+<div class="figcenter">
+<a href="images/illus090lr.jpg">
+<img src="images/illus090sr.jpg" width="300" height="455" alt="" />
+</a>
+</div>
+
+<p class="caption">CAMPANILE SAN STEFANO, VENICE.<br />
+AFTER THE ORIGINAL OUT-DOOR SKETCH<br />IN
+WATER-COLOUR<br />
+Mrs. Helen Allingham, R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_138">[138]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus091l.jpg">
+<img src="images/illus091s.jpg" width="600" height="275" alt="" />
+</a>
+</div>
+
+<p class="caption">THE HERDSMAN OF ADMETUS<br />
+AFTER THE ORIGINAL PICTURE<br />EXHIBITED IN 1904<br />
+AT THE ROYAL SOCIETY OF PAINTERS IN WATER-COLOURS.<br />COPYRIGHT RESERVED<br />
+Miss Constance Phillott, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_139">[139]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus092l.jpg">
+<img src="images/illus092s.jpg" width="400" height="689" alt="" />
+</a>
+</div>
+
+<p class="caption">"LOVE LOCKED OUT."<br />
+AFTER THE PAINTING IN THE CHANTREY COLLECTION<br />IN
+THE TATE GALLERY, LONDON,<br />FROM A PHOTOGRAPH BY HANFSTAENGL<br />
+Mrs. Anna Lea Merritt, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_141">[141]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus093ll.jpg">
+<img src="images/illus093sl.jpg" width="400" height="506" alt="" />
+</a>
+</div>
+
+<p class="caption">Miss Eleanor Fortescue Brickdale, Illustrator</p>
+
+<div class="figcenter">
+<a href="images/illus093lr.jpg">
+<img src="images/illus093sr.jpg" width="400" height="508" alt="" />
+</a>
+</div>
+
+<p class="caption">Miss Eleanor Fortescue Brickdale, Illustrator</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_142">[142]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus094ltl.jpg">
+<img src="images/illus094stl.jpg" width="300" height="375" alt="" />
+</a>
+</div>
+
+<p class="caption">REPRODUCED FROM THE ORIGINAL DRAWING IN CRAYONS.<br />
+Miss E. Fortescue Brickdale, Illustrator</p>
+
+<div class="figcenter">
+<a href="images/illus094ltr.jpg">
+<img src="images/illus094str.jpg" width="300" height="410" alt="" />
+</a>
+</div>
+
+<p class="caption">LE REPAS. EXHIBITED AT THE PARIS SALON IN 1903<br />
+Miss Beatrice How, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus094lbl.jpg">
+<img src="images/illus094sbl.jpg" width="300" height="379" alt="" />
+</a>
+</div>
+
+<p class="caption">THE LATE CECIL RHODES.<br />
+AFTER THE PENCIL DRAWING<br />
+The Marchioness of Granby, Portraitist</p>
+
+<div class="figcenter">
+<a href="images/illus094lbr.jpg">
+<img src="images/illus094sbr.jpg" width="300" height="391" alt="" />
+</a>
+</div>
+
+<p class="caption">THE LATE LORD SALISBURY.<br />
+AFTER THE PENCIL DRAWING<br />
+The Marchioness of Granby, Portraitist</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_143">[143]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus095lt.jpg">
+<img src="images/illus095st.jpg" width="400" height="265" alt="" />
+</a>
+</div>
+
+<p class="caption">ON THE WAY TO THE HORSE FAIR.<br />
+FROM A PHOTOGRAPH BY THE AUTOTYPE CO.,<br />
+NEW OXFORD STREET LONDON<br />
+Miss Lilian Cheviot, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus095lb.jpg">
+<img src="images/illus095sb.jpg" width="400" height="276" alt="" />
+</a>
+</div>
+
+<p class="caption">ALMOND BLOSSOM IN LONDON<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />
+Miss Rose Barton, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_144">[144]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus096ll.jpg">
+<img src="images/illus096sl.jpg" width="400" height="605" alt="" />
+</a>
+</div>
+
+<p class="caption">DAY-DREAMS.<br />
+AFTER THE ORIGINAL PICTURE IN WATER-COLOUR<br />
+Jane M. Dealy (Mrs. Lewis), R.I., Painter</p>
+
+<div class="figcenter">
+<a href="images/illus096lr.jpg">
+<img src="images/illus096sr.jpg" width="300" height="501" alt="" />
+</a>
+</div>
+
+<p class="caption">BABY.<br />AFTER THE ORIGINAL PORTRAIT IN WATER COLOUR<br />
+Jane M. Dealy (Mrs. Lewis), R.I., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_145">[145]</a></span></p>
+
+<p class="caption" id="i097"><span class="smcap">United States of America, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus097l.jpg">
+<img src="images/illus097s.jpg" width="400" height="397" alt="" />
+</a>
+</div>
+
+<p class="caption">"DAY DREAMS."<br />
+FROM THE COLOURED WOODCUT IN THE JAPANESE MANNER.<br />
+PRINTED IN JAPAN BY NATIVE WORKMEN<br />UNDER THE SUPERVISION OF THE
+ARTIST.<br />REPRODUCED BY PERMISSION OF MR. C. KLACKER.<br />12, HAYMARKET,
+LONDON.<br />COPYRIGHT IN ALL COUNTRIES<br />
+Miss Helen Hyde, Designer and Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_147">[147]</a></span></p>
+
+<p class="caption"><span class="smcap">British School of Water-Colour, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus098ll.jpg">
+<img src="images/illus098sl.jpg" width="400" height="552" alt="" />
+</a>
+</div>
+
+<p class="caption">"IN WITH YOU!"<br />
+REPRODUCED FROM THE ORIGINAL PICTURE IN BODY-COLOUR<br />
+Mrs. Stanhope Forbes, A.R.W.S., Painter</p>
+
+<div class="figcenter">
+<a href="images/illus098lr.jpg">
+<img src="images/illus098sr.jpg" width="400" height="564" alt="" />
+</a>
+</div>
+
+<p class="caption">"CUCKOO."<br />
+REPRODUCED FROM THE ORIGINAL PICTURE IN BODY-COLOUR<br />
+Mrs. Stanhope Forbes, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_148">[148]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus099ll.jpg">
+<img src="images/illus099sl.jpg" width="400" height="498" alt="" />
+</a>
+</div>
+
+<p class="caption">IN THE REIGN OF TERROR.<br />
+AFTER THE ORIGINAL PAINTING, DATED 1891, IN
+THE WALKER GALLERY, LIVERPOOL<br />
+Miss Jessie Macgregor, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus099lr.jpg">
+<img src="images/illus099sr.jpg" width="400" height="472" alt="" />
+</a>
+</div>
+
+<p class="caption">IN A DUTCH COTTAGE.<br />
+AFTER AN ORIGINAL PAINTING EXHIBITED AT THE PARIS
+SALON IN 1904<br />
+Miss Beatrice How, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_149">[149]</a></span></p>
+
+<p class="caption"><span class="smcap">British School of Water-Colour, 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus100l.jpg">
+<img src="images/illus100s.jpg" width="500" height="314" alt="" />
+</a>
+</div>
+
+<p class="caption">MAY EVENING<br />
+AFTER THE ORIGINAL PICTURE<br />
+Mrs. E. Stanhope Forbes, A.R.W.S., Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_150">[150]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus101ll.jpg">
+<img src="images/illus101sl.jpg" width="300" height="448" alt="" />
+</a>
+</div>
+
+<p class="caption">A COTTAGE GIRL.<br />
+REPRODUCED FROM THE ORIGINAL WATER-COLOUR<br />
+Miss Minnie Smythe, A.R.W.S., Painter</p>
+
+<div class="figcenter">
+<a href="images/illus101lr.jpg">
+<img src="images/illus101sr.jpg" width="400" height="494" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF SIR CHARLES HOLROYD.<br />REPRODUCED FROM THE ORIGINAL PAINTING<br />
+Lady Holroyd, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_151">[151]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, 1880</span></p>
+
+<div class="figcenter">
+<a href="images/illus102l.jpg">
+<img src="images/illus102s.jpg" width="400" height="322" alt="" />
+</a>
+</div>
+
+<p class="caption">THE END OF THE STORY.<br />
+REPRODUCED FROM A COPYRIGHT PHOTOGRAPH<br />BY
+PERMISSION OF BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Cornelia W. Conant, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_153">[153]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus103l.jpg">
+<img src="images/illus103s.jpg" width="400" height="283" alt="" />
+</a>
+</div>
+
+<p class="caption">OPHELIA: "THERE'S RUE FOR YOU."<br />
+REPRODUCED BY KIND PERMISSION OF THE
+ARTS COMMITTEE,<br />THE WALKER ART GALLERY, LIVERPOOL<br />
+Mrs. E. Normand (Henrietta Rae), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_154">[154]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, 1897</span></p>
+
+<div class="figcenter">
+<a href="images/illus104l.jpg">
+<img src="images/illus104s.jpg" width="400" height="249" alt="" />
+</a>
+</div>
+
+<p class="caption">"STEADY THE DRUMS AND FIFES!"<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL
+PICTURE,<br />
+BY KIND PERMISSION OF LADY ELIZABETH BUTLER<br />
+AND OF MESSRS.
+GOUPIL &amp; CO., LONDON AND PARIS,<br />
+PUBLISHERS OF THE LARGE REPRODUCTION
+RECENTLY ISSUED<br />
+Lady Elizabeth Butler, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_155">[155]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus105lt.jpg">
+<img src="images/illus105st.jpg" width="300" height="321" alt="" />
+</a>
+</div>
+
+<p class="caption">AFTER THE BULL-FIGHT<br />
+FROM THE ORIGINAL PICTURE<br />
+Miss Margaret Cameron, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus105lb.jpg">
+<img src="images/illus105sb.jpg" width="400" height="299" alt="" />
+</a>
+</div>
+
+<p class="caption">WINTRY WEATHER<br />
+AFTER THE ORIGINAL PICTURE<br />
+Lily Blatherwick (Mrs. A. S. Hartrick), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_156">[156]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus106lt.jpg">
+<img src="images/illus106st.jpg" width="400" height="318" alt="" />
+</a>
+</div>
+
+<p class="caption">A YORKSHIRE TROUT STREAM.<br />
+AFTER THE ORIGINAL PICTURE<br />
+Miss Alice Fanner, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus106lb.jpg">
+<img src="images/illus106sb.jpg" width="400" height="494" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MISS ANNA ALMA-TADEMA.<br />
+AFTER THE ORIGINAL PAINTING<br />
+Miss Anna Alma-Tadema, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_157">[157]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus107l.jpg">
+<img src="images/illus107s.jpg" width="400" height="311" alt="" />
+</a>
+</div>
+
+<p class="caption">BABY'S TOILETTE.<br />
+REPRODUCED FROM THE ORIGINAL PASTEL,<br />
+BY PERMISSION OF
+MESSRS. DURAND-RUEL &amp; SONS, PARIS<br />THE OWNERS OF THE COPYRIGHT.<br />
+Miss Mary Cassatt, Pastellist and Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_159">[159]</a></span></p>
+
+<p class="caption"><span class="smcap">British School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus108ltl.jpg">
+<img src="images/illus108stl.jpg" width="300" height="361" alt="" />
+</a>
+</div>
+
+<p class="caption">FROM THE ORIGINAL PEN-DRAWING<br />
+Miss Jessie M. King, Illustrator</p>
+
+<div class="figcenter">
+<a href="images/illus108ltr.jpg">
+<img src="images/illus108str.jpg" width="300" height="373" alt="" />
+</a>
+</div>
+
+<p class="caption">THE MUSIC LESSON<br />
+Mrs. J. M. Swan, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus108lb.jpg">
+<img src="images/illus108sb.jpg" width="400" height="327" alt="" />
+</a>
+</div>
+
+<p class="caption">PANEL OF A SCREEN<br />
+AFTER THE ORIGINAL PAINTING<br />
+Miss Amy Sawyer, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_160">[160]</a></span></p>
+
+<p class="caption"><span class="smcap">British and American Schools, Contemporary.</span></p>
+
+<div class="figcenter">
+<a href="images/illus109ll.jpg">
+<img src="images/illus109sl.jpg" width="300" height="512" alt="" />
+</a>
+</div>
+
+<p class="caption">OPHELIA.<br />
+FROM A PHOTOGRAPH BY THE AUTOTYPE CO.,<br />NEW OXFORD STREET,
+LONDON<br />
+Miss Offor (Mrs. F. Littler), Painter, England.</p>
+
+<div class="figcenter">
+<a href="images/illus109lr.jpg">
+<img src="images/illus109sr.jpg" width="400" height="528" alt="" />
+</a>
+</div>
+
+<p class="caption">PRAYER.<br />AFTER THE ORIGINAL PICTURE,<br />
+FROM A CARBON-PRINT PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mrs. Cecilia Wentworth, Painter, U.S.A., America.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_161">[161]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus110l.jpg">
+<img src="images/illus110s.jpg" width="500" height="318" alt="" />
+</a>
+</div>
+
+<p class="caption">THE PEACE BALL<br />
+AFTER THE DECLARATION OF INDEPENDENCE:<br />
+THE FRENCH
+OFFICERS, LAFAYETTE AND ROCHAMBEAU,<br />BEING INTRODUCED TO WASHINGTON'S
+MOTHER.<br />REPRODUCED BY PERMISSION OF C. KLACKNER,<br />HAYMARKET, LONDON<br />
+Miss Jennie Brownscombe, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_162">[162]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, Contemporary.</span></p>
+
+<div class="figcenter">
+<a href="images/illus111l.jpg">
+<img src="images/illus111s.jpg" width="400" height="513" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT.<br />
+REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />KINDLY
+LENT BY THE ARTIST.<br />
+Miss Cecilia Beaux, Painter.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_163">[163]</a></span></p>
+
+<p class="caption"><span class="smcap">United States of America, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus112l.jpg">
+<img src="images/illus112s.jpg" width="500" height="228" alt="" />
+</a>
+</div>
+
+<p class="caption">THE BAMBOO FENCE.<br />
+FROM A WOODCUT DESIGNED IN THE JAPANESE MANNER<br />
+AND
+PRINTED IN COLOURS BY JAPANESE WORKMEN.<br />REPRODUCED BY PERMISSION OF C.
+KLACKNER,<br />NEW YORK, U.S.A., AND 12, HAYMARKET, LONDON.<br />DATE OF
+COPYRIGHT, 1904<br />
+Miss Helen Hyde, Designer</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_166">[166]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1755-1842</span></p>
+
+<div class="figcenter">
+<a id="i113" href="images/illus113l.jpg">
+<img src="images/illus113s.jpg" width="400" height="524" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME VIG&Eacute;E LE BRUN AND HER DAUGHTER.<br />
+AFTER THE PAINTING
+IN THE LOUVRE,<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_167">[167]</a></span></p>
+
+<h2 id="Chapter_V">Of Women Painters in France</h2>
+
+<p class="h3">By L&eacute;once B&eacute;n&eacute;dite.<br />Translated into English by Edgar Preston</p>
+
+<p><img class="dropimg" src="images/illus114s.jpg" width="102" height="100" alt="" />
+<b><span class="hide">W</span>OMAN</b> in Art is a fruitful subject. It is both psychological and
+&aelig;sthetic, involving as it does a question of paramount interest. At
+the same time it includes a special up-to-date character, by virtue of
+the grave questions arising from the position of woman in our social
+system of to-day. It is, indeed, the position of woman which has for
+so long a period set limits to her production of creations of the
+mind, and her position has had a distinct bearing on her inspiration.</p>
+
+<p>Thus it will be grasped, in these times of ours when the movement for
+the total emancipation of woman has commenced, and when the first
+franchises granted to her have already borne conclusive results, how
+it is that our honoured colleague, the editor of this book, has been
+led, both as an artist and as a writer on art, to conduct a sort of
+historical examination enabling one to understand the position woman
+has won in the realms of art in the past, and permitting one to
+foresee the place she is called upon to occupy in the future.</p>
+
+<p>With regard to the productions of the mind, it becomes necessary to
+establish a well-defined distinction, at least in so far as the past,
+anterior to the 19th century, is concerned, between the position of
+women artists and that of literary women. The literary woman, like the
+man of letters, was not subjected to any special obligation beyond the
+official sanction granting her the privilege of publication&mdash;a
+sanction which bore only on the question of morals and religion. Every
+woman was free to write without let or hindrance, without any
+preliminary education, and even without going through the formalities
+of publication or the necessities of printing, since a famous woman
+like Madame de S&eacute;vign&eacute; owed her celebrity to letters which were<span class="pagenum"><a id="Page_168">[168]</a></span> not
+destined to be made public. This explains the number of charming
+writers among women who have added lustre to French literature by
+their novels, stories, or simply by their letters, and enables one to
+realise how these women authors are, in contradistinction to women
+artists, persons of high standing. The chronicles of the H&ocirc;tel de
+Rambouillet constitute an interesting little chapter in the history of
+letters in France, just as the "Pr&eacute;cieuses Ridicules" or the "Femmes
+Savantes" of Moli&egrave;re reveal to us the defects and eccentricities into
+which the literary pretensions of the feminine world had fallen in the
+17th century. It cannot, however, be denied that the fair sex freely
+infused into the literature of that period spontaneity, life and
+spirit, piquancy, affectation, and the delicate sentiments inherent to
+its nature, and that it had its share of influence on French taste at
+that time.</p>
+
+<p>Altogether different is the position of their sisters, the
+women-painters. Let us first look into that of the men. Painters
+formerly were part of a Guild such as that of the Drapers, Bakers and
+Butchers, and in their case it was a Guild which was far from
+occupying the first place in the hierarchy of Guilds. The Butchers
+were beyond doubt higher up in the scale than the painters. The
+painters were subjected to narrow and despotic regulations; rigorous
+conditions governed both apprenticeship and mastership, conditions
+hardly encouraging to those who had a vocation, more especially in the
+case of women, ill-protected by the weakness of their sex, by
+prevalent custom, and ill-adapted for the struggle. The <i>r&eacute;gime</i> of
+the Acad&eacute;mies, which followed that of the Guilds, did not bring in its
+wake conditions in any degree profitable to womankind. The Acad&eacute;mie de
+Saint-Luc, while pretending to safeguard the professional interests of
+artists, displayed such tyrannical pretensions that a certain number
+of artists rose in revolt against it, and appealed to the Royal power,
+which, approached by its chief painter, Charles Le Brun, came to their
+rescue, by helping them to found the celebrated Acad&eacute;mie Royale de
+Peinture et de Sculpture (1666). The Acad&eacute;mie Royale proved itself
+somewhat more liberal. It set no limits to the reception of those who
+seemed worthy of its suffrages; we know that it<span class="pagenum"><a id="Page_169">[169]</a></span> welcomed into its
+bosom a number of strangers of merit, and that it opened its doors to
+women. Therein lies a victory of appreciable importance, if one
+considers the energy and the talent which women artists were compelled
+to display, in order to conquer ancient prejudices in so signal a
+fashion. Henceforth a place was assigned in art to women, a place
+still hedged in with limitations, and which could be attained only by
+the few privileged ones. For, in its turn, the Acad&eacute;mie served the
+purpose of a few, but not that of the many. The Acad&eacute;mie reserved the
+monopoly of exhibitions exclusively for its members; and artists who
+did not, in one way or other, belong to this congregation, were
+allowed to exhibit their works in public only once a year. It was on
+the one day of the Octave of Corpus Christi, for a space of two hours,
+in the open air, and within the circumference of the Place Dauphine.
+All great artists had to submit to this treatment, ere they could
+force the portals of the Acad&eacute;mie. But times have changed! Our
+contemporaries, so inconstant, so impatient, who wear out the
+attention of the public by the excessive multiplicity of their
+exhibitory manifestations, should occasionally think of the conditions
+under which their forerunners laboured.</p>
+
+<p>Imagine a woman placed in the midst of these quarrels and struggles of
+rival Academies, with men in strong and often fierce antagonism on all
+sides of her; picture not only these general difficulties, but those
+of a more particular sort which arise from the disabilities of her
+sex, her subordinate state; think of the drawbacks&mdash;the prejudices,
+the <i>convenances</i> to be considered, and then the embarrassing
+promiscuity of life in studio and school, particularly as regards the
+study from the living model&mdash;and one can realise how brave, how
+energetic, or how ambitious must be the woman who would win the title
+of Artist.</p>
+
+<p>It is clear that the Royal Academy's liberal measure in opening its
+doors to women of talent was an event of some importance, from the
+moral point of view at any rate. It was the public recognition of
+woman's capacity in matters of art, the official consecration of merit
+which might come to light; also it afforded a goal to strive for&mdash;a
+goal hard to reach and<span class="pagenum"><a id="Page_170">[170]</a></span> very remote, doubtless, but still a goal
+possible of attainment to the most courageous and the most hopeful
+among women. The real, as distinct from the moral, advantages were,
+however, rather limited. From 1663, the date which marks the admission
+of the first woman artist, to 1783, when the last was admitted&mdash;that
+is to say during a period of eighty years&mdash;exactly fifteen women
+painters were elected, and among them were three foreigners. In 1770,
+indeed, on the nomination of Mlle. Giroust, wife of Roslin, the
+painter, it was decided that, as there were already in the company two
+other women previously elected, there must not be more than four women
+in all within the Academy. This measure of restriction was renewed in
+1783 and ratified by Royal ordinance on the election of Mme. Vig&eacute;e Le
+Brun.</p>
+
+<p>Nevertheless there was an appreciable number of women artists in
+France throughout the course of the 18th century. Their social rank
+was strictly confined. There were no "women of quality," such as were
+to be found in the world of letters, no representatives of the
+<i>bourgeoisie</i> even. The women artists, with very rare exceptions, all
+belonged to artist families. They were the wives, the daughters, the
+sisters or the nieces of artists, and this tradition, as we shall see,
+even continued long into the 19th century. Catherine Duchemin, the
+first woman elected to the Academy, was the wife of the sculptor,
+Girardon, while Genevi&egrave;ve and Madelaine Boulogne, both academicians,
+were related to distinguished painters of that name. Mlle. Reboul was
+Mme. Vien, and Mme. Labille des Vertus became Mme. Vincent on her
+second marriage. Then we have Mlle. Natoire, sister of the director of
+the Academy of France, Catherine van Loo, one of the innumerable
+family of Van Loo, Mme. de Valsaureaux, <i>n&eacute;e</i> Parrocel, of the no less
+numerous family of Parrocel, Mme. Therbouch, <i>n&eacute;e</i> Liscewska, all this
+family, father, mother, and daughters alike, being painters; and Mme.
+Vig&eacute;e herself, who married the picture dealer Le Brun, was the
+daughter of a portrait painter.</p>
+
+<p>During the 17th and 18th centuries these great artist families
+intermarried to such an extent as to form a series
+<span class="pagenum"><a id="Page_171">[171]</a></span>
+of veritable
+dynasties&mdash;for instance, those of the Coypels, the Coustous, the Van
+Loos, the Boulognes, the Parrocels, and the Vernets, to name but a few
+of the most renowned. Artist families became allied just as do those
+of lawyers and merchants. Thus their social life grew more limited,
+each category more and more distinct and apart, for these artist
+families rarely strayed beyond their own <i>milieu</i>. And those very
+circumstances which tended to retard the development of the artistic
+calling in woman exerted their influence over the inspiration of the
+female artist. The impossibility of pursuing very far the study of
+anatomical drawing, owing to the nudity of the model, diverted them
+almost entirely to the studies of observation and of imitation, to
+portrait work, and flowers and animals and still-life. Later, when
+they obtained greater liberty, they devoted themselves to <i>genre</i> of a
+size and kind demanding less substantial preparation. But as for
+composition, they never touched "history," as it was termed&mdash;that is,
+lofty, heroic or allegorical subjects&mdash;and if there should chance to
+have been any exception to this rule, it was simply in the direction
+of religious <i>motifs</i>.</p>
+
+<p><span class="pagenum"><a id="Page_172">[172]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, about 1793-1824</span></p>
+
+<div class="figcenter">
+<a id="i115" href="images/illus115l.jpg">
+<img src="images/illus115s.jpg" width="400" height="526" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF GA&Euml;TANO APOLLINO BALDASSARE VESTRIS,<br />
+DANCER (1729-1808).<br />
+REPRODUCED FROM A PHOTOGRAPH<br />BY PERMISSION OF BRAUN, CL&Eacute;MENT &amp; CO.,
+PARIS<br />
+Madame Ad&egrave;le Romany, n&eacute;e de Romance, Painter<br />
+exhibited from 1793 to 1824</p>
+
+<p><span class="pagenum"><a id="Page_173">[173]</a></span></p>
+
+<p>Further, they long affected what may be called medium processes:
+pastel, water-colour, miniature, all kinds of work offering
+opportunity of finish and <i>&eacute;clat</i>. They showed a partiality for oil
+painting after the manner of the smaller Dutch masters, who had no
+more faithful imitators in all France. Mme. Vien, Mme. de Valsaureaux,
+<i>n&eacute;e</i> Parrocel, and particularly Mme. Vallayer Coster&mdash;"<i>femme qui fut
+un habile homme</i>," according to the verses written in her
+honour&mdash;excelled in this style.</p>
+
+<p>Some of the "<i>Acad&eacute;mistes</i>"&mdash;to use the old French expression&mdash;won
+real celebrity, but few there were who achieved lasting glory. In the
+reign of Louis XIV, the woman artist whose reputation shone with the
+clearest lustre was Elisabeth Sophie Ch&eacute;ron, who excelled in all the
+arts&mdash;for she was a clever painter, a consummate musician, a poet of
+merit and <i>femme d'esprit</i> into the bargain. Following the general
+rule she belonged to one of the numerous artist families. Daughter of
+a painter (Louis Ch&eacute;ron), she was also sister of a painter. This
+latter,<span class="pagenum"><a id="Page_174">[174]</a></span> who was her junior, had talent, but not to the extent of the
+elder. &Eacute;lisabeth Sophie Ch&eacute;ron was of Huguenot family, as was
+frequently the case among the Academicians, although, from what absurd
+prejudice I know not, the <i>r&eacute;form&eacute;s</i> were regarded as less artistic
+than other folk. But in 1668,&mdash;she was twenty then&mdash;terrified no doubt
+by the ever-increasing persecution of the Protestants&mdash;a persecution
+which was soon to result in the Edict of Nantes&mdash;she, like her sister,
+abjured her faith, whereas her brother, remaining true to the family
+faith, was forced to take refuge in London, where he died.<a id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<div class="footnote"><a id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Several Acad&eacute;miciens of the reformed religion were
+excluded, or obliged to submit to the Catholic religion.</div>
+
+<p>Sophie translated into French the Psalms of David, which her brother
+illustrated admirably, and she has left at least one important
+engraved work, but above all, she has left a number of portraits of
+well-known people of her time, portraits that the sitters made her
+copy four and even five times.</p>
+
+<p>Among other "<i>Acad&eacute;mistes</i>," interesting if not so well known, was
+that sister of the "<i>Visitandine</i>" order, Anne Marie Tr&eacute;sor, who
+decorated with religious subjects the church of the monastery of the
+"Dames de Ste. Marie de Chaillot." She was received by the Academy in
+1676, and the choice of the Academy showed, as its accepted members
+were of such different views, that the body was after all somewhat
+broad in character. Another proof of this liberal spirit is to be
+found in the fact that the Academy received foreign artists within its
+body. There were three of them; the first was Mlle. Haverman, of Dutch
+origin, who was, however, excluded shortly after her election&mdash;she
+attempted to justify her election by sending in a painting which was
+not her own, but the work of her master, Van Huysum. The second
+foreign "<i>Acad&eacute;miste</i>" was specially illustrious and worthy of the
+honour conferred on her. She was Rosalba Carriera, a Venetian, a woman
+who was really original, and whose reputation has lived through the
+centuries, but about whom, in this chapter devoted to France, I must
+not speak at length. The last of the <span class="pagenum"><a id="Page_175">[175]</a></span>three was Mme. Terbouche, or,
+more exactly, Therbousch, who, although born in 1728 at Berlin, was
+numbered by our old museum catalogues in the ranks of the French
+School.</p>
+
+<p>May 31st, 1783, was an exceptionally important date for the Academy,
+in respect of women artists. On that day were received Mme. Vig&eacute;e Le
+Brun and Mme. Ad&eacute;la&iuml;de Labille Guyard (or Guiard). One may say that at
+that very hour began officially the rivalry which constantly existed
+between the two women, both of real merit, throughout their careers&mdash;a
+rivalry which has been maintained in the preference shown for one or
+the other, after death, by their historians. Mme. Vig&eacute;e Le Brun was
+the more celebrated of the two, and rightly so, for one might say that
+of all the women painters of her time she had a personality quite her
+own, quite feminine, rich in grace, ease, variety of attitude, gesture
+and composition, discreet and delicate affectedness, freshness and
+brightness. Mme. Vig&eacute;e Le Brun was the daughter of a somewhat mediocre
+painter, and the wife of a well-known picture dealer, whom she married
+when quite young. She had lessons from Doyen, Greuze and Joseph
+Vernet, and her success was quickly achieved. Mlle. Ad&eacute;la&iuml;de Labille
+des Vertus, the daughter of a mercer, was married to a certain Guyard,
+a neighbour. She did not live long with him, and had lessons from an
+old friend, the painter Vincent (the father), and afterwards from La
+Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette,
+was supported by the Court, Mme. Guyard secretly made friends in the
+body of the Academy itself, painting the portraits of first one member
+and then another. On the day of the election, she seemed to be
+overcoming her rival, whom her friends succeeded in putting on one
+side because the rules of the Academy forbade the traffic in pictures.
+Mme. Le Brun was received only by order of the King. Her own
+autobiography, as well as the pamphlets of the time, depict for us the
+powerful rivalry which existed, and also the many calumnies with which
+the three women painters were attacked (there was a third candidate,
+Mme. Vallayer Coster), even in their private life, the persecution of
+offensive insinuations, and the existence<span class="pagenum"><a id="Page_176">[176]</a></span> of the accusation so often
+levelled against women painters, that their work is not their own.
+Posterity has reconciled the rivals on the walls of our galleries. If
+Mme. Vig&eacute;e Le Brun certainly holds pride of place, Mme. Guyard, by her
+more solid talent, perhaps more characteristic, has an enviable
+position at her side.</p>
+
+<p>By the side of these celebrated women there are a few others of whom
+the recollection is not quite so keen, but who were not without a
+touching grace, though they lived their life within the sphere of
+their masters' influence, illuminated by the renown of these masters
+and breathing their atmosphere. It would not be right to say that
+these women artists copied their masters, or slavishly imitated them,
+but they transposed their qualities, elevated them by feminising them.
+Of these, I may mention Mlle. Ledoux, who followed in the wake of
+Greuze; Mlle. Marguerite G&eacute;rard, who lived under the shadow of
+Fragonard; and that exquisite and sorrowful figure, Mlle. Constance
+Mayer, whose devotion for her master Prudhon found its supreme
+expression in her tragic end. Less brilliant, rather hidden in the
+twilight of history, these women yet exercise on our thoughts an
+influence more subtle and delicate, and more penetrating.</p>
+
+<p>The approach of the great national crisis, and even the worst days of
+that period, at the same time glorious yet barbaric, did not
+extinguish the zeal of the women painters. It seems rather as though
+they shut themselves up in the study of their art so as to secure a
+refuge for their hopes and their dreams. In the first "Salons" of the
+century, one is surprised to find works by a comparatively large
+number of women painters. In 1800, of 180 exhibitors they number 25;
+eight years later, in the "Salon" of 1808, they are 46 out of 311. The
+difficulties set up by the Academy were overcome, the liberty to
+exhibit was a fresh encouragement, even an exceptional stimulus. The
+figures, therefore, rise still further in the first quarter of the
+century, so that in 1831 the women number 149 out of 873 exhibitors.
+The "staff," so to speak, of the women artists of that day,
+surrounding Mme. Vig&eacute;e Le Brun, whose glorious and somewhat
+chequered career did not close till 1842, included a number of
+distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of
+Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie
+Morin; Mme. Ad&egrave;le Romance, who also signed Romany, or Romany de
+Romance; the "good" Mlle. Godefroid, pupil of Baron G&eacute;rard, who helped
+him in so many of the portraits of contemporary cosmopolitan people of
+distinction, commissions for which rained in the master's studio,
+after the entry of the allied forces into Paris. Later on, we have
+Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great
+sculptor, who had a severe yet confident talent. Lastly, there was the
+woman artist who benefited by all the advantages of fashion, Mme.
+Haudebourt-Lescot.</p>
+
+<p class="caption"><span class="smcap">French School, 1755-1842</span></p>
+
+<p><span class="pagenum"><a id="Page_177">[177]</a></span></p>
+
+<div class="figcenter">
+<a href="images/illus116l.jpg">
+<img src="images/illus116s.jpg" width="400" height="496" alt="" />
+</a>
+</div>
+
+<p class="caption">MADAME VIG&Eacute;E LE BRUN AND HER DAUGHTER.<br />
+AFTER THE PAINTING IN THE
+LOUVRE,<br />FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<p><span class="pagenum"><a id="Page_179">[179]</a></span></p>
+
+<p>Mlle. Lescot, wife of Haudebourt, the architect, and pupil of
+Lethi&egrave;re&mdash;mischievous tongues, of course, declared that he painted her
+pictures&mdash;was a strange creature, who, at the start, owed the
+popularity she obtained as much to her personal charm as to her real
+talent. Her first success was in the drawing-room, where people
+admired her dances. "She was," says a writer, "ugly and captivating,
+with crooked eyes and a charming expression, her mouth ill-shaped, but
+tender and inviting," such as Ingres represented her in one of his
+finest pencil drawings.</p>
+
+<p>Hitherto, women had certainly banished themselves into the domain of
+portrait or still-life painting, that is to say, they had done little
+that was not sheer copying. But, little by little, under the influence
+of the lesser Dutch masters, who had been passionately appreciated
+since the close of the previous reign, and thanks to the opening of
+the Royal Collections at the Luxembourg Palace, where they could be
+studied and copied, the women-painters, following the example of the
+masters who gained inspiration therefrom, began to devote themselves
+to landscape and to <i>genre</i>. They sought out little touching subjects,
+which very frequently bordered on the ridiculous. For example, "the
+child's bed catches fire through the carelessness of the nurse who has
+fallen asleep, and the dog attempts to waken her."</p>
+
+<p>Mlle. Lescot cut herself adrift from all these<span class="pagenum"><a id="Page_180">[180]</a></span> insipidities. The
+opportunity came for her to spend several years in Rome. She was
+struck by the popular customs of the country, by its colour and that
+singular and picturesque charm which Granet had been the first to
+discover&mdash;the charm which, after her own time, was to be made further
+known by the paintings of the well-known L&eacute;opold Robert. As a matter
+of fact, she was practically the creator of the type of exotic
+subjects borrowed from Italy, to which numerous artists in France
+devoted themselves&mdash;H&eacute;bert, Bonnat and Jules Lefebvre, to name but a
+few of the most important of them. In choosing her <i>motifs</i> she
+displayed wit and inventiveness, and at times a delicate grace,
+notably in her first pictures, before the desire to satisfy a daily
+increasing connection had driven her into unduly hurried work. Her
+technique, too, was brisk, yet careful, as it should be in small works
+such as hers. Her lightly-touched lithographs, together with those
+which she did "after" her own pictures, contributed to popularise her
+special subjects and her name.</p>
+
+<p>The novelty of these paintings, devoted to the cult of "local colour,"
+caused them to be adopted as "romantic." It was the same with Schnetz
+and L&eacute;opold Robert, who shared the popularity. But the real "Young
+romantic" among artists was Mlle. de Fauveau. What one discovers with
+regard to her is that she is not a painter but a sculptor. The Royal
+Academy of the 17th century had already boasted certain wood carvings
+by <i>la demoiselle</i> Mass&eacute;. Also, there was Mme. Falconet. But the great
+and austere art was cultivated only as a rare exception by woman.
+Mlle. F&eacute;licie de Fauveau was the first pre-Raphaelite, although the
+return to the primitive Italian masters of the 16th century dates
+further back, but with cropped head under a velvet toque, after the
+style of Raphael himself, she unceasingly uttered curses against that
+noble personality, whose brush produced the highest incarnation of the
+art of painting.</p>
+
+<p>But the naturalist movement it was that witnessed the development of
+the greatest artistic personality in the feminine world of
+to-day&mdash;Rosa Bonheur. The <i>r&ocirc;le</i> played by Rosa Bonheur is important
+from the feminine point of view, for the<span class="pagenum"><a id="Page_181">[181]</a></span> reason that she broke away
+from ancient traditions. She revealed what woman was capable of in the
+matter of energy, of continuity of purpose, of method, of scientific
+direction, in a word, in the indispensable impetus of inspiration.
+Before her day, the woman-painter had always been looked upon rather
+as a phenomenon, or her place in the domain of art was conceded to her
+on the grounds that she was indulging in an elevating and tasteful
+pastime, coming under the category of "accomplishments." Rosa Bonheur
+gave to woman a position equal to that of man. She won for herself
+unanimous admiration, based, not on the singularity of her life, not
+on looseness of morals, not on social triumphs, not on friends at
+Court, but on her robust, virile, observant and well-considered
+talent, which in its turn was based on a primary study of anatomy and
+osteology, developed by a continuous observation of the constitution
+and the life of the animal world. Her long life was crowned with
+glory. She held an exceptional place in art, akin to that of George
+Sand in the world of letters.</p>
+
+<p>From that day forth, there appeared a new phase in the artistic life
+of woman. Art became for her, not merely an intellectual pastime, but
+a vocation and a career. Rosa Bonheur lived nearly to the close of the
+nineteenth century, seeing many revolutions both in French life and in
+French art, but remaining always quite true to herself. Perhaps the
+most uncertain period of all, historically, so far as women were
+concerned, was that period of wave-like fluctuation in French art that
+occurred in the seventies and eighties, reflecting itself in the work
+of such women painters as Ang&egrave;le Dubos, Jeanne Fichel, Marie Petiet,
+Laure de Chatillon, F&eacute;licie Schneider, Eva Gonzal&egrave;s, Marie Nicolas,
+and Rosa Bonheur's successor&mdash;her heiress, so to speak&mdash;Madame
+Virginie Demont-Breton, the daughter, wife and niece of a family of
+distinguished artists. She has achieved a well-deserved popularity
+with her subjects of popular and rustic life, and, like Rosa Bonheur,
+has attained the rank of officer of the Legion of Honour. Two other
+feminine personalities have attracted the attention of both<span class="pagenum"><a id="Page_182">[182]</a></span> public
+and artists, the one, the sister-in-law of Manet, the delightful
+Mademoiselle Morisot, who has, so to speak, improved on the refinement
+of her master; the other, that strange and alluring young Russian
+girl, who adopted France as her Fatherland, and whom France adopted as
+artist. Marie Bashkirtseff, struck down by a cruel and premature
+death, at the age of twenty-three, revealed something far more than
+mere happy gifts. One is surprised at the amount of studies produced
+by the unfortunate and beautiful creature in the short space allotted
+to her for her life-work.</p>
+
+<p>We now enter upon the present period of woman's artistic life, the
+active period, let us call it. We no longer trouble about her place at
+our exhibitions, since she has nowadays her own exhibition, or rather
+exhibitions proper to herself. Among the many youthful <i>amateurs</i> who
+constitute the bulk of feminine artists, one finds a number of true
+artists. To name a few: Mademoiselle Louise Abb&eacute;ma, Madame Madeleine
+Lemaire, Madame Nanny Adam, Mlle. Fi&eacute;rard, Mme. Vallet-Bisson, Madame
+Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme.
+Baury-Saurel, and many others, as this book proves.</p>
+
+<p>Several women-artists have won their place in the National Museum,
+wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton,
+by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg
+(widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned
+to execute some important decorations for the Sorbonne, Mlle.
+Delasalle, Mlle. Marie Gautier, Se&ntilde;ora Eva Gonzal&egrave;s, and a couple of
+semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle.
+Breslau, a Swiss&mdash;both dames of the Legion of Honour.</p>
+
+<p>To conclude, women are proving just now not only that the domain of
+art should be open to them as freely as it is to men, on the grounds
+of right and reason, but also that they are specially gifted by their
+delicate sensitiveness, their quickness of comprehension, their
+initiative faculty, and lastly, by all the phases of their natural
+temperament, and by their intelligence to endow art with the elements
+of expression and beauty proper to womankind.</p>
+
+<p class="author">L&Eacute;ONCE B&Eacute;N&Eacute;DITE.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_183">[183]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1768-1826</span></p>
+
+<div class="figcenter">
+<a href="images/illus117l.jpg">
+<img src="images/illus117s.jpg" width="400" height="555" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE.<br />
+AFTER THE PAINTING AT
+VERSAILLES,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame Marie Guilhelmine Benoits, Painter<br />
+1768-1826</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_185">[185]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVII and XVIII Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus118ll.jpg">
+<img src="images/illus118sl.jpg" width="300" height="464" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME VICTOIRE DE FRANCE.<br />
+AFTER THE ORIGINAL PAINTING AT
+VERSAILLES,<br />
+FROM A PHOTOGRAPH BY BRAUN CLEMENT AND CO., PARIS<br />
+Madame Guyard, n&eacute;e Labille des Vertus, Painter<br />
+1749-1803</p>
+
+<div class="figcenter">
+<a href="images/illus118lr.jpg">
+<img src="images/illus118sr.jpg" width="400" height="479" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARIE DE RABUTIN-CHANTAL,<br />
+MARQUISE DE S&Eacute;VIGN&Eacute; (1626-1696)<br />
+AFTER THE ORIGINAL PAINTING AT VERSAILLES,<br />FROM A COPYRIGHT PHOTOGRAPH
+BY NEWIDEIN, PARIS<br />
+Mademoiselle de Vanteuil, Painter<br />
+17th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_186">[186]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus119l.jpg">
+<img src="images/illus119s.jpg" width="400" height="305" alt="" />
+</a>
+</div>
+
+<p class="caption">THE SONS OF CHARLES X. OF FRANCE.<br />
+AFTER AN ORIGINAL PICTURE IN THE
+MUS&Eacute;E DE VERSAILLES,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame Anna Rosalie Filleul, n&eacute;e Bocquet, Painter<br />
+Died 1794</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_187">[187]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus120ll.jpg">
+<img src="images/illus120sl.jpg" width="300" height="373" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE DUC D'ANGOUL&Ecirc;ME,<br />
+SON OF CHARLES X<br />
+FROM A PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS,<br />
+AFTER AN ORIGINAL PASTEL AT VERSAILLES<br />
+Madame Filleul, n&eacute;e Bocquet, Pastellist<br />
+Died 1794</p>
+
+<div class="figcenter">
+<a href="images/illus120lr.jpg">
+<img src="images/illus120sr.jpg" width="300" height="374" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME R&Eacute;CAMIER IN THE YEAR 1799.<br />
+FROM A PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO.,<br />
+AFTER AN ORIGINAL PAINTING AT VERSAILLES<br />
+Madame Eulalie Morin, Painter<br />
+Late 18th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_188">[188]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus121l.jpg">
+<img src="images/illus121s.jpg" width="400" height="535" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA.<br />
+AFTER THE ORIGINAL
+PAINTING AT VERSAILLES<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame Ad&eacute;la&iuml;de Guyard, n&eacute;e Labille des Vertus, Painter<br />
+In second marriage Mme. F. A. Vincent<br />
+1749-1803</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_189">[189]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus122l.jpg">
+<img id="i122" src="images/illus122s.jpg" width="400" height="527" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME AD&Eacute;LA&Iuml;DE D'ORL&Iacute;ANS (1777-1847).<br />
+AFTER THE PAINTING
+AT CHANTILLY,<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mademoiselle Marie Am&eacute;lie Cogniet, Painter<br />
+1798-1869</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_191">[191]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus123l.jpg">
+<img src="images/illus123s.jpg" width="400" height="499" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN.<br />
+AFTER THE
+ORIGINAL PAINTING AT VERSAILLES,<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT
+&amp; CO., PARIS<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_192">[192]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Between 1792 and 1820</span></p>
+
+<div class="figcenter">
+<a href="images/illus124ll.jpg">
+<img src="images/illus124sl.jpg" width="400" height="543" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792.<br />
+FROM A PHOTOGRAPH BY
+ALINARI<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<div class="figcenter">
+<a href="images/illus124lr.jpg">
+<img src="images/illus124sr.jpg" width="400" height="489" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE MINIATURE."<br />
+FROM THE PAINTING IN THE GLASGOW GALLERY<br />AFTER A
+PHOTOGRAPH BY HANFSTAENGL<br />
+Madame Caroline de Valory, Pupil of Greuze, Painter<br />
+Early 19th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_193">[193]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus125ll.jpg">
+<img src="images/illus125sl.jpg" width="400" height="510" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME LE BRUN,<br />
+AFTER THE ORIGINAL PAINTING IN THE
+NATIONAL GALLERY, LONDON,<br />FROM A PHOTOGRAPH BY HANFSTAENGL</p>
+
+<div class="figcenter">
+<a href="images/illus125lr.jpg">
+<img src="images/illus125sr.jpg" width="400" height="500" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF LOUISE MARIE AD&Eacute;LA&Iuml;DE DE BOURBON (1753-1821).<br />
+AFTER THE
+ORIGINAL PAINTING AT VERSAILLES,<br />FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_194">[194]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus126l.jpg">
+<img src="images/illus126s.jpg" width="400" height="488" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF AN ACTRESS, PROBABLY MLLE. B&Eacute;LIER.<br />
+REPRODUCED FROM A
+PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+BY PERMISSION OF BRAUN, CL&Eacute;MENT &amp;
+CO., PARIS<br />
+Mademoiselle Bouilliar, Painter<br />
+Early 19th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_195">[195]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus127l.jpg">
+<img src="images/illus127s.jpg" width="400" height="314" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF A BULL<br />
+REPRODUCED FROM A PHOTOGRAPH,<br />BY PERMISSION OF BRAUN,
+CLEMENT &amp; CO., PARIS,<br />
+OWNERS OF THE COPYRIGHT<br />
+Mademoiselle Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_197">[197]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus128l.jpg">
+<img src="images/illus128s.jpg" width="400" height="492" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF DAME DE LONGROIS (1763-1826).<br />
+AFTER THE PASTEL IN THE
+TROCAD&Eacute;RO<br />FROM A CARBON PRINT BY BRAUN, CLEMENT &amp; CO., PARIS<br />
+Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter<br />
+1761-1818</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_198">[198]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus129l.jpg">
+<img src="images/illus129s.jpg" width="400" height="490" alt="" />
+</a>
+</div>
+
+<p class="caption">MADAME VIG&Eacute;E LE BRUN AT HER EASEL.<br />
+AFTER THE ORIGINAL PAINTING IN THE
+UFFIZI, FLORENCE,<br />
+FROM A PHOTOGRAPH BY W. A. MANSELL &amp; CO.<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_199">[199]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1778-1821</span></p>
+
+<div class="figcenter">
+<a href="images/illus130l.jpg">
+<img src="images/illus130s.jpg" width="400" height="524" alt="" />
+</a>
+</div>
+
+<p class="caption">THE HAPPY MOTHER.<br />
+AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS,<br />
+FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mademoiselle Marie Fran&ccedil;oise Constance Mayer, Painter<br />
+1778-(committed suicide)1821</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_200">[200]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus131l.jpg">
+<img src="images/illus131s.jpg" width="400" height="511" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793).<br />
+AFTER THE
+ORIGINAL PAINTING AT VERSAILLES<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp;
+CO., PARIS</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_201">[201]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus132l.jpg">
+<img src="images/illus132s.jpg" width="400" height="557" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE DUCHESS OF POLIGNAC.<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_202">[202]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1767 to 1830</span></p>
+
+<div class="figcenter">
+<a href="images/illus133ll.jpg">
+<img src="images/illus133sl.jpg" width="400" height="488" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME VILLOT, N&Eacute;E BARBIER.<br />
+FROM A CARBON PRINT BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Mme. Jeanne &Eacute;lisabeth Chaudet, n&eacute;e Gabiou, Painter<br />
+1767-1830</p>
+
+<div class="figcenter">
+<a href="images/illus133lr.jpg">
+<img src="images/illus133sr.jpg" width="400" height="502" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN OF HOUDON THE
+SCULPTOR.<br />PHOTOGRAPH BY BRAUN CL&Eacute;MENT &amp; CO.<br />
+Mlle. Marguerite J. A. Houdon, Painter<br />
+1771-1795</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_203">[203]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1778-1849</span></p>
+
+<div class="figcenter">
+<a href="images/illus134ll.jpg">
+<img src="images/illus134sl.jpg" width="400" height="492" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME DE STA&Euml;L (1766-1817).<br />
+AFTER THE ORIGINAL PAINTING
+AT VERSAILLES,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Mademoiselle Marie El&eacute;onore Godefroid, Painter<br />
+1778-1849</p>
+
+<div class="figcenter">
+<a href="images/illus134lr.jpg">
+<img src="images/illus134sr.jpg" width="400" height="535" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF CHARLES MAURICE,<br />PRINCE OF TALLEYRAND-PERIGORD
+(1754-1838).<br />
+FROM A PHOTOGRAPH BY NEWIDEIN,<br />
+AFTER THE PAINTING AT
+VERSAILLES<br />
+Mademoiselle Marie El&eacute;onore Godefroid, Painter<br />
+1778-1849</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_204">[204]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XVIII and XIX Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus135l.jpg">
+<img src="images/illus135s.jpg" width="400" height="553" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MADAME MOL&Eacute;-RAYMOND,<br />
+ACTRESS OF THE COM&Eacute;DIE-FRAN&Ccedil;AISE.<br />
+AFTER THE ORIGINAL PAINTING IN THE LOUVRE,<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO.<br />
+Madame &Eacute;lisabeth Louise Vig&eacute;e Le Brun, Painter<br />
+1755-1842</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_205">[205]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a id="i136" href="images/illus136l.jpg">
+<img src="images/illus136s.jpg" width="400" height="267" alt="" />
+</a>
+</div>
+
+<p class="caption">"SHEPHERD WATCHING HIS SHEEP."<br />
+AFTER THE PICTURE IN THE MUS&Eacute;E DE
+CHANTILLY,<br />
+FROM A COPYRIGHT PHOTOGRAPH<br />
+BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_207">[207]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus137ll.jpg">
+<img src="images/illus137sl.jpg" width="300" height="439" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARSHAL LEF&Egrave;VRE, DUKE OF DANTZIC.<br />
+FROM A PHOTOGRAPH BY
+NEWIDEIN<br />
+AFTER THE PAINTING AT VERSAILLES<br />
+Madame C. H. F. Davin, n&eacute;e Mirvault, Painter<br />
+1773-1844</p>
+
+<div class="figcenter">
+<a href="images/illus137lr.jpg">
+<img src="images/illus137sr.jpg" width="400" height="481" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE, PUPIL OF DAVID.<br />
+FROM A
+PHOTOGRAPH BY NEWIDEIN, PARIS,<br />
+AFTER THE ORIGINAL PAINTING AT DIJON<br />
+Madame Sophie Rude, n&eacute;e Fr&eacute;miet, Painter<br />
+1797-1867</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_208">[208]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Early XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus138l.jpg">
+<img src="images/illus138s.jpg" width="400" height="476" alt="" />
+</a>
+</div>
+
+<p class="caption">A GOOD DAUGHTER. REPRODUCED<br />
+AFTER THE ORIGINAL PICTURE,<br />
+FROM AN
+ENGRAVING BY S. W. REYNOLDS<br />
+Madame Antoinette C&eacute;cile Haudebourt Lescot, Painter<br />
+1784-1845</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_209">[209]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1847</span></p>
+
+<div class="figcenter">
+<a href="images/illus139l.jpg">
+<img src="images/illus139s.jpg" width="500" height="254" alt="" />
+</a>
+</div>
+
+<p class="caption">PLOUGHING IN THE NIVERNAIS. DATED 1847.<br />
+AFTER THE ORIGINAL PAINTING IN
+THE MUS&Eacute;E DU LUXEMBOURG,<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mademoiselle Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_210">[210]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus140l.jpg">
+<img src="images/illus140s.jpg" width="500" height="235" alt="" />
+</a>
+</div>
+
+<p class="caption">THE HORSE FAIR.<br />
+AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY,
+LONDON,<br />
+FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY,<br />
+NEW OXFORD STREET,
+LONDON<br />
+Mademoiselle Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_211">[211]</a></span></p>
+
+<p class="caption"><span class="smcap">French Impressionist School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus141l.jpg">
+<img src="images/illus141s.jpg" width="400" height="318" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A YOUNG WOMAN SEATED.<br />
+REPRODUCED
+FROM THE ORIGINAL
+PAINTING<br />
+BY PERMISSION OF MESSRS. DURAND-RUEL &amp; SONS,<br />
+PARIS AND NEW
+YORK<br />
+Mademoiselle Berthe Morisot, Painter<br />
+1840-1895</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_213">[213]</a></span></p>
+
+<p class="caption"><span class="smcap">French Impressionist School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus142l.jpg">
+<img src="images/illus142s.jpg" width="500" height="236" alt="" />
+</a>
+</div>
+
+<p class="caption">THE JETTY.&mdash;AN OUTDOOR IMPRESSION.<br />
+REPRODUCED FROM THE ORIGINAL
+PAINTING<br />BY PERMISSION OF MESSRS. DURAND-RUEL &amp; SONS,<br />
+PARIS AND NEW
+YORK<br />
+Berthe Morisot, Painter<br />
+1840-1895</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_214">[214]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1879</span></p>
+
+<div class="figcenter">
+<a href="images/illus143l.jpg">
+<img src="images/illus143s.jpg" width="400" height="494" alt="" />
+</a>
+</div>
+
+<p class="caption">THE KING OF THE DESERT.<br />
+FROM AN ORIGINAL PAINTING IN THE PRADO,
+MADRID, DATED 1879.<br />
+AFTER A PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Mademoiselle Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_215">[215]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, about 1879</span></p>
+
+<div class="figcenter">
+<a href="images/illus144l.jpg">
+<img src="images/illus144s.jpg" width="400" height="481" alt="" />
+</a>
+</div>
+
+<p class="caption">'BRISCO,' A SHEPHERD'S DOG.<br />
+AFTER THE ORIGINAL PAINTING IN THE WALLACE
+COLLECTION, LONDON,<br />
+FROM A PHOTOGRAPH BY W. A. MANSELL &amp; CO.<br />
+Mademoiselle Rosa Bonheur, Painter<br />
+1822-1899</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_216">[216]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1878 and 1879</span></p>
+
+<div class="figcenter">
+<a href="images/illus145ll.jpg">
+<img src="images/illus145sl.jpg" width="400" height="498" alt="" />
+</a>
+</div>
+
+<p class="caption">A NEW SONG.<br />
+FROM THE ORIGINAL PAINTING, DATED 1879,<br />
+AFTER A PHOTOGRAPH
+BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mademoiselle Ang&egrave;le Dubos, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus145lr.jpg">
+<img src="images/illus145sr.jpg" width="400" height="496" alt="" />
+</a>
+</div>
+
+<p class="caption">THE BOUQUET.<br />
+FROM THE ORIGINAL PAINTING, DATED 1878,<br />
+AFTER A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Jeanne Fichel, n&eacute;e Samson, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_217">[217]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus146l.jpg">
+<img src="images/illus146s.jpg" width="400" height="555" alt="" />
+</a>
+</div>
+
+<p class="caption">MISTLETOE.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY MESSRS.
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Jacqueline Comerre-Paton, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_219">[219]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1878 and 1881</span></p>
+
+<div class="figcenter">
+<a href="images/illus147ll.jpg">
+<img src="images/illus147sl.jpg" width="400" height="492" alt="" />
+</a>
+</div>
+
+<p class="caption">THE KNITTER ASLEEP.<br />
+AFTER THE ORIGINAL PICTURE, DATED 1881,<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mademoiselle Marie Petiet, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus147lr.jpg">
+<img src="images/illus147sr.jpg" width="400" height="495" alt="" />
+</a>
+</div>
+
+<p class="caption">A YOUNG ADOLESCENT.<br />
+FROM A PICTURE EXHIBITED AT THE SALON IN 1878,<br />
+AFTER A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Madame Laure de Chatillon, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_220">[220]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1880</span></p>
+
+<div class="figcenter">
+<a href="images/illus148lt.jpg">
+<img src="images/illus148st.jpg" width="400" height="315" alt="" />
+</a>
+</div>
+
+<p class="caption">PRIVATE AND CONFIDENTIAL.<br />
+AFTER AN ORIGINAL PICTURE EXHIBITED AT THE
+PARIS SALON IN 1880<br />
+Madame Armand &Eacute;milie Leleux, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus148lb.jpg">
+<img src="images/illus148sb.jpg" width="400" height="268" alt="" />
+</a>
+</div>
+
+<p class="caption">SITTING FOR A PORTRAIT IN 1806.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mademoiselle Jeanne Rongier, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_221">[221]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, about 1881</span></p>
+
+<div class="figcenter">
+<a href="images/illus149ll.jpg">
+<img src="images/illus149sl.jpg" width="400" height="553" alt="" />
+</a>
+</div>
+
+<p class="caption">"R&Eacute;GALEZ-VOUS, MESDAMES!"<br />
+AFTER THE ORIGINAL PAINTING, DATED 1881,<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mlle. Jenny Zillhardt, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus149lr.jpg">
+<img src="images/illus149sr.jpg" width="300" height="498" alt="" />
+</a>
+</div>
+
+<p class="caption">BY THE BANK OF A STREAM.<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.,
+PARIS<br />
+Mlle. Hermine Waternau. Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_222">[222]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1882</span></p>
+
+<div class="figcenter">
+<a href="images/illus150ll.jpg">
+<img src="images/illus150sl.jpg" width="400" height="575" alt="" />
+</a>
+</div>
+
+<p class="caption">FATHER RICARD.<br />
+AFTER A PAINTING EXHIBITED AT THE SALON IN 1882,<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mlle. Marie Nicolas, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus150lr.jpg">
+<img src="images/illus150sr.jpg" width="400" height="494" alt="" />
+</a>
+</div>
+
+<p class="caption">THE LAST SURVIVORS OF A FAMILY.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL
+PAINTING<br />
+BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame F&eacute;licie Schneider, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_223">[223]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus151l.jpg">
+<img src="images/illus151s.jpg" width="400" height="504" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LADY SEATED.<br />
+AFTER THE PASTEL IN THE MUS&Eacute;E DU
+LUXEMBOURG,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame Eva Gonzal&egrave;s, Pastellist<br />
+1849-1883</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_225">[225]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Between 1882 and 1898</span></p>
+
+<div class="figcenter">
+<a href="images/illus152ll.jpg">
+<img src="images/illus152sl.jpg" width="400" height="513" alt="" />
+</a>
+</div>
+
+<p class="caption">CHARITY.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Uranie Colin-Libour, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus152lr.jpg">
+<img src="images/illus152sr.jpg" width="400" height="541" alt="" />
+</a>
+</div>
+
+<p class="caption">"FLEURS DE SERRE."<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Alix Enault, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_226">[226]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1883</span></p>
+
+<div class="figcenter">
+<a href="images/illus153l.jpg">
+<img src="images/illus153s.jpg" width="500" height="284" alt="" />
+</a>
+</div>
+
+<p class="caption">ON THE SEA-SHORE.<br />
+AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
+PARIS, DATED 1883,<br />
+FROM A PHOTOGRAPH BY MESSRS. L&Eacute;VY &amp; SONS, PARIS<br />
+Madame Virginie Demont-Breton, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_227">[227]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1887 to about 1892</span></p>
+
+<div class="figcenter">
+<a href="images/illus154ll.jpg">
+<img src="images/illus154sl.jpg" width="300" height="472" alt="" />
+</a>
+</div>
+
+<p class="caption">BEFORE THE DANCE.<br />
+AFTER AN ORIGINAL PAINTING DATED 1887,<br />
+FROM A
+PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame E. de Tavernier, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus154lr.jpg">
+<img src="images/illus154sr.jpg" width="400" height="548" alt="" />
+</a>
+</div>
+
+<p class="caption">DESOLATION.<br />
+AFTER THE ORIGINAL STUDY<br />
+FROM A PHOTOGRAPH LENT BY THE
+ARTIST<br />
+Madame Marie Cazin, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_228">[228]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1885 and 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus155ll.jpg">
+<img src="images/illus155sl.jpg" width="400" height="511" alt="" />
+</a>
+</div>
+
+<p class="caption">IN THE GYN&AElig;CEUM. DATED 1885.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL
+PAINTING BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mlle. Diana Coomans, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus155lr.jpg">
+<img src="images/illus155sr.jpg" width="300" height="432" alt="" />
+</a>
+</div>
+
+<p class="caption">AT LOW TIDE.<br />
+AFTER THE ORIGINAL PICTURE, DATED 1890.<br />
+FROM A PHOTOGRAPH
+BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mlle. Eug&eacute;nie Salanson, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_229">[229]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a id="i156" href="images/illus156l.jpg">
+<img src="images/illus156s.jpg" width="400" height="298" alt="" />
+</a>
+</div>
+
+<p class="caption">"SLEEP."<br />
+REPRODUCED FROM A PHOTOGRAPH<br />
+BY PERMISSION OF BRAUN, CL&Eacute;MENT
+&amp; CO.,<br />
+THE OWNERS OF THE COPYRIGHT.<br />
+Francine Charderon, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_231">[231]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, from 1880 to the Present Day</span></p>
+
+<div class="figcenter">
+<a href="images/illus157ll.jpg">
+<img src="images/illus157sl.jpg" width="400" height="459" alt="" />
+</a>
+</div>
+
+<p class="caption">THE FRUIT GIRL.<br />
+AFTER THE ORIGINAL PICTURE<br />
+BY PERMISSION OF MESSRS.
+DURAND-RUEL &amp; SONS, PARIS<br />
+Madame Eva Gonzal&egrave;s, Painter<br />
+1849-1883</p>
+
+<div class="figcenter">
+<a href="images/illus157lr.jpg">
+<img src="images/illus157sr.jpg" width="400" height="481" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY FROM A MODEL.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH LENT
+BY THE ARTIST<br />
+Mademoiselle Dufau, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_232">[232]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1880 and 1894</span></p>
+
+<div class="figcenter">
+<a href="images/illus158ll.jpg">
+<img src="images/illus158sl.jpg" width="400" height="531" alt="" />
+</a>
+</div>
+
+<p class="caption">A GOOD CIGARETTE.<br />
+AFTER THE ORIGINAL PAINTING, DATED 1880,<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Madame Delphine de Cool, n&eacute;e Fortin, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus158lr.jpg">
+<img src="images/illus158sr.jpg" width="400" height="486" alt="" />
+</a>
+</div>
+
+<p class="caption">A HOLIDAY AT SOSTH&Egrave;NE.<br />
+AFTER THE ORIGINAL PAINTING, DATED 1894,<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Madame Blanche Paymal-Amouroux, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_233">[233]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1894</span></p>
+
+<div class="figcenter">
+<a href="images/illus159l.jpg">
+<img src="images/illus159s.jpg" width="400" height="279" alt="" />
+</a>
+</div>
+
+<p class="caption">"STELLA MARIS."<br />
+AFTER THE ORIGINAL PAINTING, DATED 1894,<br />
+AND EXHIBITED
+AT THE SALON IN 1895,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madame Virginie Demont-Breton, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_234">[234]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus160l.jpg">
+<img src="images/illus160s.jpg" width="400" height="540" alt="" />
+</a>
+</div>
+
+<p class="caption">MATERNAL LOVE.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CLEMENT &amp; CO., PARIS<br />
+Elizabeth Gardner (Madame W. A. Bouguereau), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_235">[235]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus161l.jpg">
+<img src="images/illus161s.jpg" width="400" height="320" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE PATHWAY TO THE VILLAGE CHURCH."<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM
+A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Fanny Fleury, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_237">[237]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus162lt.jpg">
+<img src="images/illus162st.jpg" width="400" height="263" alt="" />
+</a>
+</div>
+
+<p class="caption">THE GODDESSES BEFORE PARIS.<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+&Eacute;lisabeth Sonrel, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus162lb.jpg">
+<img src="images/illus162sb.jpg" width="400" height="335" alt="" />
+</a>
+</div>
+
+<p class="caption">WINTER.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CLEMENT &amp; CO.<br />
+Mlle. Louise Abb&eacute;ma, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_238">[238]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus163l.jpg">
+<img src="images/illus163s.jpg" width="400" height="524" alt="" />
+</a>
+</div>
+
+<p class="caption">THE JUDGMENT OF PARIS.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A PHOTOGRAPH BY
+BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Elizabeth Gardner (Madame W. A. Bouguereau), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_239">[239]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus164lt.jpg">
+<img src="images/illus164st.jpg" width="300" height="293" alt="" />
+</a>
+</div>
+
+<p class="caption">MOTHER AND CHILD<br />
+AFTER THE ORIGINAL PICTURE<br />
+Madame Marie Cazin, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus164lb.jpg">
+<img src="images/illus164sb.jpg" width="400" height="380" alt="" />
+</a>
+</div>
+
+<p class="caption"> SHEPHERD<br />
+AFTER THE ORIGINAL PAINTING<br />
+Madame Marie Cazin, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_240">[240]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus165lt.jpg">
+<img src="images/illus165st.jpg" width="400" height="386" alt="" />
+</a>
+</div>
+
+<p class="caption">IMPRESSION OF A CITY.<br />
+AFTER THE ORIGINAL PAINTING<br />
+Mademoiselle Dufau, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus165lb.jpg">
+<img src="images/illus165sb.jpg" width="400" height="322" alt="" />
+</a>
+</div>
+
+<p class="caption">A BASKET OF FLOWERS.<br />
+AFTER THE ORIGINAL PAINTING<br />
+Madame Victoria Dubourg (Fantin-Latour), Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_241">[241]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus166l.jpg">
+<img src="images/illus166s.jpg" width="400" height="621" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE DEPARTURE."<br />
+REPRODUCED BY PERMISSION<br />
+AFTER A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Vallet-Bisson, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_243">[243]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus167lt.jpg">
+<img src="images/illus167st.jpg" width="400" height="288" alt="" />
+</a>
+</div>
+
+<p class="caption">CHARACTER IN SPAIN<br />
+AFTER THE ORIGINAL STUDY<br />
+Mademoiselle Dufau, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus167lb.jpg">
+<img src="images/illus167sb.jpg" width="400" height="285" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF TIGERS.<br />
+AFTER THE ORIGINAL PAINTING<br />
+Madame Abran, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_244">[244]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus168l.jpg">
+<img src="images/illus168s.jpg" width="400" height="305" alt="" />
+</a>
+</div>
+
+<p class="caption">"LES CHANDELLES."<br />
+AFTER AN ORIGINAL PAINTING EXHIBITED AT THE SALON IN
+1896,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN, PARIS<br />
+Madeleine Carpentier, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_245">[245]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus169l.jpg">
+<img src="images/illus169s.jpg" width="400" height="309" alt="" />
+</a>
+</div>
+
+<p class="caption">IN SEARCH OF PREY.<br />
+AFTER AN ORIGINAL PICTURE EXHIBITED AT THE PARIS
+SALON IN 1900,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Mademoiselle E. Hilda, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_246">[246]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus170l.jpg">
+<img src="images/illus170s.jpg" width="400" height="305" alt="" />
+</a>
+</div>
+
+<p class="caption">ROMEO AND JULIET.<br />
+AFTER AN ORIGINAL PAINTING EXHIBITED AT THE PARIS
+SALON IN 1900,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Mademoiselle A. Oppenheim, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_247">[247]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, about 1892.</span></p>
+
+<div class="figcenter">
+<a href="images/illus171l.jpg">
+<img src="images/illus171s.jpg" width="400" height="636" alt="" />
+</a>
+</div>
+
+<p class="caption">WILL YOU BUY?<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY MESSRS.
+BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Mademoiselle Consu&eacute;lo Fould, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_249">[249]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus172l.jpg">
+<img src="images/illus172s.jpg" width="400" height="307" alt="" />
+</a>
+</div>
+
+<p class="caption">CHILDREN EATING SOUP IN A CHARITY SCHOOL.<br />
+FROM AN ORIGINAL PICTURE
+EXHIBITED AT THE PARIS SALON IN 1901.<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Mademoiselle E. Herland, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_250">[250]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus173l.jpg">
+<img src="images/illus173s.jpg" width="400" height="627" alt="" />
+</a>
+</div>
+
+<p class="caption">COURTSHIP<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+BY BRAUN, CL&Eacute;MENT
+&amp; CO., PARIS<br />
+Mdlle. Achille-Fould, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_251">[251]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus174ltl.jpg">
+<img src="images/illus174stl.jpg" width="300" height="378" alt="" />
+</a>
+</div>
+
+<p class="caption">"B&Eacute;B&Eacute; ET ZIZON."<br />
+REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Madame Lucas-Robiquet, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus174ltr.jpg">
+<img src="images/illus174str.jpg" width="300" height="421" alt="" />
+</a>
+</div>
+
+<p class="caption">"DO YOU WANT A MODEL?"<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Madame R&eacute;al del Sarte, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus174lb.jpg">
+<img src="images/illus174sb.jpg" width="400" height="320" alt="" />
+</a>
+</div>
+
+<p class="caption">THE LESSON.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY BRAUN
+CL&Eacute;MENT &amp; CO.<br />
+Mlle. Jos&eacute;phine Houssay, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_252">[252]</a></span></p>
+
+<p class="caption"><span class="smcap">French School, 1903 and 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus175ll.jpg">
+<img src="images/illus175sl.jpg" width="400" height="489" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT.<br />
+AFTER THE ORIGINAL PAINTING,<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Madame Le Roy, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus175lr.jpg">
+<img src="images/illus175sr.jpg" width="400" height="533" alt="" />
+</a>
+</div>
+
+<p class="caption">FLORA.<br />
+AFTER THE ORIGINAL PAINTING,<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO., PARIS<br />
+Mademoiselle Claudie, Painter</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_253">[253]</a></span></p>
+
+<h2 id="Chapter_VI">Women Painters in Belgium and in Holland</h2>
+
+<p class="h3">By N. Jany.<br />
+Translated by Edgar Preston</p>
+
+<p><img class="dropimg" src="images/illus176s.jpg" width="102" height="100" alt="" />
+<b><span class="hide">A</span>S</b> far as we are able to ascertain, the history of the present subject
+takes us back to the time of Hubert and Jean Van Eyck, whose sister
+Marguerite made a name for herself in art. In the important volume by
+M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing
+"after" a miniature by Marguerite Van Eyck, representing St. Catherine
+and St. Agnes, but we read elsewhere that "no work can with certainty
+be attributed to her."</p>
+
+<p>Among women workers a century later, we find: Clara de Keyzer, Suzanne
+Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who
+flourished about 1530, visited Germany, Italy, France and Spain.
+Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a
+painter of Ghent, who betook himself to England, and became painter to
+Henry VIII. D&uuml;rer knew him at Antwerp, in 1521, and there paid homage
+to the skill of his daughter, who was then barely 18 years of age. She
+accompanied her father to England, and was there received with the
+utmost favour; she made a rich marriage with John Parcker (or Parker),
+one of the King's archers, and died full of honours in her adopted
+country.</p>
+
+<p>Anne Smyters who flourished about 1540, is named in words of praise by
+Van Mander, Vaernewyck and Guicciardini. She married the celebrated
+sculptor, Jean de Heere, and was the mother of Luc de Heere, the
+painter, who made a long stay in England, where, among other works of
+importance, he did a series of decorative paintings for the Earl of
+Lincoln.</p>
+
+<p><span class="pagenum"><a id="Page_254">[254]</a></span></p>
+<p>Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister
+of Mons, was the possessor of the only known picture by Catherine van
+Hemessen. This is a half-length study of the Virgin fondling the
+infant Christ, with a background of landscape wherein one perceives
+snow. It is painted on wood, and bears the signature: 'Caterina de
+Hemessen pingebat.'" But there is in London an interesting portrait of
+a man, by her, dated 1552, and an illustration of it will be found on
+page <a href="#Page_263">263</a>.</p>
+
+<p>Then comes a series of daughters (and a sister) of famous painters,
+viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine
+Peeters; Anne-Marie, Fran&ccedil;oise-Catherine and Marie-Th&eacute;r&egrave;se van
+Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck
+was born in London, in 1641. "She was wedded at the age of 12," says
+Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and
+abjured Protestantism at Antwerp on the 19th of August, 1660. Left a
+widow, she made a second marriage with Martin de Carbonell. Van Dyck's
+daughter was unfortunate, for she found herself compelled to ask the
+King for a pension, which she obtained."</p>
+
+<p>The daughter of Otto van Veen, known as Venius, the teacher of Rubens,
+was born at Antwerp in 1602. She was a pupil of her father, and
+married Louis Malo. The Brussels gallery contains a portrait of her
+father, from her brush. She died in 1643. The daughter of Martin Pepyn
+lived in Antwerp about 1619. She specialised in portrait work, and was
+received into the Corporation of St. Luke, of that city, in 1650, by
+virtue of being a daughter of the master.</p>
+
+<p>The success obtained by the flower-paintings of Seghers and Breughel
+suddenly caused a great development of this special branch of art, to
+which, moreover, the celebrated Dutchman Jean-David de Heem, then
+domiciled in Antwerp, was a notable contributor. Among the women who
+became inspired by their example and followed their technique may be
+mentioned: Catherine Peeters, and the three daughters, pupils of the
+painter, Jean-Philippe van Thielen (himself a direct disciple of
+Seghers), and Laurence-Catherine Ykens.</p>
+
+<p><span class="pagenum"><a id="Page_255">[255]</a></span></p>
+
+<p>The registers of the Antwerp Academy for 1784 contain the name of
+Marie Baesten, <i>n&eacute;e</i> Ommeganck. Siret's "Dictionnaire" also mentions
+(at Bruges), the daughter of Louis de Deyster, the painter. Anne de
+Deyster (1690-1747) attracted notice by the perfection with which she
+copied her father's pictures. Gertrude de Pelichy, of Utrecht
+(1743-1825), was appointed an honorary member of the Imperial and
+Royal Academy of Painting in Vienna, and at Bruges she painted the
+portrait of the Emperor Joseph II., and that of the Empress
+Maria-Theresa.</p>
+
+<p>At the opening of the 19th Century, the Art of the Miniature was
+cultivated&mdash;as they expressed it in those days&mdash;by Marie-Josephe
+Dargent of Li&egrave;ge, a daughter and pupil of Michel Dargent, the elder,
+Hortense van Baerlen, and Am&eacute;lie van Assche, whose sister, Isabelle
+Catherine, a pupil of her uncle, Henry van Assche, had devoted herself
+to landscape painting.</p>
+
+<p>Siret's dictionary then notices a large number of women painters both
+historical and <i>genre</i>.</p>
+
+<p>Marie-Adelaide Kindt of Brussels, who was a pupil of David and of
+Navez, and visited Germany and France; Julie-Anne-Marie No&euml;l, wife of
+the painter, J. B. van Eycken, of Brussels; Mme.
+Isabelle-Marie-Fran&ccedil;oise Geefs, <i>n&eacute;e</i> Corr, of Brussels, a pupil of
+Navez; Mme. de Keyzer, <i>n&eacute;e</i> Marie Isabelle Telghuis, wife of the
+former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme.
+O'Connel, <i>n&eacute;e</i> Fr&eacute;d&eacute;rique Miethe, of Berlin, a pupil of Begas and of
+Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux
+Arts en Belgique'), in her wild paintings, as it were, a reflection of
+Rubens."</p>
+
+<p>Mlle. C. de Vrient, of Ghent, sister of the painters Albert and
+Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle.
+de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie
+Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the
+"Racine des Moutons," painted several landscapes in the manner of her
+brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen,
+painted landscapes characteristic of Zeeland and the Campine. The
+Brussels Gallery has several of her works, including <i>Les Vieux
+Ch&ecirc;nes, &icirc;le de Walcheren</i>, and a <i>Lisi&egrave;re de Bois en Hollande</i>.</p>
+
+<p><span class="pagenum"><a id="Page_256">[256]</a></span></p>
+
+<p>Before citing the names of the professional women painters who
+continue to contribute to the fame of the Belgian School, let me say a
+word in admiration of the talent of sundry "amateurs" (as they are
+called, to distinguish them from the others), chief among whom is
+H.R.H. the Comtesse de Flandre. The small-sized portraits in oils
+painted by the Duchesse d'Ursel are restrained in manner and full of
+charm.</p>
+
+<p>Furthermore, the pastel portraits by the Baroness Lambert de
+Rothschild attract attention by the richness of their colouring and
+their firm drawing, while those of the Comtesse Ghislaine de Caraman
+impress one by their distinction and their style. Madame Philippson,
+who is at present devoting herself specially to sculpture, has
+exhibited oil paintings, boldly handled and decorative in effect, and
+Madame Rolin-Jacquemyns has engraved in most skilful fashion several
+etchings representing "The Desolate Spots of the Campine."</p>
+
+<p>The most notable of the women-painters of the Belgian School to-day is
+certainly Madame Marie Collart, who with rare skill, has chosen a path
+to herself whereon she walks alone with an admirable instinct for
+intimate rusticity, showing much deep feeling. The painting of Mlle.
+Anna Boch, on the other hand, is bright and gay. She formed one of the
+famous group of the XX., and following the example of several of its
+members, she has now turned her attention to the special study of
+light in the open air. Mlle. Louise H&eacute;ger, after painting the lonely
+<i>dunes</i> of Flanders, and the Campine, has been studying and skilfully
+representing the slaty tints of the high plateau of the Ardennes.</p>
+
+<p>The most interesting of the "M&eacute;nages d'artistes" existing at present
+in the Belgian School is that of the Wytsmans. While Rodolph Wytsman
+seeks out the characteristic aspects of the landscapes of Brabant and
+the silent spots among the Flemish towns, Mme. Juliette Wytsman, for
+her part represents, so to speak, the floral life of the sites chosen
+by her husband. She has indeed created a <i>genre</i> in which she is
+without a rival.</p>
+
+<p><span class="pagenum"><a id="Page_257">[257]</a></span></p>
+
+<p>The daughters of the German engraver, Hoppe, one of whom has married
+Bernier, the animal painter, and the other the landscapist, Gilsoul,
+have likewise attained celebrity.</p>
+
+<p><span class="pagenum"><a id="Page_258">[258]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus177l.jpg">
+<img src="images/illus177s.jpg" width="400" height="409" alt="" />
+</a>
+</div>
+
+<p class="caption">THE MERRY YOUNG MAN.<br />
+FROM A PHOTOGRAPH BY HANFSTAENGL<br />
+AFTER THE
+PAINTING IN THE RIJKSMUSEUM AMSTERDAM.<br />
+Judith Leyster, Painter<br />
+1600(?)-1660</p>
+
+<p><span class="pagenum"><a id="Page_259">[259]</a></span></p>
+
+<p>The daughters and granddaughters of famous artists form yet another
+section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette
+Ronner, is beyond dispute the foremost painter of still-life in
+Belgium to-day. Her technical qualities are of the highest order, her
+<i>mise-en-page</i>, her draughtsmanship and her colour are in the grand
+style, and her works one and all have a really masterly air. Mlle.
+Marguerite Verboeckhoven, the granddaughter of the famous animal
+painter, has set herself to study the delicate gradations of colour
+seen on the Belgian littoral. Mlle. Verw&eacute;e, daughter of the painter of
+the <i>Beau Pays de Flandre</i>, exhibits portraits, which display the
+wealth of her palette; and the still-life subjects by Mlle. Georgette
+Meunier, daughter of the engraver, Jean Baptiste, and niece of the
+great Constantin Meunier, are delicate both in design and in
+colouring. She is a pupil of Alfred Stevens.</p>
+
+<p>Mme. Destr&eacute;e-Danse and Mlle. Louise Danse, daughters of Auguste Danse,
+the engraver, have revealed themselves worthy of their father's high
+gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie
+Durand, who has done some interesting heads, both prove that in
+Auguste Danse the teacher is fully worthy of the artist.</p>
+
+<p>With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of
+Belgian Fine Art," writes in the following terms:&mdash;"In the Antwerp
+Salon of 1882 were two canvases by Mlle. d'Anethan, <i>L'affiche</i> and
+<i>L'Enfant malade</i>, which had the freshness and the limpidity of
+Chardin, with a grace, a delicacy of touch, a feminine sense revealing
+the teaching of that most imperious of masters, Alfred Stevens." Mlle.
+Berthe Art, too, followed this prodigious master painter. She has made
+her position by means of pastels which, while preserving their natural
+charm, have all the solidity of oil-paintings.</p>
+
+<p>Mlle. Marie Antoinette Marcotte at first devoted herself to the
+representation of the life of the poor. Since then, however, she has
+created an altogether original <i>genre</i>, which has won for her many a
+success&mdash;the painting of glass-house interiors. She was "coached" by
+Emile Claus, the landscapist, among whose pupils were Mme. de Weert
+and Mlle. Montigny.</p>
+
+<p><span class="pagenum"><a id="Page_260">[260]</a></span></p>
+
+<p>The number of women painters is ever on the increase. There were as
+many as thirty-nine represented at the Brussels Salon of 1848, while
+at the last Brussels Salon in 1903, they were more than a hundred; and
+to close this rapid survey of feminine art in Belgium, I may record a
+success of another kind. In 1904, Mlle. L. Broh&eacute;e, after the various
+eliminating trials, found herself among the half-dozen artists
+permitted to take part in the final examination for the Prix de Rome.</p>
+
+<p>Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name
+of a Dutch woman painter given in Siret's "Historical Dictionary." She
+was born at Utrecht, of noble family, and made a speciality in
+portrait painting. Her name is mentioned by J. van Beverwyck. Her
+daughter Corn&eacute;lie also took up painting, and died at a great age in
+1629.</p>
+
+<p>Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second
+Anne Schurman." She was one of the most learned women of her time, and
+was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La
+Fleur du Paradis des Arts et des Sciences." She specialised in
+portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great
+fame. From the year 1613 she was a member of the Guild of St. Luke,
+of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on
+leaving her entered the studio of Franz Hals. She was married at
+Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also
+a native of Haarlem. She is eulogistically mentioned by Th.
+Schrevelius, the historian of Haarlem, who describes her as a famous
+woman, justly, as he remarks, called "the true guide in the
+arts"&mdash;(<i>de Ware Leyster in de Konst</i>), her name Leyster signifying
+'Guide.' She died in 1660.</p>
+
+<p>The most celebrated of the Dutch women painters of the 18th century
+was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with
+keen spirit and with extraordinary firmness, are extremely rich and
+varied in their arrangement. She was a pupil of Guillaume Aelst. In
+1695 she married Jurian Pool, and was admitted into the Hague
+Corporation of Painters in 1701, the same year as her husband. Without
+neglecting her duties as a mother (she had ten children) she was
+constantly devoted to her art. In 1708 she was appointed Court Painter
+of the Elector Palatine. Poets have sung the virtues and the gifts of
+this renowned woman.</p>
+
+<p><span class="pagenum"><a id="Page_261">[261]</a></span></p>
+
+<p>Agathe and Corn&eacute;lie van der Myn, sister and daughter of Herman van der
+Myn, accompanied the latter when he settled in London. Notable work
+was produced by three miniaturists: Henriette van Pee, wife of Herman
+Wolters, was born at Amsterdam, in 1692, and became her father's
+pupil. Peter the Great and the King of Prussia visited her studio,
+which had a high reputation, and the customary poets wrote the
+customary verses in her honour. Caroline-Petronille van Cuyck was made
+an honorary member of the <i>Pictura</i> of the Hague, in 1777. Anne
+Folkema, who lived between 1695 and 1768, was an active assistant of
+her brother, Jacques, in his numerous works. Nor must one forget Alida
+Carr&eacute;, who confined herself, for the most part, to painting fans;
+Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of
+the Confr&eacute;rie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem
+(1678-1738), and Elisabeth Gertrude Wassenberg, of Groningue,
+(1726-1782), who painted <i>genre</i> and portraits.</p>
+
+<p>At the opening of the 19th century the women painters of still-life,
+flowers and fruit, were still in large numbers.</p>
+
+<p>An interesting figure who has left a poetical memory is Corn&eacute;lie
+Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of
+the celebrated painters Henry and Ary, who belong to the French
+School. After the death of her husband she settled in Paris, and there
+ended her days. Her attainments, her wit, her eminent merits, made her
+one of the most remarkable women of her day. She was a draughtsman and
+an engraver.</p>
+
+<p>The name of Henriette Ronner is one of great popularity. This
+indefatigable artist is known as "the painter of cats," and she has
+charmingly "hit off" both the heavy laziness of the mature animal, and
+the frolicsomeness of the kitten.</p>
+
+<p><span class="pagenum"><a id="Page_262">[262]</a></span></p>
+
+<p>The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so
+well known, tempted that excellent engraver, Philippe Zilcken, who has
+"translated" with marvellous success their freshness and their
+<i>&eacute;clat</i>. Mme. Bilders van Bosse, of the Hague, is well known by her
+skilfully drawn and powerfully painted landscapes, and Mlle. Th&eacute;r&egrave;se
+Schwartze, of Amsterdam, a painter of high merit, has the art of
+giving character to a portrait; and knows how to group her figures and
+paint them in strong and sombre tones. Mme. Mesdag van Houten, of the
+Hague, wife of the famous marine painter, affects the landscape at
+dark, and realises fully the melancholy tenderness of the hour.</p>
+
+<p>It may be interesting now to name a truly remarkable artist who never
+exhibits&mdash;Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten.
+She is an excellent painter of figure pictures and still-life; her
+etchings are of the highest quality, and embrace a large number of
+subjects&mdash;interiors with lamp effects, children's heads, landscapes,
+dead birds, bouquets of enormous sunflowers and gaudy tulips. Further,
+she has interpreted in masterly fashion, Eug&egrave;ne Delacroix, Jules
+Dupr&eacute;, Gustave Courbet and other great masters of the French School.</p>
+
+<p>Mention must be made of Mme. Bisschop-Robertson, who paints popular
+subjects with astounding vigour; Mme. Marie Heyermans, whose pictures
+deal with the life and surroundings of the poor; Mlles. Anna Abrahams
+and Anna Kerling, whose charming still-life pieces are coloured now in
+bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of
+the Hague, who has turned her attention to flower painting; Mlle.
+Nelly Bodenheim, who does some very clever comic scenes, for the
+benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of
+portraits and peasant subjects.</p>
+
+<p>Last we come to Mlle. Marius, whose fair-tinted and most distinguished
+still-life works have been seen and admired. She is an excellent art
+critic, and is now publishing an important work on Dutch painting of
+the 19th century.</p>
+
+<p class="author">N. JANY.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_263">[263]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, 1552</span></p>
+
+<div class="figcenter">
+<a href="images/illus178l.jpg">
+<img src="images/illus178s.jpg" width="400" height="524" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A FLEMISH GENTLEMAN.<br />
+AFTER THE ORIGINAL PAINTING IN THE
+NATIONAL GALLERY, LONDON,<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp; CO.,<br />
+PARIS<br />
+Catharina van Hemessen, Painter<br />
+16th Century</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_264">[264]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus179l.jpg">
+<img src="images/illus179s.jpg" width="400" height="353" alt="" />
+</a>
+</div>
+
+<p class="caption">YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK.<br />
+FROM A PHOTOGRAPH BY
+W. A. MANSELL &amp; CO.,<br />
+AFTER THE ORIGINAL PICTURE IN A PRIVATE
+COLLECTION<br />
+Judith Leyster, Painter<br />
+1600(?)-1660</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_265">[265]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, XVII and XVIII Centuries</span></p>
+
+<div class="figcenter">
+<a href="images/illus180l.jpg">
+<img src="images/illus180s.jpg" width="400" height="500" alt="" />
+</a>
+</div>
+
+<p class="caption">PICTURE OF FRUIT WITH INSECTS AND LIZARDS.<br />
+FROM A PHOTOGRAPH BY
+ANDERSON<br />
+AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY, FLORENCE<br />
+Rachel Ruysch, Painter<br />
+1664-1750</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_266">[266]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch and Flemish Schools, late XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus181ltl.jpg">
+<img src="images/illus181stl.jpg" width="300" height="406" alt="" />
+</a>
+</div>
+
+<p class="caption">AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING.<br />
+Mme. Gilsoul-Hoppe, Painter<br />
+Belgium</p>
+
+<div class="figcenter">
+<a href="images/illus181ltr.jpg">
+<img src="images/illus181str.jpg" width="300" height="423" alt="" />
+</a>
+</div>
+
+<p class="caption">AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Baronne van Hogendorp, Painter<br />
+Holland</p>
+
+<div class="figcenter">
+<a href="images/illus181lb.jpg">
+<img src="images/illus181sb.jpg" width="400" height="288" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF STILL LIFE: ROSES IN A BASKET.<br />
+FROM A TRANSLATOR'S-ETCHING BY P. ZILCKEN<br />
+Madame G. J. van de Sande Bakhuyzen, Painter<br />
+Holland, 1826-1895</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_267">[267]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, between 1880-1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus182l.jpg">
+<img src="images/illus182s.jpg" width="400" height="262" alt="" />
+</a>
+</div>
+
+<p class="caption">LANDSCAPE NEAR OOSTERBEEK<br />
+FROM THE ORIGINAL CHALK DRAWING<br />
+Mevrouw Marie Philippine Bilders van Bosse, Painter<br />
+1837-1900</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_269">[269]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, late XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus183lt.jpg">
+<img src="images/illus183st.jpg" width="500" height="244" alt="" />
+</a>
+</div>
+
+<p class="caption">A BLEAK PASTORAL SCENE<br />
+AFTER THE ORIGINAL WATER-COLOUR<br />
+Madame Mesdag van Houten, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus183lb.jpg">
+<img src="images/illus183sb.jpg" width="400" height="320" alt="" />
+</a>
+</div>
+
+<p class="caption">WINDMILL AT HEELSUM<br />
+AFTER THE ORIGINAL OIL PAINTING<br />
+Madame Marie Philippine Bilders van Bosse, Painter<br />
+1837-1900</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_270">[270]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus184ll.jpg">
+<img src="images/illus184sl.jpg" width="400" height="531" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT STUDY OF A GIRL<br />
+AFTER THE ORIGINAL PICTURE<br />
+Mlle. Barbara van Houten, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus184lr.jpg">
+<img src="images/illus184sr.jpg" width="400" height="584" alt="" />
+</a>
+</div>
+
+<p class="caption">ORPHANS.<br />
+FROM A PHOTOGRAVURE OF THE ORIGINAL PICTURE<br />
+PAINTED IN 1887<br />
+Mlle. Th&eacute;r&egrave;se Schwartze, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_271">[271]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus185l.jpg">
+<img src="images/illus185s.jpg" width="400" height="565" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MLLE. TH&Eacute;R&Egrave;SE SCHWARTZE.<br />
+PAINTED BY HERSELF FOR THE UFFIZI
+GALLERY, FLORENCE,<br />
+BY REQUEST OF THE ITALIAN GOVERNMENT.<br />
+REPRODUCED
+FROM A PHOTOGRAPH BY BROGI<br />
+Mlle. Th&eacute;r&egrave;se Schwartze, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_272">[272]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch and Flemish Schools, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus186lt.jpg">
+<img src="images/illus186st.jpg" width="300" height="389" alt="" />
+</a>
+</div>
+
+<p class="caption">A POOL NEAR OOSTERBEEK.<br />
+AFTER THE ORIGINAL PAINTING<br />
+Madame Bilders van Bosse, Painter<br />
+1837-1900</p>
+
+<div class="figcenter">
+<a href="images/illus186lb.jpg">
+<img src="images/illus186sb.jpg" width="400" height="280" alt="" />
+</a>
+</div>
+
+<p class="caption">WITH THE POOR AT HOME.<br />
+REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Mademoiselle E. Marcotte, Painter<br />
+Belgium</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_273">[273]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus187l.jpg">
+<img src="images/illus187s.jpg" width="400" height="546" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM.<br />
+REPRODUCED FROM A
+PHOTOGRAPH OF THE ORIGINAL PASTEL<br />
+Mademoiselle Th&eacute;r&egrave;se Schwartze, Painter and Pastellist</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_275">[275]</a></span></p>
+
+<p class="caption"><span class="smcap">Dutch School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus188lt.jpg">
+<img src="images/illus188st.jpg" width="300" height="267" alt="" />
+</a>
+</div>
+
+<p class="caption">"LOUTJE."<br />
+FROM A SKETCH<br />
+Mlle. Barbara van Houten, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus188lb.jpg">
+<img src="images/illus188sb.jpg" width="400" height="443" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A. G. C. VAN DUYL, AUTHOR.<br />
+FROM A PHOTOGRAPH OF THE
+ORIGINAL PASTEL<br />
+Mlle. Th&eacute;r&egrave;se Schwartze, Pastellist and Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_276">[276]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus236l.jpg">
+<img src="images/illus236s.jpg" width="400" height="326" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF STILL LIFE: GRAPES AND PARTRIDGES.<br />
+AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Mademoiselle Berthe Art, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_277">[277]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus237lt.jpg">
+<img src="images/illus237st.jpg" width="300" height="355" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT STUDY OF THE COUNTESS FLORENCE FABBRICOTTI<br />
+Baroness Lambert de Rothschild, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus237lb.jpg">
+<img src="images/illus237sb.jpg" width="400" height="322" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MONSIEUR GEVAERT.<br />
+REPRODUCED FROM THE ORIGINAL PAINTING<br />
+Baroness Lambert de Rothschild, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_278">[278]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish and Dutch Schools, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus189ll.jpg">
+<img src="images/illus189sl.jpg" width="300" height="445" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MLLE. DETHIER.<br />
+AFTER A PROOF OF THE ORIGINAL ETCHING<br />
+Mlle. Louise Danse, Painter-Etcher<br />
+Belgium</p>
+
+<div class="figcenter">
+<a href="images/illus189lr.jpg">
+<img src="images/illus189sr.jpg" width="400" height="556" alt="" />
+</a>
+</div>
+
+<p class="caption">A DUTCH PEASANT WOMAN.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Madame Suse Bisschop-Robertson, Painter<br />
+Holland</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_279">[279]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus190l.jpg">
+<img src="images/illus190s.jpg" width="500" height="313" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE LAST MOVE."<br />
+REPRODUCED FROM THE ORIGINAL PAINTING<br />
+BY PERMISSION OF
+MESSRS. BRAUN, CL&Eacute;MENT &amp; CO., PARIS,<br />
+OWNERS OF THE COPYRIGHT<br />
+Madame Henriette Ronner, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_281">[281]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus191l.jpg">
+<img src="images/illus191s.jpg" width="400" height="260" alt="" />
+</a>
+</div>
+
+<p class="caption">NEW TENANTS&mdash;NOUVEAUX LOCATAIRES.<br />
+AFTER THE ORIGINAL PICTURE,<br />
+FROM A
+CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS,<br />
+OWNERS OF THE COPYRIGHT<br />
+Madame Henriette Ronner, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_282">[282]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus192ll.jpg">
+<img src="images/illus192sl.jpg" width="300" height="448" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF A HERON.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Mlle. Georgette Meunier, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus192lr.jpg">
+<img src="images/illus192sr.jpg" width="400" height="567" alt="" />
+</a>
+</div>
+
+<p class="caption">THE MASSACRE OF THE INNOCENTS.<br />
+AFTER MATTEO DI GIOVANNI DA SIENA<br />
+Madame Marie Destr&eacute;e-Danse, Etcher</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_283">[283]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus193l.jpg">
+<img src="images/illus193s.jpg" width="500" height="295" alt="" />
+</a>
+</div>
+
+<p class="caption">A SUNSET IN THE CAMPINE.<br />
+REPRODUCED BY PERMISSION FROM AN ETCHING<br />
+AFTER THE PAINTING BY JOSEPH COOSEMANS<br />
+IN THE BRUSSELS MUSEUM<br />
+Mademoiselle E. Wesmael, Etcher</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_284">[284]</a></span></p>
+
+<p class="caption"><span class="smcap">Flemish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus194l.jpg">
+<img src="images/illus194s.jpg" width="400" height="323" alt="" />
+</a>
+</div>
+
+<p class="caption">LILIES IN THE COURTYARD OF A HOUSE OF REST AT BRUGES.<br />
+AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING<br />
+Madame Juliette Wytsman, Painter</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_285">[285]</a></span></p>
+
+<h2 id="Chapter_VII">In Germany and Austria, in Russia, Switzerland and Spain</h2>
+
+<p class="h3">By Wilhelm Sch&ouml;lermann.<br />
+Translated into English by Wilfrid Sparroy</p>
+
+<p><img class="dropimg" src="images/illus195s.jpg" width="102" height="100" alt="" />
+<b><span class="hide">W</span>HEN</b> we look into the past history of the present subject, the first
+German name we come upon is that of the Nun of Nuremberg, Sister
+Margareta, who worked from 1459 to 1470, and who copied many religious
+works. A century later, at Udina, in Italy, Irene von Spilimberg was
+born, descending from a noble German family; and although Irene died
+at the age of nineteen, she yet lived long enough to win the hearty
+admiration of her great master, Titian. As a picture by Irene von
+Spilimberg could not be obtained for this book, the editor has begun
+the German section with Anna Maria Schurman and with Maria Sibylla
+Merian. The first was a clever painter-etcher as well as the most
+learned lady of her time; the second was the daughter of Matthew
+Merian, and the exquisite studies she made, in water-colour, of
+insects and of plants and flowers, have never been excelled in their
+own line.</p>
+
+<p>From Maria Sibylla Merian (1647-1717) we pass on to an admirable
+mezzotint, after Morland, by Maria Prestel, who died in 1794; and then
+we are brought into the heart of the 19th century by the searching
+industry and skill of Anna Maria Ellenrieder, a very capable
+painter-etcher, who lived between the years 1791 and 1863. Ellenrieder
+looked to the past for her inspiration, going to the art of the early
+Dutch masters. She has little or nothing in common with the other
+German women artists of her time. How different is her ideal, for
+instance, from that of the well-known painter of historical subjects,
+the Baroness Hermione von Preuschen, whose dramatic and sensational
+spirit appeals so strongly to the great public, as in that<span class="pagenum"><a id="Page_286">[286]</a></span> canvas in
+which is represented the Corpse of Irene von Spilimberg, young and
+beautiful, lying in state in her Venetian gondola, draped with black
+and covered with flowers. Artists do not often care for pictures of
+this romantic type; and they find higher and more subtle qualities in
+the quiet wisdom of Julie Wolfthorn, a Berlin painter of note, and a
+follower of the modern school of psychological portraiture. Julie
+Wolfthorn combines depth of feeling and refinement of taste with
+keenness of penetration into the mystery of individual character. Her
+portrait of a young sculptor, given in the illustration on page <a href="#Page_304">304</a>,
+is a good example of the painter's methods.</p>
+
+<p>Another Berlin artist of note is Fr&auml;ulein K&auml;the Kollwitz, whose
+principal field of artistic expression has hitherto been restricted to
+the burin and copper plate. She has studied etching almost entirely by
+herself, and by dint of persistent courage and skill has developed her
+gifts in a direction all her own. The subjects that appeal most
+forcibly to her mind are taken with scarcely an exception from the
+darkest and most painful sides of social life and social unrest. Take
+a glance at the father, mother, and child, reproduced on page <a href="#Page_302">302</a>, and
+entitled "Destitution and Despair." Are you not inclined to marvel,
+almost, how a woman had the courage to depict, without flinching, the
+sad truths of such bitter poverty? Can you not fancy that you hear the
+moan of misery, the shrill scream of starvation, the cries of
+rebellion and death, as when, on the outbreak of the strike, the bulk
+of the working classes casts itself upon the streets? Such masses in
+motion have been made real to us in her series of plates from the
+"Peasants' War."</p>
+
+<p>An artist of considerable versatility and intuition is Dora Hitz, of
+Berlin. Born at Altdorf, near N&uuml;rnberg, she began her studies at
+Munich, afterwards continuing them at intervals in Paris. In 1878 she
+acted upon the invitation of Carmen Silva, the Poet-Queen of Roumania,
+and executed a series of decorative panels for the royal castle of
+P&eacute;t&egrave;s, at Sinaivo, the pictorial subjects of which were chosen from
+the literary works of her Majesty. Four years later she settled in
+Paris,<span class="pagenum"><a id="Page_287">[287]</a></span> and there she remained till 1891. During all that time her
+industry never flagged, and she was much indebted to the friendly
+interest which Eug&egrave;ne Carri&egrave;re took in her work. The portrait of a
+little girl which may be seen here on page <a href="#Page_303">303</a>, belongs to the modern
+collection in the Berlin National Gallery.</p>
+
+<p>Our next lady painter, though of German descent, her grandfather being
+a native of Hamburg, was herself born in Sweden. Her name is Jeanna
+Bauck. When she was twenty-three years of age she saw the fulfilment
+of her life-long yearning to go to Germany for the purpose of studying
+painting, and there, with a few short breaks, she has remained ever
+since, first in Dresden and D&uuml;sseldorf, and then at Munich, where she
+has now taken up her abode. She was also in Paris for a while, for the
+sake of study. At first exclusively a landscapist, she afterwards
+turned to portrait painting, an example of which may be found on page
+300. For seven years (1897-1904) she lived in Berlin, and painted
+landscapes and portraits alternately, whilst superintending a
+flourishing school of art for ladies. In drawing your attention to her
+landscape on page <a href="#Page_301">301</a>, I should like to add that Jeanna Bauck takes
+rank among the most serious women painters of to-day.</p>
+
+<p>There is yet another portrait painter who deserves a memory for the
+sake of her refinement and sensibility. I refer to the wife of Wilhelm
+Jensen, the historical novelist and poet of Schleswig-Holstein. Now,
+Frau Marie Jensen (Munich), once a pupil of the late Emil Lugo,
+devotes herself to her art in private. Most of her portraits, too,
+give proof of this same love of retirement, originating as they do in
+the family circle (see page <a href="#Page_303">303</a>).</p>
+
+<p>The portrait of a lady, on page <a href="#Page_300">300</a>, is the work of that very gifted
+portrait painter, Fr&auml;ulein Maria Davids. This capable artist has
+produced some excellent likenesses; among others those of the poet
+Gustav Frenssen, of Professor Weber, of Freiburg, of Fr&auml;ulein von
+Sydow, a daughter of the Minister of State, and of Frau Vermehren of
+L&uuml;beck. Another portrait painter of fame and much power of expression,
+is Frau Vilma<span class="pagenum"><a id="Page_288">[288]</a></span> Parlaghy, her draughtsmanship being particularly good.
+Hungarian by birth, she lives and works for the most part in the
+German capital. Her handling of the brush is vigorous, yet sober, her
+colouring is warm and harmoniously balanced, and her insight into
+character quite strikingly true and convincing. The finest and most
+successful efforts, in my opinion, are the portrait of the aged
+Field-marshal Count von Moltke, taken in his eighty-ninth year,
+shortly before his death, and that of Windhorst, the German statesman.</p>
+
+<p>In Austria, in the dominions of the Emperor Francis Joseph, women
+painters are numerous, but those of more than average gifts are not
+perhaps so plentiful as elsewhere. In the Bohemian capital of Prague,
+Fr&auml;ulein Hermine Laucota has worked her way up to a position of
+distinction quite on her own grounds. Leading a most retired life,
+devoted chiefly to the pursuit of natural history and art, she studied
+first in Prague, and then partly at Antwerp and in Munich, but since
+the year 1888 she has resided altogether in her native town. It is not
+in colours so much as in etching on the copper plate that she has
+found her medium of artistic expression, and the subjects she has
+chosen are for the most part of a symbolical character, as in the
+distinguished etching on page <a href="#Page_307">307</a>.</p>
+
+<p>To come to Vienna, a couple of names of good repute occur to me: Frau
+Olga Wisinger-Florian and Frau Tina Blau-Lang, the latter a refined
+landscapist (see pages <a href="#Page_306">306</a> and <a href="#Page_308">308</a>). The two views of the Prater will
+speak for themselves. With their charming freshness and their genial
+breadth of handling, they tell us as plain as words that "all's right
+with the world" in the springtime. Every touch is so bracing that it
+needs no praise. Frau Blau-Lang is an optimist beyond a doubt, and
+that as much by temperament as by choice of motive.</p>
+
+<p>And when we look beyond Austria and Germany, we find everywhere among
+women the same enthusiasm for art, and the same unflagging courage in
+mastering the difficulties that thwart their every effort. That their
+persistence has been crowned with much success is shown in a very
+remarkable manner<span class="pagenum"><a id="Page_289">[289]</a></span> by this present book. How admirable, for instance,
+is the work done in Finland by Maria Wiik and Helene Schjerfbeck! In
+Switzerland, too, if we take a glance at the country where Anna
+Wasser, at the beginning of the 18th century, achieved fame by her
+paintings&mdash;there, too, we are welcomed by a particularly interesting
+painter's painter, Mdlle. Louise Breslau, who, with her thorough
+knowledge of modern realism, never truckles to the taste of the
+general public; and there, also, we find another woman painter whose
+art has been inspired on several occasions by the life of Christ: a
+woman painter so much occupied with the conception of her pictures
+that her technique has a tendency to lag behind the almost literary
+eloquence of her design. But Mdlle. Ottilie Roederstein is
+nevertheless an artist of real ability.</p>
+
+<p>From Switzerland we must turn to Spain if we would do for ourselves
+what the accompanying illustrations will do for us in the pleasantest
+of pleasant ways. Take, for example, the airy, fresh, excellent
+landscape, a "Scene at Comillas," painted in water-colour by the
+Infante Do&ntilde;a Paz de Bourbon. Then, again, the "Carriage Race at
+Naples," by Do&ntilde;a Stuart Sindici, with its splendid dash and dexterity
+of composition, and the court outside a "Roman Hostelry," by Elena
+Brockmann, likewise a sunny scene, simply teem with warmth and colour,
+and with life and beauty. Not quite so strong and independent are the
+"Fisher Boys," by Antonia de Ba&ntilde;uelos, the conception and the
+execution alike being apparently inspired by that mild and noble
+master of Spanish painting, Esteban Murillo. Again, in Russia, we meet
+with a portrait-painter, Olga de Boznanska (page <a href="#Page_316">316</a>), whose work
+unites a certain independent character of its own with the influences
+of her Parisian training: qualities that marked in a much higher and
+more perfect degree the pictorial appeals of that young and
+marvellously spirited genius whose premature death cut short a career
+of infinite promise: Marie Bashkirtseff, the friend of Bastien Lepage,
+and a realist full of subtlety and of penetration.</p>
+
+<p class="author">WILHELM SCH&Ouml;LERMANN.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_290">[290]</a></span></p>
+
+<h2 id="Chapter_VIII">Some Finnish Women Painters</h2>
+
+<p class="h3">By Helena Westermarck, Critic and Painter</p>
+
+<p><img class="dropimg" src="images/illus196s.jpg" width="102" height="100" alt="" />
+<b><span class="hide">A</span>RT</b> in Finland, pictorial art, like much else in that country, is a
+young growth. It is in the nineteenth century that we are first able
+to verify its existence, and it is only in the year 1840, or
+thereabouts, that we find any traces of women who seriously devoted
+themselves to the study of painting. The pioneers in this may be said
+to be Mathilda Rotkirch and Victoria Abey.</p>
+
+<p>Somewhat later, in or about 1870, Fanny Churberg, after working in
+D&uuml;sseldorf and Paris, evinced much independent and original talent in
+landscape painting, her art having also an inaugural character, in
+that she was the first who applied herself to the decoration of
+textile fabrics, adapting to her purpose the old national Finnish
+patterns, a practice which has since then had a large following in the
+field of applied design. Her career, unfortunately, was soon ended by
+illness and an early death. After her came the generation of women
+artists who are at present carrying forward a young school of
+enthusiastic workers.</p>
+
+<p>In the sphere of painting, the women artists of Finland study under
+much the same circumstances as their male comrades. The Schools of Art
+subsidized by the State are open both to male and to female pupils,
+and this applies also to all prizes and rewards of merit. Some account
+of the principal women painters may be of interest.</p>
+
+<p>Maria Wiik (1853), after an apprenticeship in the Finnish Schools of
+Art and in Professor Becker's Private Academy, spent several years of
+study in Paris&mdash;occasionally moving her easel in the summers to
+Brittany, to Normandy, or even to St. Ives, in England. She has
+further developed her art in later years by visits to Holland and to
+Italy. Her talent lies in the direction of portrait and genre painting
+and she has<span class="pagenum"><a id="Page_291">[291]</a></span> now the name of being among the best Finnish portrait
+painters. She has executed many public commissions, such as the
+portrait of the Professor at the Rein University in Helsingfors, for
+the Finnish Literary Society, and that of the poet, Z. Topelius, for a
+large public school for girls. Many will remember her portrait of the
+School Inspector, Ohberg, which now hangs in the Helsingfors Board
+School. Maria Wiik has exhibited at the Paris Salons, and at picture
+exhibitions in Moscow, Copenhagen, and Dresden, and besides the prizes
+awarded her in her own country, she has received a bronze medal in
+Paris (1900) for a picture painted in St. Ives, called, "Out into the
+World."</p>
+
+<p>Helene Schjerfbeck (1863), also a pupil of the Finnish Schools of Art
+and of Prof. Becker's Private Academy, continued her studies in Paris
+and afterwards visited Brittany, England, Austria and Italy. She has
+painted some important historical pictures, taking her subjects from
+Finnish and Swedish history, as in her two admirable paintings,
+"Liuk&ouml;ping's Prison in 1600" and "The Death of W. v. Schwerin." She
+has also painted a few landscapes and a number of genre pictures, many
+of them with subjects taken from French and English life. Helene
+Schjerfbeck has exhibited both at home and at the Paris Salons, has
+twice been awarded the lesser money prize given yearly by the Finnish
+State (for the two historical pictures mentioned above), while at the
+Exhibition in Paris in 1889, she received a bronze medal. She has also
+held an appointment as teacher in the Finnish Academy of Art, in the
+department of painting and in the drawing class from the living model.
+Her many pictures have been among the best that our women artists have
+produced.</p>
+
+<p>Venny Soldan-Brofeldt (1860) is another pupil of the Finnish Schools
+of Art and of Prof. Becker's Academy, and has studied later in Paris,
+and in Spain and Italy. Her best work is in the genre style, many of
+her pictures being very characteristic and true scenes of Finnish
+peasant life, such as "Meal time in a Peasant's Hut" and "Pietists."
+Her landscapes, too, are remarkable for a sensitive conception of
+Nature; especially is this true of her pictures of our coast scenery,
+with its low granite<span class="pagenum"><a id="Page_292">[292]</a></span> rocks, washed over by the sea waves. Mrs.
+Soldan-Brofeldt has illustrated also some books for children, among
+others a part of a large Scandinavian edition of Topelius' Saga tales
+for children. At the Paris Exhibition of 1889, she received a "Mention
+Honorable," and in 1900, a bronze medal. She is the wife of the
+author, Juhani Aho. Brofeldt. Mrs. Soldan-Brofeldt's work is not
+illustrated in this book, as a photograph of her most important
+picture was broken into fragments in its journey from Finland to
+London.</p>
+
+<p>It is characteristic of all these painters that their artistic bias
+was determined by their study in Paris of the French naturalists, who
+inspired them with a stern respect for drawing, and taught them to
+study Nature seriously. Starting from this common standpoint, they
+have, whilst working in their own way, developed along their own
+individual lines.</p>
+
+<p>Many another woman artist deserves mention, but the limited space at
+my disposal permits me to give only a list of their names.</p>
+
+<p>There is Ellen Thesleff, a figure painter; there is Elin
+Danielson-Gambogi (wife of the Italian painter, R. Gambogi),
+well-known for her portraits and landscapes; there is Julia Stigzelius
+de Cock (wife of the Belgian artist, C&eacute;sare de Cock), a clever
+landscape painter; there is Am&eacute;lie Lundahl, figure painter; and Ada
+Thil&eacute;n, with her landscapes; and Hanna R&ouml;nnberg, with her subject
+pictures and outdoor scenes; and Anna Sahlst&eacute;n, a figure painter; and
+last, but not least, I name Annie Torselles-Schybergson, a good
+painter of animals.</p>
+
+<p class="author">HELENA WESTERMARCK.</p>
+
+<div class="figcenter">
+<a href="images/illus197l.jpg">
+<img src="images/illus197s.jpg" width="400" height="131" alt="" />
+</a>
+</div>
+
+<p class="caption">SILHOUETTE BY NELLY BODENHEIM.</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_293">[293]</a></span></p>
+
+<p class="caption smcap">Russian School, 1884</p>
+
+<div class="figcenter">
+<a href="images/illus198l.jpg">
+<img src="images/illus198s.jpg" width="400" height="428" alt="" />
+</a>
+</div>
+
+<p class="caption">"A MEETING."<br />
+AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG, PARIS,<br />
+FROM A PHOTOGRAPH BY LEVY &amp; SONS, PARIS<br />
+Mademoiselle Marie Bashkirtseff, Painter<br />
+1860-1884</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_295">[295]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus199l.jpg">
+<img src="images/illus199s.jpg" width="400" height="601" alt="" />
+</a>
+</div>
+
+<p class="caption">PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM.<br />
+AFTER ONE OF THE MANY
+DRAWINGS BY THE SAME ARTIST<br />
+IN THE BRITISH MUSEUM.<br />
+THEY ONCE BELONGED
+TO SIR HANS SLOANE,<br />
+WHO PURCHASED THEM AT A HIGH PRICE.<br />
+Maria Sibylla Merian (Frau Graff), Painter<br />
+1647-1717</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_296">[296]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, XVII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus200ll.jpg">
+<img src="images/illus200sl.jpg" width="400" height="523" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT ETCHED BY HERSELF OF ANNA MARIA SCHURMAN<br />
+PERHAPS THE MOST
+FAMOUS LINGUIST OF HER TIME IN EUROPE<br />
+Anna Maria Schurman, Painter-Etcher<br />
+1607-1678</p>
+
+<div class="figcenter">
+<a href="images/illus200lr.jpg">
+<img src="images/illus200sr.jpg" width="400" height="554" alt="" />
+</a>
+</div>
+
+<p class="caption">PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM.<br />
+REPRODUCED FROM THE
+ORIGINAL DRAWING<br />
+IN THE BRITISH MUSEUM<br />
+Maria Sibylla Merian (Frau Graff), Painter<br />
+1647-1717</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_297">[297]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, End of XVIII Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus201l.jpg">
+<img src="images/illus201s.jpg" width="400" height="300" alt="" />
+</a>
+</div>
+
+<p class="caption">GYPSIES ON A COMMON<br />
+AFTER GEORGE MORLAND<br />
+Frau Maria Catharina Prestel, Engraver<br />
+Died 1794</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_298">[298]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, 1817 and 1820</span></p>
+
+<div class="figcenter">
+<a href="images/illus202ll.jpg">
+<img src="images/illus202sl.jpg" width="400" height="472" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A WOMAN.<br />
+FROM THE ORIGINAL ETCHING IN THE BRITISH MUSEUM<br />
+
+Anna Marie Ellenrieder, Painter-Etcher<br />
+1791-1863</p>
+
+<div class="figcenter">
+<a href="images/illus202lr.jpg">
+<img src="images/illus202sr.jpg" width="400" height="467" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A MAN.<br />
+REPRODUCED FROM THE ORIGINAL ETCHING IN BRITISH
+MUSEUM<br />
+Anna Marie Ellenrieder, Painter-Etcher<br />
+1791-1863</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_299">[299]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, Late XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus203ll.jpg">
+<img src="images/illus203sl.jpg" width="300" height="488" alt="" />
+</a>
+</div>
+
+<p class="caption">A GIRL OF BOHEMIA.<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Caroline von Maupeou, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus203lr.jpg">
+<img src="images/illus203sr.jpg" width="400" height="519" alt="" />
+</a>
+</div>
+
+<p class="caption">BRETON GIRL PRAYING.<br />
+FROM A PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Frau Adela&iuml;de Salles-Wagner, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_300">[300]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus204lt.jpg">
+<img src="images/illus204st.jpg" width="400" height="465" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF FR&Auml;ULEIN VON SYDOW.<br />
+FROM THE ORIGINAL PAINTING<br />
+Fr&auml;ulein Maria Davids, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus204lb.jpg">
+<img src="images/illus204sb.jpg" width="400" height="403" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT.<br />
+FROM A PHOTOGRAPH BY HANFSTAENGL<br />
+KINDLY LENT BY THE ARTIST<br />
+Jeanna Bauck, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_301">[301]</a></span></p>
+
+<p class="caption"><span class="smcap">German and Spanish Schools, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus205lt.jpg">
+<img src="images/illus205st.jpg" width="400" height="278" alt="" />
+</a>
+</div>
+
+<p class="caption">A WOODLAND LAKE.<br />
+AFTER THE ORIGINAL PICTURE<br />
+Jeanna Bauck, Painter, Germany</p>
+
+<div class="figcenter">
+<a href="images/illus205lb.jpg">
+<img src="images/illus205sb.jpg" width="400" height="257" alt="" />
+</a>
+</div>
+
+<p class="caption">THE CASTLE AND PALACE OF PENA IN CINTRA.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Maria G. Silva Reis, Painter, Spain</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_302">[302]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus206lt.jpg">
+<img src="images/illus206st.jpg" width="300" height="325" alt="" />
+</a>
+</div>
+
+<p class="caption">MOTHERHOOD.<br />
+FROM A PHOTOGRAPH LENT BY THE ARTIST<br />
+Dora Hitz, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus206lb.jpg">
+<img src="images/illus206sb.jpg" width="400" height="448" alt="" />
+</a>
+</div>
+
+<p class="caption">DESOLATION AND DESPAIR<br />
+AFTER THE ORIGINAL ETCHING<br />
+Fr&auml;ulein K&auml;the Kollwitz, Painter-Etcher</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_303">[303]</a></span></p>
+
+<p class="caption"><span class="smcap">German School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus207ll.jpg">
+<img src="images/illus207sl.jpg" width="400" height="540" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LITTLE GIRL.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A
+PHOTOGRAPH BY FRANZ KULLRICH, BERLIN,<br />
+LENT BY THE ARTIST<br />
+Dora Hitz, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus207lr.jpg">
+<img src="images/illus207sr.jpg" width="300" height="435" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF WILHELM JENSEN, POET AND HISTORICAL NOVELIST.<br />
+AFTER THE
+ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH LENT BY THE ARTIST<br />
+Frau Marie Jensen, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_304">[304]</a></span></p>
+
+<p class="caption"><span class="smcap">German and Swiss Schools, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus208ll.jpg">
+<img src="images/illus208sl.jpg" width="400" height="514" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A SCULPTOR.<br />
+FROM A PHOTOGRAPH BY FRANZ KULLRICH<br />
+KINDLY
+LENT BY THE ARTIST<br />
+Frau Julie Wolfthorn, Painter Germany</p>
+
+<div class="figcenter">
+<a href="images/illus208lr.jpg">
+<img src="images/illus208sr.jpg" width="300" height="453" alt="" />
+</a>
+</div>
+
+<p class="caption">"ANA&Iuml;S."<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A PHOTOGRAPH BY BRAUN,
+CL&Eacute;MENT &amp; CO.<br />
+Mlle. Louise Breslau, Painter<br />
+Switzerland</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_305">[305]</a></span></p>
+
+<p class="caption"><span class="smcap">Swiss School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus209l.jpg">
+<img src="images/illus209s.jpg" width="500" height="396" alt="" />
+</a>
+</div>
+
+<p class="caption">THEIR DAILY BREAD.<br />
+AFTER THE ORIGINAL PAINTING,<br />
+REPRODUCED BY
+PERMISSION<br />
+FROM A CARBON PRINT BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mademoiselle Ottilie Roederstein, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_306">[306]</a></span></p>
+
+<p class="caption"><span class="smcap">Austrian School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus210l.jpg">
+<img src="images/illus210s.jpg" width="400" height="291" alt="" />
+</a>
+</div>
+
+<p class="caption">SPRINGTIME IN THE PRATER, VIENNA.<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A
+PHOTOGRAPH BY J. L&Ouml;WY, VIENNA,<br />
+KINDLY LENT BY THE ARTIST<br />
+Frau Tina Blau-Lang, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_307">[307]</a></span></p>
+
+<p class="caption"><span class="smcap">Austrian School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus211l.jpg">
+<img src="images/illus211s.jpg" width="400" height="285" alt="" />
+</a>
+</div>
+
+<p class="caption">BY THE SHORE OF LETHE LAKE<br />
+AFTER A PROOF OF THE ORIGINAL ETCHING<br />
+Fr&auml;ulein Hermine Laucota, Painter-Etcher</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_308">[308]</a></span></p>
+
+<p class="caption"><span class="smcap">Austrian School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus212l.jpg">
+<img src="images/illus212s.jpg" width="400" height="479" alt="" />
+</a>
+</div>
+
+<p class="caption">VIEW IN THE PRATER, VIENNA.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A
+PHOTOGRAPH BY J. L&Ouml;WY, VIENNA,<br />
+KINDLY LENT BY THE ARTIST<br />
+Frau Tina Blau-Lang, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_309">[309]</a></span></p>
+
+<p class="caption"><span class="smcap">Finnish School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus213l.jpg">
+<img src="images/illus213s.jpg" width="400" height="532" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LADY.<br />
+AFTER THE ORIGINAL PICTURE<br />
+Maria Wiik, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_310">[310]</a></span></p>
+
+<p class="caption"><span class="smcap">Finnish School, 1887</span></p>
+
+<div class="figcenter">
+<a href="images/illus214l.jpg">
+<img src="images/illus214s.jpg" width="400" height="330" alt="" />
+</a>
+</div>
+
+<p class="caption">THE CONVALESCENT<br />
+AFTER THE ORIGINAL PAINTING<br />
+Helene Schjerfbeck, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_311">[311]</a></span></p>
+
+<p class="caption"><span class="smcap">Swiss School, Contemporary</span></p>
+
+<div class="figcenter">
+<a href="images/illus215l.jpg">
+<img src="images/illus215s.jpg" width="400" height="578" alt="" />
+</a>
+</div>
+
+<p class="caption">"LE MOIS DE MARIE." REPRODUCED<br />
+AFTER THE ORIGINAL PAINTING<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO.<br />
+Mademoiselle Ottilie Roederstein, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_313">[313]</a></span></p>
+
+<p class="caption"><span class="smcap">Finnish School, from 1887 to about 1895</span></p>
+
+<div class="figcenter">
+<a href="images/illus216ll.jpg">
+<img src="images/illus216sl.jpg" width="400" height="476" alt="" />
+</a>
+</div>
+
+<p class="caption">PREPARING TO LEAVE HOME.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING,
+DATED 1887<br />
+Maria Wiik, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus216lr.jpg">
+<img src="images/illus216sr.jpg" width="400" height="522" alt="" />
+</a>
+</div>
+
+<p class="caption">AT WORK.<br />
+REPRODUCED FROM A CARBON-PRINT PHOTOGRAPH OF THE ORIGINAL
+PAINTING<br />
+Helene Schjerfbeck, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_314">[314]</a></span></p>
+
+<p class="caption"><span class="smcap">Finnish and Swiss Schools, about 1904</span></p>
+
+<div class="figcenter">
+<a href="images/illus217lt.jpg">
+<img src="images/illus217st.jpg" width="400" height="502" alt="" />
+</a>
+</div>
+
+<p class="caption">A FINNISH PEASANT GIRL<br />
+FROM THE ORIGINAL DRAWING<br />
+Ellen Thesleff, Painter<br />
+Finland</p>
+
+<div class="figcenter">
+<a href="images/illus217lb.jpg">
+<img src="images/illus217sb.jpg" width="500" height="269" alt="" />
+</a>
+</div>
+
+<p class="caption">A PORTRAIT-GROUP OF FRIENDS.<br />
+AFTER THE ORIGINAL PICTURE<br />
+FROM A
+PHOTOGRAPH BY BRAUN, CL&Eacute;MENT &amp; CO<br />
+Mlle. Louise Breslau, Painter<br />
+Switzerland</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_315">[315]</a></span></p>
+
+<p class="caption"><span class="smcap">Russian School, XIX Century</span></p>
+
+<div class="figcenter">
+<a href="images/illus218ll.jpg">
+<img src="images/illus218sl.jpg" width="400" height="459" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF MARIE BASHKIRTSEFF.<br />
+AFTER THE ORIGINAL PASTEL IN THE MUS&Eacute;E
+DU LUXEMBOURG,<br />
+FROM A PHOTOGRAPH BY L&Eacute;VY &amp; SONS, PARIS<br />
+Mlle. Marie Bashkirtseff, Pastellist<br />
+1860-1884</p>
+
+<div class="figcenter">
+<a href="images/illus218lr.jpg">
+<img src="images/illus218sr.jpg" width="400" height="463" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF THE COMTESSE DE TOULOUSE.<br />
+AFTER THE ORIGINAL PASTEL IN THE
+MUS&Eacute;E DU LUXEMBOURG,<br />
+FROM A PHOTOGRAPH BY NEWIDEIN<br />
+Mlle. Marie Bashkirtseff, Pastellist<br />
+1860-1884</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_316">[316]</a></span></p>
+
+<p class="caption"><span class="smcap">German and Russian Schools, 1870 and 1903</span></p>
+
+<div class="figcenter">
+<a href="images/illus219ll.jpg">
+<img src="images/illus219sl.jpg" width="400" height="498" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (DATED 1870) OF THE LATE LUDWIG WINDHORST,<br />
+GERMAN STATESMAN<br />
+FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH<br />
+Frau Vilma Parlaghy, Painter<br />
+Germany</p>
+
+<div class="figcenter">
+<a href="images/illus219lr.jpg">
+<img src="images/illus219sr.jpg" width="400" height="527" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT OF A LADY (DATED 1903),<br />
+RECENTLY PURCHASED FOR THE
+LUXEMBOURG, PARIS<br />
+Mlle. Olga de Boznanska, Painter<br />
+Russia</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_317">[317]</a></span></p>
+
+<p class="caption"><span class="smcap">Spanish School, 1875</span></p>
+
+<div class="figcenter">
+<a href="images/illus220l.jpg">
+<img src="images/illus220s.jpg" width="500" height="322" alt="" />
+</a>
+</div>
+
+<p class="caption">A CARRIAGE RACE AT NAPLES<br />
+FROM A PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Do&ntilde;a Stuart Sindici, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_318">[318]</a></span></p>
+
+<p class="caption"><span class="smcap">Spanish School, 1881</span></p>
+
+<div class="figcenter">
+<a href="images/illus221l.jpg">
+<img src="images/illus221s.jpg" width="400" height="295" alt="" />
+</a>
+</div>
+
+<p class="caption">A SCENE AT COMILLAS.<br />
+REPRODUCED
+AFTER THE ORIGINAL WATER-COLOUR, DATED
+1881,<br />
+FROM A PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Infante Do&ntilde;a Paz de Bourbon, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_319">[319]</a></span></p>
+
+<p class="caption"><span class="smcap">Spanish School, 1887</span></p>
+
+<div class="figcenter">
+<a href="images/illus222l.jpg">
+<img src="images/illus222s.jpg" width="500" height="256" alt="" />
+</a>
+</div>
+
+<p class="caption">OUTSIDE A ROMAN HOSTELRY<br />
+FROM A PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Do&ntilde;a Elena Brockmann, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_320">[320]</a></span></p>
+
+<p class="caption"><span class="smcap">Spanish School, 1881 and 1890</span></p>
+
+<div class="figcenter">
+<a href="images/illus223lt.jpg">
+<img src="images/illus223st.jpg" width="300" height="398" alt="" />
+</a>
+</div>
+
+<p class="caption">MY MODEL.<br />
+AFTER THE ORIGINAL WATER-COLOUR,<br />
+FROM A PHOTOGRAPH BY
+LAURENT, MADRID<br />
+Infante Do&ntilde;a Paz de Bourbon, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus223lb.jpg">
+<img src="images/illus223sb.jpg" width="500" height="310" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY OF A BABY LAUGHING.<br />
+AFTER THE ORIGINAL PICTURE,<br />
+FROM A
+PHOTOGRAPH BY J. LAURENT &amp; CO., MADRID<br />
+Antonia de Ba&ntilde;uelos, Painter</p>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_321">[321]</a></span></p>
+
+<p class="caption"><span class="smcap">Spanish School, 1883</span></p>
+
+<div class="figcenter">
+<a href="images/illus224l.jpg">
+<img src="images/illus224s.jpg" width="400" height="701" alt="" />
+</a>
+</div>
+
+<p class="caption">"THE LITTLE FISHERS."<br />
+AFTER THE ORIGINAL PAINTING,<br />
+FROM A PHOTOGRAPH
+BY BRAUN, CL&Eacute;MENT &amp; CO., PARIS<br />
+Antonia de Ba&ntilde;uelos, Painter</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_323">[323]</a></span></p>
+
+<h2>INDEX</h2>
+
+<ul class="index">
+<li class="ifrst"><span class="smcap">Abb&eacute;ma, Mlle. Louise</span>: "Winter," <a href="#Page_237">237</a>.</li>
+
+<li class="indx"><span class="smcap">Abran, Madame</span>: "Study of Tigers," <a href="#Page_243">243</a>.</li>
+
+<li class="indx"><span class="smcap">Allingham, Mrs. Helen</span>, R.W.S.: "A Cottage near Crocken Hill," <a href="#Page_109">109</a>;</li>
+<li class="isub1">"Ponte Widman, Venice," <a href="#Page_137">137</a>;</li>
+<li class="isub1">"Campanile San Stefano, Venice," <a href="#Page_137">137</a>.</li>
+
+<li class="indx"><span class="smcap">Alma-Tadema, Miss Anna</span>: "Portrait of Miss Anna Alma-Tadema," <a href="#Page_156">156</a>.</li>
+
+<li class="indx"><span class="smcap">Anderson, Mrs. Sophie</span>: "Elaine," <a href="#Page_105">105</a>.</li>
+
+<li class="indx"><span class="smcap">Angell, Mrs. Helen Cordelia</span>: "Study of a Bird's Nest," <a href="#Page_102">102</a>.</li>
+
+<li class="indx"><span class="smcap">Anguisciola, Sophonisba</span>: "Three Sisters of Sophonisba Anguisciola Playing at Chess," <a href="#Page_25">25</a>;</li>
+<li class="isub1">"Portrait of Sophonisba Anguisciola," <a href="#Page_36">36</a>;</li>
+<li class="isub1">"Portrait of a Lady," <a href="#Page_39">39</a>.</li>
+
+<li class="indx"><span class="smcap">Angus, Christine</span>: Design, <a href="#Page_64">64</a>.</li>
+
+<li class="indx"><span class="smcap">Art, Mlle. Berthe</span>: "Study of Still Life: Grapes and Partridges," <a href="#Page_276">276</a>.</li>
+
+<li class="ifrst"><span class="smcap">Bakhuyzen, Mme. G. J. Van de Sande</span>: "Study of Still Life: Roses in a Basket," <a href="#Page_266">266</a>.</li>
+
+<li class="indx"><span class="smcap">Ba&ntilde;uelos, Antonia de</span>: "Study of a Baby Laughing," <a href="#Page_320">320</a>;</li>
+<li class="isub1">"The Little Fishers," <a href="#Page_321">321</a>.</li>
+
+<li class="indx"><span class="smcap">Barton, Miss Rose</span>, A.R.W.S.: "Almond Blossom in London," <a href="#Page_143">143</a>.</li>
+
+<li class="indx"><span class="smcap">Bashkirtseff, Mlle. Marie</span>: "A Meeting," <a href="#Page_293">293</a>;</li>
+<li class="isub1">"Portrait of Marie Bashkirtseff," <a href="#Page_315">315</a>;</li>
+<li class="isub1">"Portrait of the Comtesse de Toulouse," <a href="#Page_315">315</a>.</li>
+
+<li class="indx"><span class="smcap">Bauck, Jeanna</span>, "Portrait," <a href="#Page_300">300</a>;</li>
+<li class="isub1">"A Woodland Lake," <a href="#Page_301">301</a>.</li>
+
+<li class="indx"><span class="smcap">Bauerl&euml;, Miss</span> A., A.R.E.: "A Song of the Sea," <a href="#Page_132">132</a>;</li>
+<li class="isub1">"Fauns," <a href="#Page_132">132</a>.</li>
+
+<li class="indx"><span class="smcap">Beale, Mary</span>: "Portrait of the English Poet, Abraham Cowley," <a href="#Page_81">81</a>;</li>
+<li class="isub1">"Portrait of King Charles II. of England," <a href="#Page_81">81</a>.</li>
+
+<li class="indx"><span class="smcap">Beauclerk, Lady Diana</span>: "Caricature of Edward Gibbon," <a href="#Page_82">82</a>;</li>
+<li class="isub1">"Cupids," <a href="#Page_82">82</a>.</li>
+
+<li class="indx"><span class="smcap">Beaux, Miss Cecilia</span>: "Mother and Child," <a href="#Page_121">121</a>;</li>
+<li class="isub1">"Portrait," <a href="#Page_162">162</a>.</li>
+
+<li class="indx"><span class="smcap">Benoits, Madame</span>: "Portrait of Marie Pauline, Princesse Borghese," <a href="#Page_183">183</a>.</li>
+
+<li class="indx"><span class="smcap">Bilders van Bosse, Mme.</span>: "Landscape near Oosterbeek," <a href="#Page_267">267</a>;</li>
+<li class="isub1">"Windmill at Heelsum," <a href="#Page_269">269</a>;</li>
+<li class="isub1">"A Pool near Oosterbeek," <a href="#Page_272">272</a>.</li>
+
+<li class="indx"><span class="smcap">Bisschop-Robertson, Mme. Suse</span>: "A Dutch Peasant Woman," <a href="#Page_278">278</a>.</li>
+
+<li class="indx"><span class="smcap">Blatherwick, Lily (Mrs. A. S. Hartrick)</span>: "Wintry Weather," <a href="#Page_155">155</a>.</li>
+
+<li class="indx"><span class="smcap">Blau-Lang, Frau Tina</span>: "Springtime in the Prater, Vienna," <a href="#Page_306">306</a>;</li>
+<li class="isub1">"View in the Prater, Vienna," <a href="#Page_308">308</a>.</li>
+
+<li class="indx"><span class="smcap">Bodenheim, Mlle. Nelly</span>: Silhouettes, <a href="#Page_12">12</a>, <a href="#Page_72">72</a>, <a href="#Page_292">292</a>, <a href="#Page_332">332</a>.</li>
+
+<li class="indx"><span class="smcap">Bonheur, Rosa</span>: "Study of a Bull," <a href="#Page_195">195</a>;</li>
+<li class="isub1">"Shepherd Watching His Sheep," <a href="#Page_205">205</a>;</li>
+<li class="isub1">"Ploughing in the Nivernais," <a href="#Page_209">209</a>;</li>
+<li class="isub1">"The Horse Fair," <a href="#Page_210">210</a>;</li>
+<li class="isub1">"The King of the Desert," <a href="#Page_214">214</a>;</li>
+<li class="isub1">"Brisco," <a href="#Page_215">215</a>.</li>
+
+<li class="indx"><span class="smcap">Bouilliar, Mlle.</span>: "Portrait of an Actress," <a href="#Page_194">194</a>.</li>
+
+<li class="indx"><span class="smcap">Bourbon, de, Infante Paz</span>: "A Scene at Comillas," <a href="#Page_318">318</a>;</li>
+<li class="isub1"><span class="pagenum"><a id="Page_324">[324]</a></span>"My Model," <a href="#Page_320">320</a>.</li>
+
+<li class="indx"><span class="smcap">Bovi, Madame</span>: <a href="#Page_90">90</a>.</li>
+
+<li class="indx"><span class="smcap">Boznanska, de, Olga</span>: "Portrait of a Lady," <a href="#Page_316">316</a>.</li>
+
+<li class="indx"><span class="smcap">Breslau, Mlle. Louise</span>: "Ana&iuml;s," <a href="#Page_304">304</a>;</li>
+<li class="isub1">"A Portrait-Group of Friends," <a href="#Page_314">314</a>.</li>
+
+<li class="indx"><span class="smcap">Brickdale, Miss Eleanor Fortescue</span>, A.R.W.S.: "Youth and the Lady," <a href="#Page_73">73</a>;</li>
+<li class="isub1">"To-day for Me," <a href="#Page_103">103</a>;</li>
+<li class="isub1">"Sleep, that knits up the Ravell'd Sleave of Care," <a href="#Page_114">114</a>;</li>
+<li class="isub1">"He Married a Wife," <a href="#Page_126">126</a>;</li>
+<li class="isub1">"Designs," <a href="#Page_141">141</a>;</li>
+<li class="isub1">"Iseult of Brittany," <a href="#Page_142">142</a>.</li>
+
+<li class="indx"><span class="smcap">Brockmann, Do&ntilde;a Elena</span>: "Outside a Roman Hostelry," <a href="#Page_319">319</a>.</li>
+
+<li class="indx"><span class="smcap">Brownscombe, Miss Jennie</span>: "The Peace Ball After the Declaration of Independence," <a href="#Page_161">161</a>.</li>
+
+<li class="indx"><span class="smcap">Butler, Lady Elizabeth</span>: "Missed," <a href="#Page_9">9</a>;</li>
+<li class="isub1">"Steady the Drums and Fifes!" <a href="#Page_154">154</a>.</li>
+
+<li class="indx"><span class="smcap">Byrne, Anne Frances</span>: "Flowers and Grapes," <a href="#Page_94">94</a>.</li>
+
+<li class="ifrst"><span class="smcap">Cameron, Miss Katharine</span>: "Hush! Remind not Eros of His Wings," <a href="#Page_124">124</a>.</li>
+
+<li class="indx"><span class="smcap">Cameron, Miss Margaret</span>: "Portrait of Mrs. Blair with her Dogs," <a href="#Page_131">131</a>;</li>
+<li class="isub1">"After the Bull-Fight," <a href="#Page_155">155</a>.</li>
+
+<li class="indx"><span class="smcap">Capet, Marie Gabrielle</span>: "Portrait of Dame de Longrois," <a href="#Page_197">197</a>.</li>
+
+<li class="indx"><span class="smcap">Carpenter, Mrs. Margaret</span>: "Portrait of Henrietta Shuckburgh," <a href="#Page_96">96</a>;</li>
+<li class="isub1">"Portrait of Margaret Carpenter," <a href="#Page_96">96</a>;</li>
+<li class="isub1">"Portrait of John Gibson, R.A., Sculptor," <a href="#Page_100">100</a>;</li>
+<li class="isub1">"Portrait of R. P. Bonington, Painter," <a href="#Page_100">100</a>.</li>
+
+<li class="indx"><span class="smcap">Carpentier, Madeleine</span>: "Les Chandelles," <a href="#Page_244">244</a>.</li>
+
+<li class="indx"><span class="smcap">Carriera, Rosalba</span>: "Portrait of a Lady Unknown," <a href="#Page_20">20</a>;</li>
+<li class="isub1">"Charity and Justice," <a href="#Page_37">37</a>;</li>
+<li class="isub1">"Portrait Study of a Lady with her Pet Monkey," <a href="#Page_48">48</a>;</li>
+<li class="isub1">"Portrait Study of Cardinal de Polignac," <a href="#Page_48">48</a>;</li>
+<li class="isub1">"Portrait Study of a Girl," <a href="#Page_51">51</a>;</li>
+<li class="isub1">"Portrait of Rosalba Carriera," <a href="#Page_51">51</a>.</li>
+
+<li class="indx"><span class="smcap">Cassatt, Miss Mary</span>: "Baby's Toilette," <a href="#Page_157">157</a>;</li>
+<li class="isub1">"Childhood in a Garden," <a href="#Page_327">327</a>;</li>
+<li class="isub1">"Mother and Two Children," <a href="#Page_327">327</a>.</li>
+
+<li class="indx"><span class="smcap">Cazin, Madame Marie</span>: "Desolation," <a href="#Page_227">227</a>;</li>
+<li class="isub1">"Mother and Child," <a href="#Page_239">239</a>;</li>
+<li class="isub1">"The Shepherd," <a href="#Page_239">239</a>.</li>
+
+<li class="indx"><span class="smcap">Charderon, Francine</span>: "Sleep," <a href="#Page_229">229</a>.</li>
+
+<li class="indx"><span class="smcap">Chase, Miss Marian</span>, R.I.: "An Interesting Story," <a href="#Page_130">130</a>.</li>
+
+<li class="indx"><span class="smcap">Chatillon, de, Mme. Laure</span>: "A Young Adolescent," <a href="#Page_219">219</a>.</li>
+
+<li class="indx"><span class="smcap">Chaudet, Mme Jeanne Elisabeth</span>: "Portrait of Madame Villot, n&eacute;e Barbier," <a href="#Page_202">202</a>.</li>
+
+<li class="indx"><span class="smcap">Cheviot, Miss Lilian</span>: "On the Way to the Horse Fair," <a href="#Page_143">143</a>.</li>
+
+<li class="indx"><span class="smcap">Claudie, Mlle.</span>: "Flora," <a href="#Page_252">252</a>.</li>
+
+<li class="indx"><span class="smcap">Cogniet, Mlle. Marie Am&eacute;lie</span>: "Portrait of Madame Ad&eacute;la&iuml;de d'Orl&eacute;ans," <a href="#Page_189">189</a>.</li>
+
+<li class="indx"><span class="smcap">Colin-Libour, Madame</span>: "Charity," <a href="#Page_225">225</a>.</li>
+
+<li class="indx"><span class="smcap">Comerre-Paton, Mme. J.</span>: "Mistletoe," <a href="#Page_217">217</a>.</li>
+
+<li class="indx"><span class="smcap">Conant, Miss Cornelia W.</span>: "The End of the Story," <a href="#Page_151">151</a>.</li>
+</ul>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus225l.jpg">
+<img src="images/illus225s.jpg" width="400" height="246" alt="" />
+</a>
+</div>
+
+<p class="caption">"WE ARE BUT LITTLE CHILDREN WEAK, NOR BORN TO ANY HIGH ESTATE."<br />
+FROM A
+LARGE PHOTOGRAVURE OF THE ORIGINAL PICTURE<br />
+BY PERMISSION OF THE BERLIN
+PHOTOGRAPHIC COMPANY, LONDON, W.<br />
+Mrs. Marie Seymour Lucas, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus226l.jpg">
+<img src="images/illus226s.jpg" width="400" height="487" alt="" />
+</a>
+</div>
+
+<p class="caption">"HER MORNING RIDE"<br />
+AFTER THE ORIGINAL PICTURE<br />
+Miss Blanche Jenkins, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus227l.jpg">
+<img src="images/illus227s.jpg" width="500" height="316" alt="" />
+</a>
+</div>
+
+<p class="caption">"FAITH"<br />
+FROM THE ORIGINAL PICTURE<br />
+Miss Flora M. Reid, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus228lt.jpg">
+<img src="images/illus228st.jpg" width="400" height="265" alt="" />
+</a>
+</div>
+
+<p class="caption">"HUSH!"<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL PICTURE<br />
+BY PERMISSION OF THE
+BERLIN PHOTOGRAPHIC CO., LONDON, W.<br />
+Miss Maude Goodman, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus228lb.jpg">
+<img src="images/illus228sb.jpg" width="400" height="290" alt="" />
+</a>
+</div>
+
+<p class="caption">THE CHILD HANDEL.<br />
+FROM A PHOTOGRAPH OF THE ORIGINAL
+PICTURE<br />
+BY PERMISSION OF THE BERLIN PHOTOGRAPHIC CO., LONDON, W.<br />
+Miss Margaret Isabel Dicksee, Painter<br />
+1858-1903</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus229l.jpg">
+<img src="images/illus229s.jpg" width="500" height="310" alt="" />
+</a>
+</div>
+
+<p class="caption">"NOTHING VENTURE, NOTHING HAVE."<br />
+FROM A LARGE PHOTOGRAVURE OF THE
+ORIGINAL<br />
+PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC COMPANY,
+LONDON, W.<br />
+Lady Alma-Tadema, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus230lt.jpg">
+<img src="images/illus230st.jpg" width="400" height="260" alt="" />
+</a>
+</div>
+
+<p class="caption">ISOLA BELLA LAGO MAGGIORE<br />
+FROM THE ORIGINAL WATER-COLOUR<br />
+Mrs. Marrable, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus230lb.jpg">
+<img src="images/illus230sb.jpg" width="400" height="273" alt="" />
+</a>
+</div>
+
+<p class="caption">"I SHOWED HER THE RING AND IMPLORED HER TO MARRY"<br />
+FROM THE ORIGINAL PICTURE<br />
+Miss Julia B. Falkard, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. British School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus231lt.jpg">
+<img src="images/illus231st.jpg" width="300" height="218" alt="" />
+</a>
+</div>
+
+<p class="caption">SKIRMISHERS: COCKER SPANIELS.<br />
+FROM "BRITISH HOUNDS AND GUN-DOGS"<br />
+Miss Maud Earl, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus231lm.jpg">
+<img src="images/illus231sm.jpg" width="300" height="303" alt="" />
+</a>
+</div>
+
+<p class="caption">BULL TERRIER: POSITION OF TRUST.<br />
+FROM THE SERIES ON
+"TERRIERS AND TOYS"<br />
+PUBLISHED BY THE BERLIN PHOTOGRAPHIC COMPANY,
+LONDON, W.<br />
+Miss Maud Earl, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus231lb.jpg">
+<img src="images/illus231sb.jpg" width="300" height="233" alt="" />
+</a>
+</div>
+
+<p class="caption">FOXHOUNDS: A BURNING SCENT.<br />
+FROM "BRITISH HOUNDS AND
+GUN-DOGS"<br />
+Miss Maud Earl, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. French School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus232l.jpg">
+<img src="images/illus232s.jpg" width="200" height="464" alt="" />
+</a>
+</div>
+
+<p class="caption">PORTRAIT (PAINTED BY HERSELF) OF MADAME ARS&Egrave;NE DARMESTETER<br />
+Madame Ars&egrave;ne Darmesteter, Painter</p>
+
+<hr class="pic" />
+
+<p class="caption smcap">Supplement. French School, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus233l.jpg">
+<img src="images/illus233s.jpg" width="400" height="562" alt="" />
+</a>
+</div>
+
+<p class="caption">STUDY<br />
+FROM THE ORIGINAL PICTURE<br />
+Madame Ars&egrave;ne Darmesteter, Painter</p>
+
+<p><span class="pagenum"><a id="Page_325">[325]</a></span></p>
+
+<ul class="index">
+<li class="ifrst"><span class="smcap">Cool, de, Mme. Delphine</span>: "A Good Cigarette," <a href="#Page_232">232</a>.</li>
+
+<li class="indx"><span class="smcap">Coomans, Mlle. Diana</span>: "In the Gyn&aelig;ceum," <a href="#Page_228">228</a>.</li>
+
+<li class="indx"><span class="smcap">Cosway, Mrs. Maria</span>: "Lodona," <a href="#Page_96">96</a>.</li>
+
+<li class="indx"><span class="smcap">Curran, Miss A.</span>: "Portrait of Percy Bysshe Shelley," <a href="#Page_90">90</a>.</li>
+
+<li class="ifrst"><span class="smcap">Danse, Mlle. Louise</span>: "Portrait of Mlle. Dethier," <a href="#Page_278">278</a>.</li>
+
+<li class="indx"><span class="smcap">Davids, Fr&auml;ulein</span>: "Portrait of Fr&auml;ulein von Sydow," <a href="#Page_300">300</a>.</li>
+
+<li class="indx"><span class="smcap">Davin, Madame C. H. F.</span>: "Portrait of Marshal Lef&egrave;vre, Duke of Dantzic," <a href="#Page_207">207</a>.</li>
+
+<li class="indx"><span class="smcap">Dealy, Jane M. (Lady Lewis), R.I.</span>: "Day-Dreams," <a href="#Page_144">144</a>;</li>
+<li class="isub1">"Baby," <a href="#Page_144">144</a>.</li>
+
+<li class="indx"><span class="smcap">Demont-Breton, Madame</span>: "On the Sea-Shore," <a href="#Page_226">226</a>;</li>
+<li class="isub1">"Stella Maris," <a href="#Page_233">233</a>.</li>
+
+<li class="indx"><span class="smcap">De Morgan, Mrs. Evelyn</span>: "Flora," <a href="#Page_91">91</a>;</li>
+<li class="isub1">"Study from the Life," <a href="#Page_117">117</a>;</li>
+<li class="isub1">"Drapery Study," <a href="#Page_123">123</a>.</li>
+
+<li class="indx"><span class="smcap">Destr&eacute;e-Danse, Madame</span>: "The Massacre of the Innocents," <a href="#Page_282">282</a>.</li>
+
+<li class="indx"><span class="smcap">Dicksee, Miss Margaret Isabel</span>: "In Memoriam," <a href="#Page_112">112</a>.</li>
+
+<li class="indx"><span class="smcap">Dolci, Agnese</span>: "Mary and the Child Jesus," <a href="#Page_47">47</a>;</li>
+<li class="isub1">"Jesus Took Bread and Blessed It," <a href="#Page_47">47</a>.</li>
+
+<li class="indx"><span class="smcap">Dubos, Mlle. Ang&egrave;le</span>: "A New Song," <a href="#Page_216">216</a>.</li>
+
+<li class="indx"><span class="smcap">Dubourg, Mme. Victoria</span>: "A Basket of Flowers," <a href="#Page_240">240</a>.</li>
+
+<li class="indx"><span class="smcap">Dufau, Mlle</span>.: "Study from a Model," <a href="#Page_231">231</a>;</li>
+<li class="isub1">"Impression of a City," <a href="#Page_240">240</a>;</li>
+<li class="isub1">"Character in Spain," <a href="#Page_243">243</a>.</li>
+
+<li class="indx"><span class="smcap">Duffield, Mrs. William, R.I.</span>: "Yellow Roses," <a href="#Page_118">118</a>.</li>
+
+<li class="ifrst"><span class="smcap">Ellenrieder, Anna Marie</span>: "Portrait of a Woman," <a href="#Page_298">298</a>;</li>
+<li class="isub1">"Portrait of a Man," <a href="#Page_298">298</a>.</li>
+
+<li class="indx"><span class="smcap">Empress Frederick of Germany, The</span>: "The Akropolis, Athens," <a href="#Page_56">56</a>.</li>
+
+<li class="indx"><span class="smcap">Enault, Madame Alix</span>: "Fleurs de Serre," <a href="#Page_225">225</a>.</li>
+
+<li class="ifrst"><span class="smcap">Fanner, Miss Alice</span>: "Riverside Landscape," <a href="#Page_135">135</a>;</li>
+<li class="isub1">"A Yorkshire Trout Stream," <a href="#Page_156">156</a>.</li>
+
+<li class="indx"><span class="smcap">Fanshawe, Catherine Maria</span>: "A Country Boy," <a href="#Page_89">89</a>.</li>
+
+<li class="indx"><span class="smcap">Fantin-Latour, Mme. (Victoria Dubourg)</span>: "A Basket of Flowers," <a href="#Page_240">240</a>.</li>
+
+<li class="indx"><span class="smcap">Fichel, Mme. Jeanne</span>: "The Bouquet," <a href="#Page_216">216</a>.</li>
+
+<li class="indx"><span class="smcap">Filleul, Madame</span>: "The Sons of Charles X. of France," <a href="#Page_186">186</a>;</li>
+<li class="isub1">"Portrait of the Duc d'Angoul&ecirc;me," <a href="#Page_187">187</a>.</li>
+
+<li class="indx"><span class="smcap">Fleury, Mme. Fanny</span>: "The Pathway to the Village Church," <a href="#Page_235">235</a>.</li>
+
+<li class="indx"><span class="smcap">Fontana, Lavinia</span>: "Marriage of St. Catharine," <a href="#Page_39">39</a>;</li>
+<li class="isub1">"Portrait of Lavinia Fontana Zappi," <a href="#Page_40">40</a>;</li>
+<li class="isub1">"Jesus Christ Talking with the Women of Samaria," <a href="#Page_41">41</a>.</li>
+
+<li class="indx"><span class="smcap">Forbes, Mrs. Stanhope</span>, A.R.W.S.: "The Fisher Wife," <a href="#Page_85">85</a>;</li>
+<li class="isub1">"In With You!" <a href="#Page_147">147</a>;</li>
+<li class="isub1">"Cuckoo," <a href="#Page_147">147</a>;</li>
+<li class="isub1"><span class="pagenum"><a id="Page_326">[326]</a></span>"May Evening," <a href="#Page_149">149</a>.</li>
+
+<li class="indx"><span class="smcap">Fould, Mlle. Achille</span>: "Courtship," <a href="#Page_250">250</a>.</li>
+
+<li class="indx"><span class="smcap">Fould, Mlle. Consu&eacute;lo</span>: "Will You Buy?" <a href="#Page_247">247</a>.</li>
+
+<li class="indx"><span class="smcap">Frampton, Mrs. George (Christabel A. Cockerell)</span>: "Bluebells," <a href="#Page_136">136</a>.</li>
+
+<li class="ifrst"><span class="smcap">Gardner, Elizabeth</span>: "Maternal Love," <a href="#Page_234">234</a>;</li>
+<li class="isub1">"The Judgment of Paris," <a href="#Page_238">238</a>.</li>
+
+<li class="indx"><span class="smcap">Gentileschi, Artemisia</span>: "Mary Magdalene," <a href="#Page_31">31</a>;</li>
+<li class="isub1">"Portrait of Artemisia Gentileschi," <a href="#Page_42">42</a>;</li>
+<li class="isub1">"Judith and her Maid with the Head of Holofernes," <a href="#Page_45">45</a>.</li>
+
+<li class="indx"><span class="smcap">Ghisi, Diana</span>: "A Victor in his Triumphal Chariot," <a href="#Page_39">39</a>.</li>
+
+<li class="indx"><span class="smcap">Gilsoul-Hoppe, Madame</span>: "Interior," <a href="#Page_266">266</a>.</li>
+
+<li class="indx"><span class="smcap">Godefroid, Mlle. Marie E.</span>: "Portrait of Madame de Sta&euml;l," <a href="#Page_203">203</a>;</li>
+<li class="isub1">"Portrait of Charles Maurice, Prince of Talleyrand-P&eacute;rigord," <a href="#Page_203">203</a>.</li>
+
+<li class="indx"><span class="smcap">Gonzal&egrave;s, Eva</span>: "Portrait of a Lady Seated," <a href="#Page_223">223</a>;</li>
+<li class="isub1">"The Fruit Girl," <a href="#Page_231">231</a>.</li>
+
+<li class="indx"><span class="smcap">Gow, Miss Mary L.</span>, R.I.: "Mother and Child," <a href="#Page_107">107</a>.</li>
+
+<li class="indx"><span class="smcap">Granby, Marchioness of</span>: "The Late Cecil Rhodes," <a href="#Page_142">142</a>;</li>
+<li class="isub1">"The Late Lord Salisbury," <a href="#Page_142">142</a>.</li>
+
+<li class="indx"><span class="smcap">Greenaway, Miss Kate</span>: "A. for Apple Pie: E. Eat it," <a href="#Page_119">119</a>;</li>
+<li class="isub1">"A. for Apple Pie: C. Cut it," <a href="#Page_127">127</a>.</li>
+
+<li class="indx"><span class="smcap">Gutti, Rosina M.</span>: "The Peacemaker," <a href="#Page_53">53</a>.</li>
+
+<li class="indx"><span class="smcap">Guyard, Madame</span>: "Portrait of Madame Victoire de France," <a href="#Page_185">185</a>;</li>
+<li class="isub1">"Portrait of Elisabeth of France, Duchess of Parma," <a href="#Page_188">188</a>.</li>
+
+<li class="ifrst"><span class="smcap">Hammond, Miss G. Demain</span>, R.I.: "Memories," <a href="#Page_135">135</a>.</li>
+
+<li class="indx"><span class="smcap">Hart, Miss Emily</span>: "The End of a Story," <a href="#Page_113">113</a>.</li>
+
+<li class="indx"><span class="smcap">Havers, Miss Alice</span>: "Blanchisseuses," <a href="#Page_108">108</a>.</li>
+
+<li class="indx"><span class="smcap">Heitland, Miss Ivy</span>: "Through the Wood," <a href="#Page_107">107</a>.</li>
+
+<li class="indx"><span class="smcap">Hemessen, Catharina van</span>: "Portrait of a Flemish Gentleman," <a href="#Page_263">263</a>.</li>
+
+<li class="indx"><span class="smcap">Heming, Mrs. Matilda</span>: "Backwater, Weymouth, Dorset," <a href="#Page_95">95</a>.</li>
+
+<li class="indx"><span class="smcap">Herford, Mrs. John</span>: "Landscape at Kenilworth," <a href="#Page_95">95</a>.</li>
+
+<li class="indx"><span class="smcap">Herland, Mlle. E.</span>: "Children Eating Soup in a Charity School," <a href="#Page_249">249</a>.</li>
+
+<li class="indx"><span class="smcap">Hilda, Mlle. E.</span>: "In Search of Prey," <a href="#Page_245">245</a>.</li>
+
+<li class="indx"><span class="smcap">Hitz, Dora</span>: "Motherhood," <a href="#Page_302">302</a>;</li>
+<li class="isub1">"Portrait of a Little Girl," <a href="#Page_303">303</a>.</li>
+
+<li class="indx"><span class="smcap">Hobson, Miss A. M.</span>, R.I.: "Room at Leicester in which Shakespeare is said to have Acted before Queen Elizabeth," <a href="#Page_118">118</a>.</li>
+
+<li class="indx"><span class="smcap">Hogendorp, Baronne van</span>: "Flowers," <a href="#Page_266">266</a>.</li>
+
+<li class="indx"><span class="smcap">Holroyd, Lady</span>: "Portrait of Sir Charles Holroyd," <a href="#Page_150">150</a>.</li>
+
+<li class="indx"><span class="smcap">Hotham, Amelia</span>: "Riverside Landscape," <a href="#Page_88">88</a>.</li>
+
+<li class="indx"><span class="smcap">Houdon, Mlle. M. J. A.</span>: "Portrait of Marguerite J. A. Houdon," <a href="#Page_202">202</a>.</li>
+
+<li class="indx"><span class="smcap">Houssay, Mlle. Jos&eacute;phine</span>: "The Lesson," <a href="#Page_251">251</a>.</li>
+
+<li class="indx"><span class="smcap">Houten, Mme. Mesdag van</span>: "A Bleak Pastoral Scene," <a href="#Page_269">269</a>.</li>
+</ul>
+
+<hr class="pic" />
+
+<p><span class="pagenum"><a id="Page_327">[327]</a></span></p>
+
+<p class="caption smcap">United States Of America, Contemporary</p>
+
+<div class="figcenter">
+<a href="images/illus234ll.jpg">
+<img src="images/illus234sl.jpg" width="400" height="476" alt="" />
+</a>
+</div>
+
+<p class="caption">CHILDHOOD IN A GARDEN.<br />
+REPRODUCED FROM THE ORIGINAL PAINTING<br />
+BY
+PERMISSION OF MESSRS. DURAND-RUEL &amp; SONS,<br />
+PARIS AND NEW YORK<br />
+Miss Mary Cassatt, Painter</p>
+
+<div class="figcenter">
+<a href="images/illus234lr.jpg">
+<img src="images/illus234sr.jpg" width="400" height="504" alt="" />
+</a>
+</div>
+
+<p class="caption">MOTHER AND TWO CHILDREN.<br />
+REPRODUCED FROM THE ORIGINAL
+PAINTING<br />
+BY PERMISSION OF MESSRS. DURAND-RUEL &amp; SONS, PARIS AND NEW
+YORK<br />
+Miss Mary Cassatt, Painter</p>
+
+<p><span class="pagenum"><a id="Page_329">[329]</a></span></p>
+
+<ul class="index"><li class="ifrst"><span class="smcap">Houten, Mlle. Barbara van</span>: "Portrait Study of a Girl," <a href="#Page_270">270</a>;</li>
+<li class="isub1">"Loutje," <a href="#Page_275">275</a>.</li>
+
+<li class="indx"><span class="smcap">How, Miss Beatrice</span>: "Le Repas," <a href="#Page_142">142</a>;</li>
+<li class="isub1">"In a Dutch Cottage," <a href="#Page_148">148</a>.</li>
+
+<li class="indx"><span class="smcap">Hunter, Mrs. Mary Y.</span>: "Joy and the Labourer," Frontispiece;</li>
+<li class="isub1">"Olivia," <a href="#Page_126">126</a>;</li>
+<li class="isub1">"Where Shall Wisdom be Found?" <a href="#Page_130">130</a>.</li>
+
+<li class="indx"><span class="smcap">Hyde, Miss Helen</span>: "Day Dreams," <a href="#Page_145">145</a>;</li>
+<li class="isub1">"The Bamboo Fence," <a href="#Page_163">163</a>.</li>
+
+<li class="ifrst"><span class="smcap">Jensen, Frau Marie</span>: "Portrait of Wilhelm Jensen," <a href="#Page_303">303</a>.</li>
+
+<li class="indx"><span class="smcap">Jopling, Mrs. Louise</span>, R.B.A.: "St. Bridget," <a href="#Page_120">120</a>.</li>
+
+<li class="ifrst"><span class="smcap">Kauffman, Angelica</span>, R.A. "The Sibyl," <a href="#Page_67">67</a>;</li>
+<li class="isub1">"Ariadne," <a href="#Page_83">83</a>;</li>
+<li class="isub1">"Portrait of Angelica Kauffman, R.A.," <a href="#Page_87">87</a>;</li>
+<li class="isub1">"The Vestal Virgin," <a href="#Page_87">87</a>.</li>
+
+<li class="indx"><span class="smcap">Kemp-Welch, Miss L. E.</span>, R.B.A.: "Labourers of the Night," <a href="#Page_115">115</a>;</li>
+<li class="isub1">"After Work," <a href="#Page_125">125</a>.</li>
+
+<li class="indx"><span class="smcap">King, Miss Jessie M.</span>: "The Court-Yard," <a href="#Page_159">159</a>.</li>
+
+<li class="indx"><span class="smcap">Koch, Elisa</span>: "The Little Sister," <a href="#Page_49">49</a>.</li>
+
+<li class="indx"><span class="smcap">Kollwitz, Fr&auml;ulein K&auml;the</span>: "Desolation and Despair," <a href="#Page_302">302</a>.</li>
+
+<li class="ifrst"><span class="smcap">Laucota, Fr&auml;ulein Hermine</span>: "By the Shore of Lethe Lake," <a href="#Page_307">307</a>.</li>
+
+<li class="indx"><span class="smcap">Larcombe, Miss Ethel</span>: Dedication Page;</li>
+<li class="isub1">End-Papers;</li>
+<li class="isub1">Initial Letters.</li>
+
+<li class="indx"><span class="smcap">Le Brun, Madame Vig&eacute;e</span>: "Portrait of Madame Vig&eacute;e Le Brun and her Daughter," <a href="#Page_166">166</a>;</li>
+<li class="isub1">"Madame Vig&eacute;e Le Brun and her Daughter," <a href="#Page_177">177</a>;</li>
+<li class="isub1">"Portrait of Queen Marie Antoinette and her Children," <a href="#Page_191">191</a>;</li>
+<li class="isub1">"Portrait in the Pinacoteca at Turin," <a href="#Page_192">192</a>;</li>
+<li class="isub1">"Portrait of Madame Le Brun," <a href="#Page_193">193</a>;</li>
+<li class="isub1">"Portrait of Louise Marie Ad&eacute;la&iuml;de de Bourbon," <a href="#Page_193">193</a>;</li>
+<li class="isub1">"Madame Vig&eacute;e Le Brun at her Easel," <a href="#Page_198">198</a>;</li>
+<li class="isub1">"Portrait of Marie Antoinette, Queen of France," <a href="#Page_200">200</a>;</li>
+<li class="isub1">"Portrait of the Duchess of Polignac," <a href="#Page_201">201</a>;</li>
+<li class="isub1">"Portrait of Madame Mol&eacute;-Raymond," <a href="#Page_204">204</a>.</li>
+
+<li class="indx"><span class="smcap">Leleux, Madame Armand</span>: "Private and Confidential," <a href="#Page_220">220</a>.</li>
+
+<li class="indx"><span class="smcap">Le Roy, Madame</span>: "Portrait," <a href="#Page_252">252</a>.</li>
+
+<li class="indx"><span class="smcap">Lescot, Madame Haudebourt</span>: "A Good Daughter," <a href="#Page_208">208</a>.</li>
+
+<li class="indx"><span class="smcap">Leyster, Judith</span>: "The Merry Young Man," <a href="#Page_257">257</a>;</li>
+<li class="isub1">"Young Man Encouraging a Girl to Smoke and Drink," <a href="#Page_264">264</a>.</li>
+
+<li class="indx"><span class="smcap">Longhi, Barbara</span>: "Mary and the Child Jesus in the Act of Crowning a Saint," <a href="#Page_41">41</a>.</li>
+
+<li class="indx"><span class="smcap">Louise, H.R.H. Princess, Duchess of Argyll</span>: "An English Hebe," <a href="#Page_13">13</a>.</li>
+
+<li class="indx"><span class="smcap">Lucas-Robiquet, Mme.</span>: "B&eacute;b&eacute; et Zizon," <a href="#Page_251">251</a>.</li>
+
+<li class="ifrst"><span class="smcap">Macbeth, Miss Ann</span>: "Elspeth." <a href="#Page_97">97</a>.</li>
+
+<li class="indx"><span class="smcap">Macdonald, Miss Biddie</span>: "Portrait of the Lady Alix Egerton," <a href="#Page_123">123</a>.</li>
+
+<li class="indx"><span class="smcap">Macgregor, Miss Jessie</span>: "In the Reign of Terror," <a href="#Page_148">148</a>.</li>
+
+<li class="indx"><span class="smcap">Marcotte, Mlle. E.</span>: "With the Poor at Home," <a href="#Page_272">272</a>.</li>
+
+<li class="indx"><span class="smcap">Martineau, Miss Edith</span>, A.R.W.S.: "The Potato Harvest," <a href="#Page_111">111</a>.</li>
+<li class="indx"><span class="pagenum"><a id="Page_330">[330]</a></span>
+<span class="smcap">Maupeou, Caroline von</span>: "A Girl of Bohemia," <a href="#Page_299">299</a>.</li>
+
+<li class="indx"><span class="smcap">Mayer, Constance</span>: "The Happy Mother," <a href="#Page_199">199</a>.</li>
+
+<li class="indx"><span class="smcap">Mee, Mrs. Anne</span>: "Portrait of Lady Dalrymple Hamilton," <a href="#Page_93">93</a>.</li>
+
+<li class="indx"><span class="smcap">Meen, Mrs. Margaret</span>: "Group of Flowers in a Jar," <a href="#Page_94">94</a>.</li>
+
+<li class="indx"><span class="smcap">Merian, Maria S.</span>: "Plant Study," <a href="#Page_295">295</a>; "Plant Study," <a href="#Page_296">296</a>.</li>
+
+<li class="indx"><span class="smcap">Merritt, Mrs. Anna Lea</span>, R.B.A.: "Love Locked Out," <a href="#Page_139">139</a>.</li>
+
+<li class="indx"><span class="smcap">Meunier, Mlle. Georgette</span>: "Study of a Heron," <a href="#Page_282">282</a>.</li>
+
+<li class="indx"><span class="smcap">Morin, Eulalie</span>: "Portrait of Madame R&eacute;camier," <a href="#Page_187">187</a>.</li>
+
+<li class="indx"><span class="smcap">Morisot, Berthe</span>: "Portrait of a Young Woman Seated," <a href="#Page_211">211</a>;</li>
+<li class="isub1">"The Jetty," <a href="#Page_213">213</a>.</li>
+
+<li class="indx"><span class="smcap">Moser, Mary</span>, R.A.: "Vase of Flowers," <a href="#Page_94">94</a>.</li>
+
+<li class="ifrst"><span class="smcap">Nicolas, Mlle. Marie</span>: "Father Ricard," <a href="#Page_222">222</a>.</li>
+
+<li class="indx"><span class="smcap">Normand, Mrs. (Henrietta Rae)</span>: "Ophelia: 'There's Rue for you,'" <a href="#Page_153">153</a>.</li>
+
+<li class="ifrst"><span class="smcap">Offor, B. (Mrs. F. Littler)</span>: "Ophelia," <a href="#Page_160">160</a>.</li>
+
+<li class="indx"><span class="smcap">Oppenheim, Mlle. A.</span>: "Romeo and Juliet," <a href="#Page_246">246</a>.</li>
+
+<li class="ifrst"><span class="smcap">Parlaghy, Frau Vilma</span>: "Portrait of the late Ludwig Windhorst," <a href="#Page_316">316</a>.</li>
+
+<li class="indx"><span class="smcap">Paymal-Amouroux, Mme.</span>: "A Holiday at Sosth&egrave;ne," <a href="#Page_232">232</a>.</li>
+
+<li class="indx"><span class="smcap">Petiet, Mlle. Marie</span>: "The Knitter Asleep," <a href="#Page_219">219</a>.</li>
+
+<li class="indx"><span class="smcap">Phillott, Miss Constance</span>, A.R.W.S.: "The Herdsman of Admetus," <a href="#Page_138">138</a>.</li>
+
+<li class="indx"><span class="smcap">Prestel, Maria C.</span>: "Gypsies on a Common," <a href="#Page_297">297</a>.</li>
+
+<li class="ifrst"><span class="smcap">R&eacute;al del Sarte, Mme.</span>: "Do you want a Model?" <a href="#Page_251">251</a>.</li>
+
+<li class="indx"><span class="smcap">Ragnoni, Barbara</span>: "The Adoration of the Shepherds," <a href="#Page_35">35</a>.</li>
+
+<li class="indx"><span class="smcap">Read, Catharine</span>: "Portrait of the Lady Georgiana Spencer," <a href="#Page_61">61</a>;</li>
+<li class="isub1">"Portrait of Miss Harriot Powell," <a href="#Page_84">84</a>;</li>
+<li class="isub1">"Portrait of Miss Jones," <a href="#Page_84">84</a>.</li>
+
+<li class="indx"><span class="smcap">Reis, Maria G. Silva</span>: "The Castle and Palace of Pena in Cintra," <a href="#Page_301">301</a>.</li>
+
+<li class="indx"><span class="smcap">Robertson, Mrs. J.</span>: "Portrait of Mrs. Stuart," <a href="#Page_93">93</a>.</li>
+
+<li class="indx"><span class="smcap">Roederstein, Mlle. Ottilie</span>: "Their Daily Bread," <a href="#Page_305">305</a>;</li>
+<li class="isub1">"Le Mois de Marie," <a href="#Page_311">311</a>.</li>
+
+<li class="indx"><span class="smcap">Romani, Juana</span>: "Study from a Model," <a href="#Page_54">54</a>.</li>
+
+<li class="indx"><span class="smcap">Romany, Mme. Ad&egrave;le</span>: "Portrait of Ga&euml;tano Apollino Baldassare Vestris, Dancer," <a href="#Page_171">171</a>.</li>
+
+<li class="indx"><span class="smcap">Rongier, Mlle. Jeanne</span>: "Sitting for a Portrait," <a href="#Page_220">220</a>.</li>
+
+<li class="indx"><span class="smcap">Ronner, Mme. Henriette</span>: "The Last Move," <a href="#Page_279">279</a>;</li>
+<li class="isub1">"New Tenants," <a href="#Page_281">281</a>.</li>
+
+<li class="indx"><span class="smcap">Rothschild, de, Baroness Lambert</span>: "Portrait Study of the Countess Florence Fabbricotti," <a href="#Page_277">277</a>;</li>
+<li class="isub1">"Portrait of Monsieur Gevaert," <a href="#Page_277">277</a>.</li>
+
+<li class="indx"><span class="smcap">Rude, Mme. Sophie</span>: "Portrait of Madame Rude," <a href="#Page_207">207</a>.</li>
+
+<li class="indx"><span class="pagenum"><a id="Page_331">[331]</a></span><span class="smcap">Ruysch, Rachel</span>: "Picture of Fruit with Insects and Lizards," <a href="#Page_265">265</a>.</li>
+
+<li class="ifrst"><span class="smcap">Salanson, Mlle. Eugenie</span>: "At Low Tide," <a href="#Page_228">228</a>.</li>
+
+<li class="indx"><span class="smcap">Salles-Wagner, Adela&iuml;de</span>: "Breton Girl Praying," <a href="#Page_299">299</a>.</li>
+
+<li class="indx"><span class="smcap">Sawyer, Miss Amy</span>: "Panel of a Screen," <a href="#Page_159">159</a>.</li>
+
+<li class="indx"><span class="smcap">Schjerfbeck, Helene</span>: "The Convalescent," <a href="#Page_310">310</a>;</li>
+<li class="isub1">"At Work," <a href="#Page_313">313</a>.</li>
+
+<li class="indx"><span class="smcap">Schurman, Anna Maria</span>: "Portrait of Anna Maria Schurman," <a href="#Page_296">296</a>.</li>
+
+<li class="indx"><span class="smcap">Schneider, Mme. F&eacute;licie</span>: "The Last Survivors of a Family," <a href="#Page_222">222</a>.</li>
+
+<li class="indx"><span class="smcap">Schwartze, Th&eacute;r&egrave;se</span>: "Orphans," <a href="#Page_270">270</a>;</li>
+<li class="isub1">"Portrait of Mlle. Th&eacute;r&egrave;se Schwartze," <a href="#Page_271">271</a>;</li>
+<li class="isub1">"Portraits of the Children of Mr. A. May," <a href="#Page_273">273</a>;</li>
+<li class="isub1">"Portrait of A. G. C. van Duyl," <a href="#Page_275">275</a>.</li>
+
+<li class="indx"><span class="smcap">Sindici, Do&ntilde;a Stuart</span>: "A Carriage Race at Naples," <a href="#Page_317">317</a>.</li>
+
+<li class="indx"><span class="smcap">Sirani, Elisabetta</span>: "The Dream of Saint Anthony of Padua," <a href="#Page_43">43</a>;</li>
+<li class="isub1">"The Madonna Weeping," <a href="#Page_46">46</a>;</li>
+<li class="isub1">"The Flight into Egypt," <a href="#Page_46">46</a>.</li>
+
+<li class="indx"><span class="smcap">Sister A., Sienese Nun</span>: "Adoration of the Shepherds," <a href="#Page_34">34</a>;</li>
+<li class="isub1">"Madonna and Child with St. Catharine and other Saints," <a href="#Page_35">35</a>.</li>
+
+<li class="indx"><span class="smcap">Sister B., Sienese Nun</span>: "The Holy Family with John the Baptist," <a href="#Page_34">34</a>.</li>
+
+<li class="indx"><span class="smcap">Smythe, Miss Minnie</span>, A.R.W.S.: "A Cottage Girl," <a href="#Page_150">150</a>.</li>
+
+<li class="indx"><span class="smcap">Sonrel, &Eacute;lisabeth</span>: "The Goddesses before Paris," <a href="#Page_237">237</a>.</li>
+
+<li class="indx"><span class="smcap">Spencer, Lavinia, Countess</span>: "A Pinch of Snuff," <a href="#Page_90">90</a>.</li>
+
+<li class="indx"><span class="smcap">Staples, Mrs. (M. E. Edwards)</span>: "Waifs from the Great City," <a href="#Page_120">120</a>.</li>
+
+<li class="indx"><span class="smcap">Starr, Louisa (Mme. Canziana)</span>: "Sintram and his Mother," <a href="#Page_106">106</a>.</li>
+
+<li class="indx"><span class="smcap">Stokes, Mrs. Marianne</span>: "The Queen and the Page," <a href="#Page_79">79</a>;</li>
+<li class="isub1">"Portrait of the Hon. Mrs. Walter James," <a href="#Page_129">129</a>.</li>
+
+<li class="indx"><span class="smcap">Strong, Mrs. Elizabeth</span>: "Good Friends," <a href="#Page_113">113</a>.</li>
+
+<li class="indx"><span class="smcap">Subleyras, Maria Tibaldi</span>: "Mary Magdalene at the Feet of Jesus Christ," <a href="#Page_52">52</a>.</li>
+
+<li class="indx"><span class="smcap">Swan, Mrs. J. M.</span>: "The Music Lesson," <a href="#Page_159">159</a>.</li>
+
+<li class="indx"><span class="smcap">Swynnerton, Mrs. A. L.</span>: "The Sense of Sight," <a href="#Page_133">133</a>.</li>
+
+<li class="ifrst"><span class="smcap">Tavernier, de, Mme. E.</span>: "Before the Dance," <a href="#Page_227">227</a>.</li>
+
+<li class="indx"><span class="smcap">Templetown, Viscountess</span>: "Wood Scene," <a href="#Page_94">94</a>.</li>
+
+<li class="indx"><span class="smcap">Thesleff, Ellen</span>: "A Finnish Peasant Girl," <a href="#Page_314">314</a>.</li>
+
+<li class="ifrst"><span class="smcap">Valory, de, Mme. Caroline</span>: "The Miniature," <a href="#Page_192">192</a>.</li>
+
+<li class="indx"><span class="smcap">Vallet-Bisson, Mme.</span>: "The Departure," <a href="#Page_241">241</a>.</li>
+
+<li class="indx"><span class="smcap">Vanteuil, de, Mlle.</span>: "Portrait of Marie de Rabutin-Chantal, Marquise de S&eacute;vign&eacute;," <a href="#Page_185">185</a>.</li>
+
+<li class="indx"><span class="smcap">Vigri, Caterina</span>: "Saint Ursula and her Maidens," <a href="#Page_33">33</a>.</li>
+
+<li class="ifrst"><span class="smcap">Waterford, Louisa Marchioness of</span>: "Palm Branches," <a href="#Page_99">99</a>;</li>
+<li class="isub1">"Spring," <a href="#Page_99">99</a>;</li>
+<li class="isub1">"Jesus Christ among the Doctors," <a href="#Page_101">101</a>.</li>
+
+<li class="indx"><span class="smcap">Waternau, Mlle. Hermine</span>: "By the Bank of a Stream," <a href="#Page_221">221</a>.</li>
+
+<li class="indx"><span class="pagenum"><a id="Page_332">[332]</a></span><span class="smcap">Watson, Caroline</span>: "Portrait of Sarah, Countess of Kinnoull," <a href="#Page_89">89</a>.</li>
+
+<li class="indx"><span class="smcap">Wentworth, Mrs. Cecilia</span>: "Prayer," <a href="#Page_160">160</a>.</li>
+
+<li class="indx"><span class="smcap">Wesmael, Mlle. E.</span>: "A Sunset in the Campine," <a href="#Page_283">283</a>.</li>
+
+<li class="indx"><span class="smcap">White, Miss Florence</span>: "White Treasures," <a href="#Page_124">124</a>.</li>
+
+<li class="indx"><span class="smcap">Wiik, Maria</span>: "Portrait of a Lady," <a href="#Page_309">309</a>;</li>
+<li class="isub1">"Preparing to Leave Home," <a href="#Page_313">313</a>.</li>
+
+<li class="indx"><span class="smcap">Wolfthorn, Frau Julie</span>: "Portrait of a Sculptor," <a href="#Page_304">304</a>.</li>
+
+<li class="indx"><span class="smcap">Wytsman, Mme. Juliette</span>: "Lilies in the Courtyard of a House of Rest at Bruges," <a href="#Page_284">284</a>.</li>
+
+<li class="ifrst"><span class="smcap">Youngman, Miss A. M.</span>, R.I.: "In a Neapolitan Villa," <a href="#Page_118">118</a>;</li>
+<li class="isub1">"Who Loves a Garden loves a Greenhouse too," <a href="#Page_119">119</a>.</li>
+
+<li class="ifrst"><span class="smcap">Zappi, Lavinia Fontana</span>: "Marriage of St. Catharine," <a href="#Page_39">39</a>;</li>
+<li class="isub1">"Portrait of Lavinia Fontana Zappi," <a href="#Page_40">40</a>;</li>
+<li class="isub1">"Jesus Christ Talking with the Woman of Samaria," <a href="#Page_41">41</a>.</li>
+
+<li class="indx"><span class="smcap">Zillhardt, Mlle. Jenny</span>: "R&eacute;galez-vous, Mesdames!" <a href="#Page_221">221</a>.</li>
+</ul>
+
+<div class="figcenter">
+<a href="images/illus235l.jpg">
+<img src="images/illus235s.jpg" width="400" height="177" alt="" />
+</a>
+</div>
+
+<p class="caption">SILHOUETTE BY NELLY BODENHEIM.</p>
+
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+The Project Gutenberg eBook, Women Painters of the World, Edited by Walter
+Shaw Sparrow
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Women Painters of the World
+       From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day
+
+
+Editor: Walter Shaw Sparrow
+
+Release Date: March 23, 2012  [eBook #39000]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD***
+
+
+E-text prepared by Delphine Lettau, Matthew Wheaton, and the Online
+Distributed Proofreading Team (http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 39000-h.htm or 39000-h.zip:
+      (http://www.gutenberg.org/files/39000/39000-h/39000-h.htm)
+      or
+      (http://www.gutenberg.org/files/39000/39000-h.zip)
+
+
+
+
+
+The Art and Life Library
+
+Edited by
+
+WALTER SHAW SPARROW.
+
+VOLUME I.
+
+The British Home of To-day
+
+A BOOK OF MODERN DOMESTIC ARCHITECTURE AND THE APPLIED ARTS.
+
+(_Published June, 1904. Out of Print_).
+
+
+VOLUME II.
+
+The Gospels in Art
+
+THE LIFE OF CHRIST BY GREAT PAINTERS FROM FRA ANGELICO TO HOLMAN
+HUNT.
+
+(_Published November, 1904_).
+
+
+VOLUME III.
+
+Women Painters of the World
+
+FROM THE TIME OF CATERINA VIGRI (1413-1463) TO ROSA BONHEUR AND
+THE PRESENT DAY.
+
+    DEDICATED TO HER MAJESTY QUEEN ALEXANDRA.
+
+
+
+
+
+
+
+(Published March, 1905).
+
+Hodder & Stoughton, 27, Paternoster Row, London.
+
+
+    [Illustration: BRITISH SCHOOL, 1901
+    "JOY AND THE LABOURER." REPRODUCED FROM THE ORIGINAL PICTURE IN
+    THE COLLECTION OF W. A. CADBURY, ESQ.
+    Mrs. Mary Young Hunter, Painter]
+
+
+
+
+Women Painters of the World _from the time of Caterina Vigri
+1413-1463 to Rosa Bonheur and the Present Day_
+
+_Edited by Walter Shaw Sparrow_
+
+The Art and Life Library
+H&S
+
+
+
+
+
+
+
+1905
+Hodder & Stoughton
+27 Paternoster Row-London
+
+
+DEDICATED BY GRACIOVS PERMISSION
+TO
+HER MAJESTY QVEEN ALEXANDRA
+IN THIS YEAR OF OVR LORD ONE THOVSAND NINE HVNDRED & FIVE
+
+
+Printed by
+Percy Lund, Humphries & Co., Ltd.
+The Country Press, Bradford.
+
+
+    [Illustration: BRITISH SCHOOL, 1874
+    "MISSED!" REPRODUCED BY PERMISSION OF CHARLES CHESTON, ESQ.,
+    FROM: THE ORIGINAL WATER-COLOUR DATED 1874, THE YEAR IN WHICH
+    THE PAINTER'S FAMOUS "ROLL-CALL" WAS PURCHASED BY QUEEN VICTORIA
+    AT THE ROYAL ACADEMY.
+    Lady Elizabeth Butler, Painter]
+
+
+
+
+PREFACE
+
+
+What is genius? Is it not both masculine and feminine? Are not some of
+its qualities instinct with manhood, while others delight us with the
+most winning graces of a perfect womanhood? Does not genius make its
+appeal as a single creative agent with a two-fold sex?
+
+But if genius has its Mirandas and its Regans no less than its
+infinite types of men, ranging from Prospero and Ferdinand to Caliban
+and Trinculo, its union of the sexes does not remain always at peace
+within the sphere of art. Sometimes, in the genius of men, the female
+characteristics gain mastery over the male qualities; at other times
+the male attributes of woman's genius win empire and precedence over
+the female; and whenever these things happen, the works produced in
+art soon recede from the world's sympathies, losing all their first
+freshness. They may guide us, perhaps, as finger-posts in history,
+pointing the way to some movement of interest; but their first
+popularity as art is never renewed. Style is the man in the genius of
+men, style is the woman in the genius of the fair. No male artist,
+however gifted he may be, will ever be able to experience all the
+emotional life to which women are subject; and no woman of abilities,
+how much soever she may try, will be able to borrow from men anything
+so invaluable to art as her own intuition and the prescient tenderness
+and grace of her nursery-nature. Thus, then, the bisexuality of genius
+has limits in art, and those limits should be determined by a worker's
+sex.
+
+As examples in art of complete womanliness, mention may be made of two
+exquisite portraits by Madame Le Brun, in which, whilst representing
+her little daughter and herself, the painter discloses the inner
+essence and the life of maternal love, and discloses them with a
+caressing playfulness of passion unattainable by men, and sometimes
+unappreciated by men. Here, indeed, we have the poetry of universal
+motherhood, common to the household hearts of good women the wide
+world over. Such pictures may not be the highest form of painting, but
+highest they are in their own realm of human emotion; and they recall
+to one's memory that truth in which Napoleon the Great ranked the
+gentler sex as the most potent of all creative artists. "The future
+destiny of children," said he, "is always the work of mothers."
+
+But some persons may answer: "Yes, but the achievements of women
+painters have been second-rate. Where is there a woman artist equal to
+any man among the greatest masters?" Persons who do not think are
+constantly asking that question. The greatest geniuses were all
+hustled and moulded into shape by the greatest epochs of ambition in
+the lives of nations, just as the mountains of Switzerland were thrown
+up to their towering heights by tremendous forces underground; and, as
+the Alps do not repeat themselves, here and there, for the pleasure of
+tourists, so the greatest geniuses do not reappear for the pleasure of
+critics or of theorists. And this is not all. Why compare the
+differing genius of women and men? There is room in the garden of art
+for flowers of every kind and for butterflies and birds of every
+species; and why should anyone complain because a daisy is not a rose,
+or because nightingales and thrushes, despite their family
+resemblance, have voices of their own, dissimilar in compass and in
+quality?
+
+The present book, then, is a history of woman's garden in the art of
+painting, and its three hundred pictures show what she has grown in
+her garden during the last four centuries and a half. The Editor has
+tried to free his mind of every bias, so that this book, within the
+limits of 332 pages, might be as varied as the subject. The choice of
+pictures has not been easy, and a few disappointments have attended
+the many communications with the owners of copyrights; but only two
+invited artists have declined to contribute. It is not often that so
+much willing and generous help has come to an Editor from so many
+countries; and it is with gratitude that I acknowledge the assistance
+received from the contributors of to-day. Seven pictures are
+reproduced in colour-facsimile, thanks to the courtesy of the
+following artists and collectors: Mrs. Allingham, Miss Ann Macbeth,
+Mr. James Orrock, R.I., Mr. W A. Cadbury, Mr. Charles Cheston, Mr.
+Klackner, and Mr. Charles Dowdeswell.
+
+The Dedication Page, the Initials Letters, the End Papers, are all
+designs by Miss Ethel Larcombe, while the Title Page and the Cover are
+the work of Mr. David Veazey. The silhouettes by Mlle. Nelly
+Bodenheim, used as tail-pieces, are published by permission of S. L.
+van Looy, Amsterdam.
+
+This volume being the first illustrated history of the Women Painters
+of the World, Her Majesty Queen Alexandra has honoured it by
+graciously accepting the Dedication; and in this encouraging act is
+revealed the untiring interest and solicitude with which Her Majesty
+has ever followed the progress of women's work.
+
+                                                         THE EDITOR.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM, HOLLAND.]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY
+    AN ENGLISH HEBE.
+    AFTER THE ORIGINAL DRAWING
+    H.R.H. The Princess Louise, Duchess of Argyll]
+
+
+
+
+CONTENTS
+
+
+         Preface: "ON THE SCOPE OF THE PRESENT VOLUME." By the Editor.
+
+       Chapter I: "WOMEN PAINTERS IN ITALY SINCE THE FIFTEENTH CENTURY."
+                  By Walter Shaw Sparrow
+
+      Chapter II: "EARLY BRITISH WOMEN PAINTERS." By the Editor.
+
+     Chapter III: "MODERN BRITISH WOMEN PAINTERS." By Ralph Peacock.
+
+      Chapter IV: "WOMEN PAINTERS IN THE UNITED STATES OF AMERICA." By
+                  the Editor.
+
+       Chapter V: "OF WOMEN PAINTERS IN FRANCE." By Leonce Benedite.
+                  Translated into English by Edgar Preston.
+
+      Chapter VI: "WOMEN PAINTERS IN BELGIUM AND IN HOLLAND." By N.
+                  Jany. Translated into English by Edgar Preston.
+
+     Chapter VII: "WOMEN PAINTERS IN GERMANY AND AUSTRIA, IN RUSSIA,
+                  SWITZERLAND AND SPAIN."  By Wilhelm Schoelermann.
+                  Translated into English by Wilfrid Sparroy.
+
+    Chapter VIII: "SOME FINNISH WOMEN PAINTERS." By Helena Westermarck.
+
+
+
+
+FACSIMILE PLATES IN COLOUR
+
+
+    1. Mrs. Mary Young Hunter. "JOY AND THE LABOURER"       Frontispiece
+
+                                                                    PAGE
+    2. Lady Elizabeth Butler (Elizabeth Thompson). "MISSED!"           9
+
+    3. H.I.M. The Empress Frederick of Germany (1840-1891). "THE
+       AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S
+       HOUSE"                                                         56
+
+    4. Miss Eleanor Fortescue Brickdale, A.R.W.S. "YOUTH AND THE
+       LADY"                                                          73
+
+    5. Miss Ann Macbeth. "ELSPETH"                                    97
+
+    6. Mrs. Helen Allingham, R.W.S. "A COTTAGE NEAR CROCKEN HILL"    109
+
+    7. Helen Hyde. "DAY DREAMS"                                      145
+
+
+
+
+REMBRANDT PHOTOGRAVURES
+
+
+    1. Rosalba Carriera. "PORTRAIT OF A LADY UNKNOWN"                 20
+
+    2. Madame Vigee Le Brun. "HERSELF AND HER DAUGHTER"              166
+
+    3. Madame Adele Romany. "PORTRAIT OF GAETANO APOLLINO
+       BALDASSARE VESTRIS, DANCER"                                   171
+
+    4. Mademoiselle Marie Amelie Cogniet. "PORTRAIT OF MADAME
+       ADELAIDE D'ORLEANS"                                           189
+
+    5. Rosa Bonheur. "SHEPHERD WATCHING HIS SHEEP"                   205
+
+    6. Francine Charderon. "SLEEP"                                   229
+
+
+
+
+MONOCHROME PLATES
+
+
+    1. H.R.H. the Princess Louise, Duchess of Argyll.
+       "AN ENGLISH HEBE."                                             13
+
+    2. Sophonisba Anguisciola. "HER THREE SISTERS PLAYING AT CHESS"   25
+
+    3. Artemisia Gentileschi. "MARY MAGDALENE"                        31
+
+    4. Rosalba Carriera. "CHARITY AND JUSTICE"                        37
+
+    5. Elisabetta Sirani. "THE DREAM OF ST. ANTHONY OF PADUA"         43
+
+    6. Signorina Elisa Koch. "THE LITTLE SISTER"                      49
+
+    7. Catharine Read. "THE LADY GEORGIANA SPENCER"                   61
+
+    8. Angelica Kauffman, R.A. "THE SIBYL"                            67
+
+    9. Mrs. Stanhope Forbes, A.R.W.S. "THE FISHER WIFE"               85
+
+    10. Mrs. William De Morgan (Evelyn Pickering). "FLORA"            91
+
+    11. Miss Eleanor Fortescue Brickdale, A.R.W.S. "TO-DAY FOR ME"   103
+
+    12. Miss Cecilia Beaux. "MOTHER AND CHILD"                       121
+
+    13. Miss Kate Greenaway. "A. FOR APPLE PIE: E. EAT IT"           127
+
+    14. Mrs. Annie L. Swynnerton. "THE SENSE OF SIGHT"               133
+
+    15. Mrs. Anna Lea Merritt, R.B.A. "LOVE LOCKED OUT"              139
+
+    16. Miss Cornelia W. Conant. "THE END OF THE STORY"              151
+
+    17. Mary Cassatt. "BABY'S TOILETTE"                              157
+
+    18. Helen Hyde. "THE BAMBOO FENCE"                               163
+
+    19. Madame Vigee Le Brun. "HERSELF AND HER DAUGHTER"             177
+
+    20. Berthe Morisot. "PORTRAIT OF A YOUNG WOMAN SEATED"           211
+
+    21. Madame Jacqueline Comerre-Paton. "MISTLETOE"                 217
+
+    22. Madame Eva Gonzales. "PORTRAIT OF A LADY"                    223
+
+    23. Madame Fanny Fleury. "THE PATHWAY TO THE VILLAGE CHURCH"     235
+
+    24. Madame Vallet-Bisson. "THE DEPARTURE"                        241
+
+    25. Mlle. Consuelo Fould. "WILL YOU BUY?"                        247
+
+    26. Judith Leyster. "THE MERRY YOUNG MAN"                        257
+
+    27. Mevrouw Bilders van Bosse. "LANDSCAPE NEAR OOSTERBEEK"       267
+
+    28. Mlle. Therese Schwartze. "THE CHILDREN OF MR. A. MAY,
+        AMSTERDAM"                                                   273
+
+    39. Madame Henriette Ronner. "THE LAST MOVE"                     279
+
+    30. Mlle. Marie Bashkirtseff. "A MEETING"                        293
+
+    31. Mlle. Ottilie Roederstein.  "LE MOIS DE MARIE"               311
+
+    32. Antonia de Banuelos. "THE LITTLE FISHERS"                    321
+
+    33. Mary Cassatt. "CHILDHOOD IN A GARDEN"                        327
+
+    34. Mary Cassatt. "MOTHER AND TWO CHILDREN"                      327
+
+
+
+
+DUPLEX PLATES
+
+
+    1. Mrs. Marianne Stokes. "THE QUEEN AND THE PAGE." Duplex Plate   79
+
+    2. Miss Lucy Kemp-Welch, R.B.A. "LABOURERS OF THE NIGHT."
+       Duplex Plate                                                  115
+
+    3. Madame Benoits. "MARIE PAULINE, PRINCESSE BORGHESE."
+       Duplex Plate                                                  183
+
+    4. Rosa Bonheur. "STUDY OF A BULL." Duplex Plate                 195
+
+
+
+
+Owing to various reasons, the work of several well-known painters
+could not be obtained until this book had passed through the press,
+and a supplement of pictures has therefore been placed between page
+324 and page 325. It includes work by Lady Alma-Tadema, Mrs. Seymour
+Lucas, Mrs. Marrable, Miss Maud Earl, Miss Julia B. Folkard, Miss
+Maude Goodman, Miss Flora M. Reid, Miss Blanche Jenkins, and Madame
+Arsene Darmesteter.
+
+It is hoped that the Women Painters of To-day may be studied again in
+a second volume. In the present book, dealing with 450 years of work,
+the living painters could not be fully represented, for there are
+thousands of ladies who now win a place in the art exhibitions of
+Europe and America.
+
+
+
+
+WOMEN PAINTERS REPRESENTED
+
+
+                                                                  PAGE
+    Abbema, Mlle. Louise                                           237
+    Abran, Madame                                                  243
+    Allingham, Mrs. Helen, R.W.S.                             109, 137
+    Alma-Tadema, Miss Anna                                         156
+    Anderson, Mrs. Sophie                                          105
+    Angell, Mrs. Coleman                                           102
+    Anguisciola, Sophonisba                                 25, 36, 39
+    Angus, Christine                                                64
+    Art, Mlle. Berthe                                              276
+    Bakhuyzen, Mme. C. J. van de Sande                             266
+    Banuelos, Antonia de                                      320, 321
+    Barton, Miss Rose, A.R.W.S.                                    143
+    Bashkirtseff, Mlle. Marie                                 293, 315
+    Bauck, Jeanna                                             300, 301
+    Bauerle, Miss A., A.R.E.                                       132
+    Beale, Mary                                                     81
+    Beauclerk, Lady Diana                                           82
+    Beaux, Miss Cecilia                                       121, 162
+    Benoits, Madame                                                183
+    Bilders van Bosse, Mme.                              267, 269, 272
+    Bisschop-Robertson, Mme. Suse                                  278
+    Blatherwick, Lily (Mrs. A. S. Hartrick)                        155
+    Blau-Lang, Frau Tina                                      306, 308
+    Bodenheim, Mlle. Nelly                            12, 72, 292, 332
+    Bonheur, Rosa                         195, 205, 209, 210, 214, 215
+    Bouillier, Mlle.                                               194
+    Bourbon, de, Infante Paz                                  318, 320
+    Bovi, Madame                                                    90
+    Boznauska, de, Olga                                            316
+    Breslau, Mlle. Louise                                     304, 314
+    Brickdale, Miss E. Fortescue, A.R.W.S.               73, 103, 114,
+                                                         126, 141, 142
+    Brockmann, Dona Elena                                          319
+    Brownscombe, Miss Jennie                                       161
+    Butler, Lady Elizabeth                                      9, 154
+    Byrne, Anne Frances                                             94
+    Cameron, Miss Katharine                                        124
+    Cameron, Miss Margaret                                    131, 155
+    Capet, Marie Gabrielle                                         197
+    Carpenter, Mrs. Margaret                                   96, 100
+    Carpentier, Madeleine                                          244
+    Carriera, Rosalba                                   20, 37, 48, 51
+    Cassatt, Miss Mary                                        157, 327
+    Cazin, Madame Marie                                       227, 239
+    Charderon, Francine                                            229
+    Chase, Miss Marian, R.I.                                       130
+    Chatillon, de, Mme. Laure                                      219
+    Chaudet, Elisabeth                                             202
+    Cheviot, Miss Lilian                                           143
+    Claudie, Mlle.                                                 252
+    Cogniet, Mlle. Marie Amelie                                    189
+    Colin-Libour, Madame                                           325
+    Comerre-Paton, Mme. J.                                         217
+    Conant, Miss Cornelia                                          151
+    Cool, de, Mme. Delphine                                        232
+    Coomans, Mlle. Diana                                           228
+    Cosway, Maria                                                   96
+    Curran, Miss A.                                                 90
+    Danse, Mlle. Louise                                            278
+    Davids, Fraeulein                                               300
+    Davin, Madame                                                  207
+    Dealy, Jane M. (Mrs. Lewis)                                    144
+    Demont-Breton, Madame                                     226, 233
+    De Morgan, Mrs. Evelyn                                91, 117, 123
+    Destree-Danse, Madame                                          282
+    Dieksee, Miss Margaret Isabel                                  112
+    Dolci, Agnese                                                   47
+    Dubos, Mlle. Angele                                            216
+    Dubourg, Mme. Victoria                                         240
+    Dufau, Mlle.                                         231, 240, 243
+    Duffield, Mrs. William                                         118
+    Ellenrieder, Anna Marie                                        298
+    Empress Frederick of Germany                                    56
+    Enault, Madame Alix                                            225
+    Fanner, Miss Alice                                        135, 156
+    Fanshawe, Catherine Maria                                       89
+    Fautin-Latour, Mme. (Victoria Dubourg)                         240
+    Fichel, Mme. Jeanne                                            216
+    Filleul, Madame                                           186, 187
+    Fleury, Mme. Fanny                                             235
+    Fontana, Lavinia                                        39, 40, 41
+    Forbes, Mrs. Stanhope                                 85, 147, 149
+    Fould, Mlle. Achille                                           250
+    Fould, Mlle. Consuelo                                          247
+    Frampton, Mrs. George                                          136
+    Gardner, Elizabeth                                        234, 238
+    Gentileschi, Artemisia                                  31, 42, 45
+    Ghisi, Diana                                                    39
+    Gilsoni-Hoppe, Madame                                          266
+    Godefroid, Mlle. Marie E.                                      203
+    Gonzales, Eva                                             223, 231
+    Gow, Miss Mary L., R.I.                                        107
+    Granby, Marchioness of                                         142
+    Greenaway, Miss Kate                                      119, 127
+    Gutti, Rosina M.                                                53
+    Guyard, Madame                                            185, 188
+    Hammond, Miss G. Demain, R.I.                                  135
+    Hart, Miss Emily                                               113
+    Havers, Miss Alice                                             108
+    Heitland, Miss Ivy                                             107
+    Hemessen, Catharina van                                        263
+    Heming, Mrs. Matilda                                            95
+    Herford, Mrs. John                                              95
+    Herland, Mlle. E.                                              249
+    Hilda, Mlle. E.                                                245
+    Hitz, Dora                                                302, 303
+    Hobson, Miss A. M., R.I.                                       118
+    Hogendorp, Baronne van                                         266
+    Holroyd, Lady                                                  150
+    Hotham, Amelia                                                  88
+    Houdon, Mlle. M. J. A.                                         202
+    Houssay, Mlle. Josephine                                       251
+    Houten, Mme. Mesdag van                                        269
+    Houten, Mlle. Barbara van                                 270, 275
+    How, Miss Beatrice                                        142, 148
+    Hunter, Mrs. Mary V., Frontispiece,                       126, 130
+    Hyde, Miss Helen                                          145, 163
+    Jensen, Frau Marie                                             303
+    Jopling, Mrs. Louisa, R.B.A.                                   120
+    Kauffman, Angelica, R.A.                                67, 83, 87
+    Kemp-Welch, Miss L. E., R.B.A.                            115, 125
+    King, Miss Jessie M.                                           159
+    Koch, Elisa                                                     49
+    Kollwitz, Fraeulein Kaethe                                       302
+    Laucota, Fraeulein Herstine                                     307
+    Larcombe, Miss Ethel,                             Dedication Page,
+                                                           End-papers,
+                                                       Initial Letters
+    Le Brun, Madame Vigee                     166, 177, 191, 192, 193,
+                                                    198, 200, 201, 204
+    Leleux, Madame Armand                                          220
+    Le Roy, Madame                                                 252
+    Lescot, Madame Haudebourt                                      208
+    Leyster, Judith                                           257, 264
+    Longhi, Barbara                                                 41
+    Louise, H.R.H. Princess, Duchess of Argyll                      13
+    Lucas-Robiquet, Mme.                                           251
+    Macbeth, Miss Ann                                               97
+    Macdonald, Miss Biddie                                         123
+    Macgregor, Miss Jessie                                         148
+    Marcotte, Mlle. E.                                             272
+    Martineau, Miss Edith, A.R.W.S.                                111
+    Maupeou, Caroline von                                          299
+    Mayer, Constance                                               199
+    Mee, Mrs. Anne                                                  93
+    Meen, Mrs. Margaret                                             94
+    Merian, Maria S.                                          295, 296
+    Merritt, Mrs. Anna Lea, R.B.A.                                 139
+    Meunier, Mlle. Georgette                                       282
+    Morin, Eulalie                                                 187
+    Morisot, Berthe                                           211, 213
+    Moser, Mary, R.A.                                               94
+    Nicolas, Mlle. Marie                                           222
+    Normand, Mrs. (Henrietta Rae)                                  153
+    Offor, B. (Mrs. F. Littler)                                    160
+    Oppenheim, Mlle. A.                                            246
+    Parlaghy, Frau Vilms                                           316
+    Paymal-Amouroux, Mme.                                          232
+    Petiet, Mlle. Marie                                            219
+    Phillott, Miss Constance, A.R.W.S.                             138
+    Prestel, Maria C.                                              297
+    Real del Sarte, Mme.                                           351
+    Ragnoni, Barbara                                                35
+    Read, Catharine                                             61, 84
+    Reis, Maria G. Silva                                           301
+    Robertson, Mrs. J.                                              93
+    Roederstein, Mlle. Ottilie                                305, 311
+    Romani, Juana                                                   54
+    Romany, Mme. Adele                                             171
+    Rongier, Mlle., Jeanne                                         320
+    Ronner, Mme. Henriette                                    279, 281
+    Rothschild, de, Baroness Lambert                               277
+    Rude, Mme. Sophie                                              207
+    Ruysch, Rachel                                                 265
+    Salanson, Mlle. Eugenie                                        228
+    Salles-Wagner, Adelaide                                        299
+    Sawyer, Miss Amy                                               159
+    Schjerfbeck, Helene                                       310, 313
+    Schurman, Anna Maria                                           296
+    Schneider, Mme. Felicie                                        222
+    Schwartze, Therese                              270, 271, 273, 275
+    Sindici, Dona Stuart                                           317
+    Sirani, Elisabetta                                          43, 46
+    Sister A, Sienese Nun                                       34, 35
+    Sister B, Sienese Nun                                           34
+    Smythe, Miss Minnie, A.R.W.S.                                  150
+    Sonrel, Elisabeth                                              237
+    Spencer, Lavinia, Countess                                      90
+    Staples, Mrs. (M. E. Edwards)                                  120
+    Starr, Louisa (Mme. Canziana)                                  106
+    Stokes, Mrs. Marianne                                      79, 129
+    Strong, Mrs. Elizabeth                                         113
+    Subleyras, Maria Tibaldi                                        52
+    Swon, Mrs. J. M.                                               159
+    Swynnerton, Mrs. A. L.                                         133
+    Tavernier, de, Mme. E.                                         227
+    Templetown, Viscountess                                         94
+    Thesleff, Ellen                                                314
+    Valory, de, Mme. Caroline                                      192
+    Vallet-Bisson, Mme.                                            241
+    Vanteuil, de, Mlle.                                            185
+    Vigri, Caterina                                                 33
+    Waterford, Louisa Lady                                     99, 101
+    Waternau, Mlle. Hermine                                        221
+    Watson, Caroline                                                89
+    Wentworth, Mrs. Cecilia                                        160
+    Wesmael, Mlle. E.                                              283
+    White, Miss Florence                                           124
+    Wiik, Maria                                               309, 313
+    Wolfthorn, Frau Julie                                          304
+    Wytsman, Mme. Juliette                                         284
+    Youngman, Miss A. M., R.I.                                118, 119
+    Zappi, Lavinia Fontana                                  39, 40, 41
+    Zillhardt, Mlle. Jenny                                         221
+
+    [Illustration: VENETIAN SCHOOL. 1675-1757
+    Portrait of a Lady unknown. After the pastel in the Musee de
+    Chantilly, from a Photograph
+    by Braun, Clement & Co., Paris
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+
+
+
+Women Painters in Italy since the Fifteenth Century
+
+By Walter Shaw Sparrow
+
+
+Older than the authenticated history of Greek art is a tradition that
+connects a girl's name with the discovery of a great craft, the craft
+of modelling portraits in relief. Kora, known as the virgin of
+Corinth, and daughter of a potter named Butades, sat one evening with
+her betrothed in her father's house; a torch burned, a fire of wood
+bickered in a brasier, throwing on the wall in shadow a clear
+silhouette of the young man's profile; and Kora, moved by a sudden
+impulse, took from the hearth a charred piece of wood and outlined the
+shadow. When the girl's father, Butades, saw the sketch which she had
+made, he filled in the outline with his potters' clay, forming the
+first medallion.
+
+It is a pretty, chivalrous tradition, and it recalls to one's memory
+the fact that the ancient Greeks had really some women artists of
+note, like Aristarete, daughter and pupil of Nearchus, celebrated for
+her picture of Aesculapius; or like Anaxandra (about B.C. 228),
+daughter of the painter Nealces, or like Helena, who painted the
+battle of Issus, about B.C. 333.
+
+Passing from Greece to ancient Rome, we find only one woman painter,
+Lala by name, and she was a Greek by birth and education. Lala lived
+and laboured in the first century before the birth of Christ. She went
+to Rome during the last days of the republic, and won for herself a
+great reputation by her miniature portraits of ladies.
+
+As the early Christians turned away from all luxury and adornment, the
+influence of Christ's life was very slow in gaining its benign
+ascendency in the arts; but among the civilisations which were founded
+on the ruins of Rome's decline and fall, there were some women who
+still deserve to be remembered for their patronage of art.
+Amalasontha, daughter of Theodoric the Great, Theodelinda, Queen of
+the Lombards, Hroswitha, in her convent at Gandershein, and Ava, the
+first German poetess, these ladies, and many others, made colonising
+names, names that visited distant lands and gave ambition to other
+women.
+
+Briefly, the Renaissance was heralded by a long, troubled dawn; but it
+came at last, and its effects on the destinies of women were immediate
+and far-reaching. In Italy, one by one, the Universities were opened
+to the fair, that of Bologna leading the way in the 13th century, when
+Betisia Gozzadini studied there with success, dressed as a boy, like
+Plato's pupil, Axiothea. And a line of girl graduates connects Betisia
+Gozzadini with the women lecturers who became so famous at Bologna in
+the 18th century: Anna Manzolini, Laura Bassi, Clotilde Tambroni,
+Maria Agnesi, and Maria Dalle-Donne.
+
+It is not easy to explain why the Italian towns and universities gave
+so much encouragement to the higher aspirations of girls. In poetry,
+in art, in learning, that encouragement was equally remarkable, and I
+am tempted to assign its origin to the martial temper of the Middle
+Ages, which drew many young men from the universities to take part in
+the exercises of the tilt-yard or in the perils of the battlefield,
+leaving the fields of learning in need of zealous labourers. Women, on
+the other hand, exposed their hearts, but not their lives, to the
+hazards of duels, tournaments and wars; they lived longer than men, as
+a rule, and hence it was worth while to encourage publicly those gifts
+of the female mind and spirit which had long been cultivated privately
+for the benefit of peaceful nunneries.
+
+Still, whatever the origin of it may have been, the pride taken by the
+Italians in their gifted women is among the most important facts in
+the history of their Renaissance. But for that pride, the scores of
+ladies who became noted in the arts would have remained unknown in
+their homes, and the story of those times would lack in its social
+life a counterpart of that radiant chivalry that cast so much
+tenderness and sanctity about the Motherhood of Mary and the Infancy
+of Jesus Christ.
+
+As this chapter is nothing more than a brief introduction to the study
+of a very important subject, I can say only a few words about the
+different groups of painters into which the women artists of Italy are
+divided, beginning with the early nuns, whose art was not so much a
+craft as a confession of faith.
+
+Caterina Vigri was the earliest of these nuns, and the picture by
+which she is represented on page 33, "St. Ursula and her Maidens," was
+painted in the year 1456. Not only is it typical of the young
+Bolognese school, but, despite the primitiveness of the drawing, it
+has two qualities in which the swift temperaments of women, so
+truth-telling in their emotions, commonly manifest themselves in art:
+the first is a certain naturalness of gesture and of pose; the second
+is an evident wish to impart life and liveliness to the faces, even
+although that liveliness and life may not accord with the subject in
+its higher spiritual significance. It is this natural wish of women to
+be homely and attractive that so frequently brings their art nearer to
+the people's sympathies than the work done by men; and if we study the
+four illustrations on pages 34 and 35, representing pictures by the
+Sienese nuns of Santa Marta, we shall see how motherly in tenderness
+was the feminine ideal of Christ's infancy. I can gain no information
+about Barbara Ragnoni and the two other sister nuns, whose names have
+passed into Time's limbo of forgotten things, and whom I have ventured
+to describe as Sister A. and Sister B. They were true artists, each
+one having a sweet graciousness of her own, playful, yet devout and
+reverent, devotional but not austere. In these pictures the maternal
+instincts are at play; the painters are so happy in their subject that
+their whole womanhood responds to it, making it a holy experience of
+their own glad hearts. There is much to admire also in the way in
+which the figures are grouped and co-ordinated; and how charming is
+that glympse of country painted by Barbara Ragnoni in her "Adoration
+of the Shepherds."
+
+These were not the only gifted and gracious nuns in the early history
+of Italian art. There was Plautilla Nelli, who formed her style on
+that of Fra Bartolommeo; she became prioress of a convent in Florence,
+the convent of St. Catherine, and died in 1588, aged sixty-five.
+Barbara Longhi of Ravenna, another painter of the same period, was not
+a nun, but I mention her now in order that attention may be drawn to a
+painter having a genuine sympathy and style (see page 41).
+
+We pass on to a little bevy of emigrants, women painters who visited
+foreign courts where they met with great successes. Sophonisba
+Anguisciola, born of a noble family in Cremona, was enriched by Philip
+II. of Spain; Artemesia Gentileschi came to London with her father and
+found a patron in Charles I.; Maria La Caffa (17th century), a flower
+painter, came upon her Maecenas in the Court of Tyrol; it was in German
+Courts that Isabella del Pozzo (17th century), like Felicita Sartori
+(18th century), plucked bay leaves and laurels; and Violanta Beatrice
+Siries, after making for herself a name in Paris, returned home to
+Florence and painted many famous persons of the 18th century. Then we
+have Rosalba Carriera, whose career ended in blindness and loss of
+reason, and whose whole life is a touching story. As a child she made
+Point of Venice lace; at the age of fourteen or fifteen she painted
+snuff boxes with flowers and pretty faces; then miniatures of
+well-known persons kept her brushes busy; but this minute art tried
+her eyes so seriously that Rosalba adopted pastels instead, and soon
+became the most famous pastellist of her period. She journeyed pretty
+well all over the Continent, winning an extraordinary success wherever
+she went, as well as a place in all the Academies of note, from the
+Clementina at Bologna to the Royal Academy at Paris. Rosalba Carriera
+arrived in Paris in April 1720; she kept a diary of her experiences,
+and students of French history should read it in the edition annotated
+by Alfred Sensier. But here we are concerned with the art alone of
+Rosalba Carriera, an art rich in colour, swift and nervous in drawing,
+full of character, and modelled always with vigour and with ease.
+
+Returning now to an earlier traveller, Sophonisba Anguisciola, we meet
+with another portraitist of real merit, more self-contained than
+Rosalba, less impetuous, but fresh, witty, sincere and charming. It is
+probable that she was born in 1533. After studying for some time at
+Cremona, under Bernardino Campi, Sophonisba Anguisciola began to make
+fun of the little girls of the period. Vasari set the greatest store
+by one of these satirical sketches, representing a boy with a lobster
+clawed to his finger, and a small girl laughing at his nimbleness. The
+subject of another skit was an old woman studying the Alphabet, much
+to the amusement of a baby girl.
+
+    [Illustration: SCHOOL OF CREMONA, XVI CENTURY
+    THREE SISTERS OF SOPHONISBA ANGUISCIOLA PLAYING AT CHESS. FROM A
+    PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RACZYNSKI
+    COLLECTION. VASARI SAW THIS PICTURE AND SAID THAT "THE FIGURES
+    WANTED ONLY VOICE TO BE ALIVE."
+    Sophonisba Anguisciola or Angussola, Painter
+    1533(?)-1626]
+
+That Sophonisba Anguisciola was very young when she first attracted
+notice from the great, is proved by the fact that she sent a likeness
+of herself--a likeness now at Vienna--to Pope Julius III., who died in
+1555. It was in her twenty-seventh year that she made her way, with
+ten attendants, to the Spanish Court, there to paint a history in
+admired portraits of the great age of the _auto-da-fe_: a history
+which _tempus edax_ has devoured, leaving us only those works which
+Sophonisba turned out in her native country, far away from the dark
+tragedies of the Escorial. Philip the Second married his protegee to a
+wealthy Sicilian noble, Don Fabrizio de Moncada, giving her a huge
+dowry of 12,000 ducats, a pension of 1,400 scudi, and a dress loaded
+with pearls, besides other presents.
+
+Sophonisba retired with her husband to Palermo, where she soon became
+a widow. Then Philip and his Queen wished her to return to Madrid; but
+the artist pleaded an excuse, the excuse of homesickness, and set sail
+for Italy. The captain of the galley of war, Orazio Lomellini, was a
+handsome man of good family, a native of Genoa; his gallantry had
+suffered a sea-change, was altogether breezy, sailor-like, delightful;
+and Sophonisba not only fell in love with him, she took him at a
+leap-year advantage, and soon changed her "weeds" for a bridal dress.
+
+When Van Dyck met her at Genoa (1622), and painted several members of
+her husband's family, Sophonisba was upwards of eighty-seven years
+old, and quite blind; but the blithe old lady still went on painting
+so well in her familiar conversations that Van Dyck said he had learnt
+more from her talk than from his other teachers. Had Steele an
+inkling of this magnificent compliment when he said that to love the
+Lady Elizabeth Hastings was a liberal education? Addison may have
+heard of it in Italy, and in turning over his thoughts before Master
+Richard, may have dropped it generously. But, however this may be,
+Stirling gives too much point to Van Dyck's words; for he says boldly,
+in _The Annals of the Artists of Spain_, that my painter's portraits
+are little inferior to those by Titian. "Of this evidence is
+afforded," says he, "by that beautiful portrait of her, which is now
+no mean gem of the galleries and libraries of Althorp."
+
+Perhaps one may defy critics to name a single latter-day "realist"
+among the fair who has attained to Artemisia Gentileschi's masterful
+and singular ruthlessness, as in the several pictures of Judith that
+she painted. One of these pictures will be found on page 45. It is the
+least relentless of the series, but it shows clearly enough the grip
+of Artemisia's hand in tragedy. Curiously, the suave Guido was
+Artemisia's first teacher, but she learnt more from Domenichino, and
+more still from the years she passed at Naples, then known as "the
+sink of all iniquity." But Artemisia Gentileschi is sometimes kind in
+her work, and gentle; she does not always remind us of that Artemisia
+who fought so well at Salamis, causing Xerxes to cry: "Behold! the men
+behave like women, and the women like men!" In her excellent
+portraits, and in pictures like the "Mary Magdalene," on page 31, she
+blends some graciousness of thought with vigour and variety of
+technique.
+
+Lavinia Fontana and Elisabetta Sirani were the ablest women painters
+whose travels did not extend beyond Italy. The first was a member of
+the old Roman Academy, and Pope Gregory XIII. made her his portraitist
+in ordinary. She was born of good family in Bologna, anno 1552. It was
+her father that shaped the laggard talents of Lodovico Carracci, and
+from him came the girl's first lessons in drawing. Lavinia spent most
+of her life in Rome, where, for close on two generations, she held
+society by the austere truth of her portraiture. Ladies of high rank
+vied with one another to become her sitters, and a long red line of
+cardinals sat to her. Pope Paul the Fifth was among Lavinia's models;
+very high prices were paid readily for her work, and not a few
+noblemen wished to marry her; but the artist remained true to the
+young Count of Imola, Giovanni Paolo Zappi, a good, kind,
+simple-hearted fellow, an aristocratic Barnaby Rudge. Him she married,
+and it was her ill-hap to see his simplicity repeat itself in one of
+their two sons, a lad who kept the Pope's antechamber merry.
+
+My artist's style, though modelled to some extent on that of the
+Carracci, has a distinction of its own. Even the arid Kuegler gives
+Lavinia his rare good word, reckoning her a better artist than her
+father, and adding: "Her work is clever and bold, and in portraiture,
+especially, she has left good things."
+
+Does Elisabetta Sirani take precedence of Lady Waterford? Perhaps they
+may be regarded as two equal queens in the world of woman's art, each
+with a beautiful artistic intellect. Even at the age of nineteen, as
+old Bartsch admits, Elisabetta etched exquisite plates; and, before
+she was twenty-three, her paintings were sought after by all the
+patron-critics of her country. Yet her male rivals hinted that she was
+dishonest, that she did not paint her own pictures, but had "ghosts"
+to win fame and fortune for her--especially her father, a poor
+"ghost," afflicted with inherited gout. Elisabetta happily soon turned
+the sneer against her rivals. This she did by working before an
+audience of distinguished persons, like Cosimo, Crown Prince of
+Tuscany, who on May 13th, 1664, stood by whilst she painted a likeness
+of his uncle, the Prince Leopold.
+
+Malvasia gives in his spirited monograph a list of 150 pictures by
+Elisabetta Sirani; and Lanzi deemed it marvellous that one who died so
+young should yet have brought to completion so many hopeful efforts of
+real genius. The brilliant girl painted with great rapidity. One of
+her finest achievements--the "Baptism of Christ"--is a very large
+picture, and the story of its conception is noteworthy. Elisabetta was
+little more than twenty at the time, and the clergy who had been sent
+to order the work for the Church of the Certosini at Bologna, looked
+on whilst she, radiant with inspiration, made her first impulsive
+sketch in pen-and-ink. The beholders were enchanted, and the huge
+picture, differing little in essentials from the sketch, was painted
+almost as rapidly as Dumas repeopled the distant past. In brief,
+Elisabetta Sirani, like all women of genius, worked under an intuitive
+rather than technical guidance; and in her art, consequently, as in
+Lady Waterford's, we find those blemishes and beauties which belong to
+a native habit of spontaneous workmanship.
+
+As to her private life, it is full of heroic virtues. The noble girl
+kept the whole family: her mother, who was stricken with paralysis;
+her father, who suffered intolerably from the gout; and her two
+sisters, whom she educated with a large class of girl art-students.
+Then Cupid came, saw, and was overcome, and Elisabetta, by way of
+celebrating this unkind victory, painted the little god in the act of
+crowning his victor. But the pity of it all was this: the girl had so
+many taut strings to her bow that the frail bow could not but break.
+Elisabetta's health gave way, a painful disease of the stomach
+assailed her; and yet to the last day but one of her short life--i.e.,
+August 27th, 1665--she remained true to her colours, and was one of
+art's truest soldiers. "The best way not to feel pain is not to think
+of it," said she, and then went slowly back to her studio.
+
+The present book contains adequate examples of the work of Elisabetta
+Sirani, of Lavinia Fontana Zappi, of Artemisia Gentileschi, of
+Sophonisba Anguisciola, of Rosalba Carriera; and there is a good
+drawing by Diana Ghisi, the painter-engraver, an excellent copy by
+Maria Tibaldi Subleyras, and two characteristic pictures by Agnese
+Dolci, sister of Carlo Dolci and his equal in talent. These painters
+and the early nuns, Caterina Vigri and the three sisters of Santa
+Marta, Siena, are enough to represent the old Italian schools; while
+three characteristic pictures by Elisa Koch, Juana Romani, and Rosina
+Gutti, unite the present with the far-distant past, a past separated
+from the present day by four hundred and fifty years.
+
+                                                WALTER SHAW SPARROW.
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    "MARY MAGDALENE." AFTER THE PAINTING IN THE PITTI GALLERY
+    FLORENCE. FROM A PHOTOGRAPH BY ANDERSON, ROME
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XV CENTURY
+    SAINT URSULA AND HER MAIDENS. FROM A PHOTOGRAPH BY ALINARI AFTER
+    THE ORIGINAL PICTURE IN THE ROYAL ACADEMY OF FINE ARTS, VENICE
+    Santa Caterina Vigri di Bologna, Painter
+    1413-1463]
+
+    [Illustration: SIENESE SCHOOL, XVI CENTURY
+    ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT SIENA
+    IN THE PROVINCIAL INSTITUTE OF FINE ARTS
+    Sister A., Convent of Santa Marta, Siena, Painter]
+
+    [Illustration: THE HOLY FAMILY WITH JOHN THE BAPTIST. AFTER THE
+    ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE
+    ARTS Sister B., Convent of Santa Marta, Siena, Painter About
+    1500]
+
+    [Illustration: SIENESE SCHOOL, XVI CENTURY
+    THE ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT
+    SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS
+    Sister Barbara Ragnoni, Painter
+    About 1500]
+
+    [Illustration: MADONNA AND CHILD, WITH ST CATHARINE AND OTHER
+    SAINTS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL
+    INSTITUTE Sister A., Convent of Santa Marta, Siena, Painter
+    About 1500]
+
+    [Illustration: SCHOOL OF CREMONA, XVI CENTURY
+    PORTRAIT (PAINTED BY HERSELF) OF SOPHONISBA ANGUISCIOLA OR
+    ANGUSSOLA, FAR-FAMED IN HER TIME AS ONE OF THE LEADING ITALIAN
+    ARTISTS; SHE DID MUCH WORK FOR PHILIP II. OF SPAIN. WHEN SHE WAS
+    VERY OLD AND BLIND, VAN DYCK MET HER AT GENOA, AND SAID THAT HE
+    HAD LEARNT MORE FROM HER TALK THAN FROM HIS OTHER TEACHERS. FROM
+    A PHOTOGRAPH BY ANDERSON, ROME, AFTER THE ORIGINAL PAINTING AT
+    MILAN IN THE POLDI-PEZZOLI COLLECTION
+    Sophonisba Auguisciola or Angussola, Painter
+    1533(?)-1626]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    CHARITY AND JUSTICE. AFTER THE PASTEL IN THE ROYAL GALLERY
+    DRESDEN. FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ITALIAN SCHOOL XVI CENTURY
+    MARRIAGE OF ST. CATHARINE, AFTER AN ETCHING BY N. MUXEL
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: PORTRAIT OF A LADY. AFTER AN ETCHING BY N. MUXEL
+    Sophonisba Anguisciola, Painter 1533-(?)1626]
+
+    [Illustration: A VICTOR IN HIS TRIUMPHAL CHARIOT. AFTER THE
+    DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM, FROM A
+    PHOTOGRAPH BY W. E. GRAY
+    Diana Ghisi, called Mantuana, Painter-Engraver
+    1530-1590]
+
+    [Illustration: BOLOGNESE SCHOOL, XVI CENTURY
+    PORTRAIT (EXECUTED BY HERSELF) OF LAVINIA FONTANA ZAPPI, PAINTER
+    IN ORDINARY TO POPE GREGORY XIII. FROM A CARBON PRINT BY BRAUN,
+    CLEMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE UFFIZI
+    GALLERY, FLORENCE
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: BOLOGNESE SCHOOL, XVI CENTURY
+    JESUS CHRIST TALKING WITH THE WOMAN OF SAMARIA. AFTER THE
+    ORIGINAL PAINTING IN THE NATIONAL MUSEUM, NAPLES. FROM A
+    PHOTOGRAPH BY ALINARI
+    Lavinia Fontana Zappi, Painter
+    1552-1614(?)]
+
+    [Illustration: MARY AND THE CHILD JESUS IN THE ACT OF CROWNING A
+    SAINT. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS, FROM A
+    PHOTOGRAPH BY MESSRS. W. A. MANSELL & CO. Barbara Longhi,
+    Painter
+    End of 16th Century]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    PORTRAIT: (EXECUTED BY HERSELF) OF ARTEMISIA GENTILESCHI, WHO
+    LIVED FOR A TIME IN ENGLAND AND WORKED FOR CHARLES THE FIRST.
+    FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE ORIGINAL PAINTING IN
+    EARL SPENCER'S COLLECTION
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    "THE DREAM OF SAINT ANTHONY OF PADUA." FROM A PHOTOGRAPH BY
+    ANDERSON, ROME, AFTER THE PAINTING IN THE PINACOTECA IN BOLOGNA
+    Elisabetta Sirani, Painter
+    1638-1665]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES. FROM A
+    PHOTOGRAPH BY ALINARI AFTER THE ORIGINAL PAINTING IN THE PITTI
+    GALLERY, FLORENCE
+    Artemisia Lomi, called Artemisia Gentileschi, Painter
+    1590-1642]
+
+    [Illustration: BOLOGNESE SCHOOL, XVII CENTURY
+    THE MADONNA WEEPING. FROM AN ORIGINAL ETCHING DATED 1657, IN THE
+    BRITISH MUSEUM
+    Elisabetta Sirani, Painter-Etcher
+    1638-1665]
+
+    [Illustration: THE FLIGHT INTO EGYPT. FROM THE ORIGINAL ETCHING
+    IN THE BRITISH MUSEUM
+    Elisabetta Sirani, Painter-Etcher
+    1638-1665]
+
+    [Illustration: FLORENTINE SCHOOL, XVII CENTURY
+    MARY AND THE CHILD JESUS. FROM A PHOTOGRAPH BY BRAUN, CLEMENT &
+    CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE BESANCON MUSEUM
+    "JESUS TOOK BREAD AND BLESSED IT..." FROM A PHOTOGRAPH BY BRAUN
+    CLEMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE LOUVRE
+    Agnese Dolci Painter
+    Died about 1686]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    PORTRAIT STUDY OF A LADY WITH HER PET MONKEY. FROM A PHOTOGRAPH
+    BY LEVY & SONS AFTER THE ORIGINAL PASTEL IN THE LOUVRE, PARIS
+    PORTRAIT STUDY OF CARDINAL DE POLIGNAC. FROM A PHOTOGRAPH BY
+    ANDERSON AFTER THE ORIGINAL PASTEL IN VENICE
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ITALIAN SCHOOL, ABOUT 1889
+    THE LITTLE SISTER. REPRODUCED FROM A PHOTOGRAPH BY PERMISSION OF
+    BRAUN, CLEMENT & CO., PARIS
+    Signorina Elisa Koch Painter]
+
+    [Illustration: VENETIAN SCHOOL, XVIII CENTURY
+    PORTRAIT STUDY OF A GIRL. FROM A PHOTOGRAPH BY LEVY & SONS,
+    PARIS, AFTER THE ORIGINAL PASTEL IN THE LOUVRE
+    PORTRAIT OF ROSALBA CARRIERA, THE MOST FAMOUS PASTELLIST OF HER
+    TIME. FROM ANDERSON'S PHOTOGRAPH OF THE ORIGINAL PASTEL IN ROME
+    Rosalba Carriera, Pastellist
+    1675-1757]
+
+    [Illustration: ROMAN SCHOOL, XVIII CENTURY
+    MARY MAGDALENE AT THE FEET OF JESUS CHRIST IN THE HOUSE OF SIMON
+    THE PHARISEE. FROM A PHOTOGRAPH BY ALINARI AFTER THE PAINTING IN
+    ROME IN THE GALLERIA CAPITOLINA. IT IS A COPY AFTER A PICTURE BY
+    THE ARTIST'S HUSBAND, PIERRE SUBLEYRAS, A PICTURE NOW IN THE
+    LOUVRE, PARIS. MARIA TIBALDI SUBLEYRAS PRESENTED THIS COPY TO
+    POPE BENEDICT XIV, WHO SENT HER A THOUSAND SCUDI, AND PLACED HER
+    WORK IN HIS COLLECTION AT THE CAPITOL
+    Maria Tibaldi Subleyras, Painter
+    Born 1707]
+
+    [Illustration: ITALIAN SCHOOL, CONTEMPORARY
+    THE PEACEMAKER.
+    REPRODUCED AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY THE
+    AUTOTYPE CO., NEW OXFORD STREET, LONDON
+    Rosina Mantovani Gutti, Artist]
+
+    [Illustration: ITALIAN SCHOOL, CONTEMPORARY
+    STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Juana Romani, Painter]
+
+    [Illustration: SCHOOL OF ENGLISH WATER COLOUR, XIX. CENTURY
+    "THE AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S
+    HOUSE." FROM THE WATER-COLOUR DRAWING IN THE COLLECTION OF JAMES
+    ORROCK, ESQ., R.I.
+    H.I.M. The Empress Frederick of Germany, R.I.
+    1840-1901]
+
+
+
+
+Early British Women Painters
+
+
+Everybody knows that it has fallen to England's lot to gem the remote
+seas with shining repetitions of herself. But everybody does not
+remember that she has done this quite at haphazard, just as the winds
+carry seeds from a garden to a waste ground. In herself, with fitful
+moments of purposeful energy, England has been self-critical and
+self-distrustful, disinclined to value her own doings or to take
+precautions when in the midst of dangers. But for the individual
+enterprise of her children, which she has often disowned and punished,
+her colonies would have been the Isle of Man and the Isle of Wight.
+And it is singular to note also that the history of England's genius
+in art has followed the traditional character of her devious
+makeshifts in commerce and in war. Despite all inherent weaknesses,
+she has achieved at random a recognised greatness in art, and is so
+surprised at it that she hesitates always to encourage the gifts of
+her own craftsmen, preferring rather to have confidence in the work
+which she can buy from men of genius in other countries. From the time
+of Henry VIII. to the coming of the school of Reynolds, she allowed
+her own painters to starve in order that she might employ strangers;
+and to-day, as in the past, she butterflies from foreign school to
+foreign school and treats her own native arts to side-glances and
+half-friendly nods.
+
+Now, as this has ever been England's disposition, it is not surprising
+to find that Englishwomen, as well as Englishmen, long hesitated to
+follow the arts professionally. At a time when Italy and France had
+scores of women painters, England had scarcely one. Perhaps the
+earliest of any note, if we except Susannah Penelope Gibson, a
+miniature painter, was Mrs. Mary Beale, daughter of a Suffolk
+clergyman named Cradock. She lived between the years 1632 and 1697.
+After modelling her style on that of Lely, she worked with great
+courage, showing much real talent, particularly in quiet portraiture.
+She painted broadly and well, drew with force and discrimination, and
+although she told the truth plainly at a time when other painters
+flattered and fawned, she yet achieved success, and was encouraged by
+the highest in the land, from King Charles the Second to Archbishop
+Tillotson. Time has robbed her colour of its first freshness, but the
+character remains, and the portraits on page 81 represent Mary Beale
+in a characteristic manner.
+
+The next English women painters in order of merit were Lady Diana
+Beauclerk, an amateur with much untutored talent, and Catharine Read,
+a distinguished professional artist of the Reynolds period. That she
+was appreciated in her day is proved by the fact that her portraits
+were engraved, side by side with those of Reynolds and Gainsborough.
+To-day she is forgotten, and very little can be learnt about her life
+or about the present owners of her pictures. Catharine Read lived near
+St. James's and sent frequently to the exhibitions. In 1770 she went
+to the East Indies, but in a few years returned to London, where she
+died in or about the year 1786.
+
+Angelica Kauffman, R.A., though born at Coire, the capital of the
+Grisons, belongs to the British school, and holds in the early history
+of that school a position similar to that which has been assigned in
+France to Madame Vigee Le Brun. The art of the two ladies differs
+widely to be sure, that of Angelica Kauffman having less mirth, less
+wit, less sprightliness and homeful sincerity; it is quite artificial
+in spirit, with a strong bias towards the sentimental; but it has for
+all that considerable charm and ability, qualities, let us remember,
+that won the admiration of Reynolds and of Goethe. Turner, also,
+possessed two of her drawings, as I am told by his descendant, Mr
+Charles Mallord W. Turner. But in recent times Angelica Kauffman has
+been remembered for the romance of her personal life and treated with
+cool contempt in all that appertains to her work. Critics have
+searched in her pictures for manly qualities, and finding there the
+temperament of a sentimental woman, their judgment has failed them.
+The very men who would be astonished beyond measure if a prima donna
+sang to them in a voice like the leading tenor's, do not hesitate to
+complain when the voice in a woman's painting is one filled with
+womanhood.
+
+In England, at the close of the 18th century, quite a number of ladies
+came to the front in art, like Caroline Watson, the admirable stipple
+engraver (page 89), or like Catherine Maria Fanshawe, a painter-etcher
+who could put a body into a peasant's smock and could show in a rustic
+figure the mingled influences of Morland and Gainsborough, while
+keeping a tender sympathy of her own (page 89). Amelia Hotham, too, in
+the native art of water-colour, attained to a broad and vigorous style
+in landscape, while taking far too many hints from the scenic pomp
+that Francis Nicholson made popular in outdoor scenes (page 88).
+Nevertheless, Amelia Hotham's work has interest in the history of
+British water-colour, like that of three other ladies who followed
+her, the Viscountess Templetown (page 94), Matilda Heming and Mrs.
+John Herford, the grandmother of Mrs. Allingham. Matilda Heming's
+picture on page 95, "Backwater, Weymouth, Dorset," is weak in the
+drawing of the hills, but the rest of the design is quite admirable,
+the boats particularly being very well drawn. We see, then, that
+during the last decades of the 18th century, and at the beginning of
+the nineteenth, a little band of Englishwomen studied landscape
+painting seriously; and this fact is worth remembering, as women have
+seldom been drawn in art to nature in the woods and fields. The
+gentler sex, as a rule, has not appreciated landscapes.
+
+On the other hand, they have shown in art a great love for the
+beauty of flowers, the colour and the forms of insects, and the
+"other-naturalness" of many kinds of animals. Maria Sibylla Merian,
+Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell,
+Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch--these ladies will
+not be forgotten, let us hope, as long as there are students who take
+delight in plants, flowers, birds and animals.
+
+Among the flower and fruit painters in England, during the 18th
+century and the first few decades of the nineteenth, conspicuous
+places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and
+Anne Frances Byrne, illustrations of whose pictures will be found on
+page 94; and the reader will do well to compare this early work with
+that of Mrs. Coleman Angell, the female counterpart of William Hunt
+(page 102).
+
+Whilst these flower-painters were busy, another small group of ladies
+won considerable popularity by their little figure-subjects, such as
+the Countess Spencer's drawing on page 90, or again, like the fanciful
+miniatures by Mrs. Mee or the sentimental portraits by Mrs. J.
+Robertson, types of which are given on page 93. Miss Curran's portrait
+of Shelley is a valuable portrait-sketch historically (page 90), and
+it has something of the charm that distinguishes the able portraits
+drawn to-day by the Marchioness of Granby.
+
+What can be said about Mrs. Margaret Carpenter? Is she not to be
+placed among those quiet, unpretentious portrait-painters whose
+thoughts are so wrapped up in their determination to be true that they
+never think of striving after exhibition-room effects? Margaret
+Carpenter gives us the character of her sitters, and not technical
+displays of her own cleverness. Born at Salisbury, in 1793, the
+daughter of Captain Geddes, this able painter came to London in 1814,
+and married, in 1817, William Carpenter, who for many years was Keeper
+of the Print Room in the British Museum. She exhibited often at the
+Royal Academy until 1864, and made a great reputation by her
+portraits. She died in 1872, leaving a son, William Carpenter
+(1819-1899), to continue the art tradition which she had herself
+carried on in her family.
+
+    [Illustration: ENGLISH SCHOOL, XVIII CENTURY
+    PORTRAIT OF THE LADY GEORGIANA SPENCER. AFTER THE PAINTING IN THE
+    COLLECTION OF EARL SPENCER. FROM A PHOTOGRAPH BY HANFSTAENGL
+    Catharine Read, Painter
+    Died about 1786]
+
+Some may think that Margaret Carpenter began the modern history of
+women painters in England; others may grant that distinction to the
+intuitive and radiant work of Lady Waterford, that most gifted of all
+amateurs. It seems truer to say that Margaret Carpenter is best
+described as a connecting-link between the old and the new, and that
+Lady Waterford is not only so faithful to herself but so spontaneous,
+that her good gifts belong to no particular school or period. They
+certainly owed much to the colour of the Venetian School, far more
+to that old source of inspiration than to any influence of the 19th
+century. But the main characteristics of Lady Waterford's appeal come
+to us from the painter's own heart and beautiful aesthetic intellect.
+The ease with which she composed, and the charming animation of all
+her designs, these were natural qualities uninfluenced by any
+teaching; and they won the ardent admiration of the late Mr. G. F.
+Watts. It is the spirit alone of Lady Waterford's art that we should
+admire; we must not look closely at the drawing, for Lady Waterford
+neither tried nor wished to perfect her faulty technical equipment.
+Most of her art-work was done after a day spent in other charities. It
+was Lady Waterford's joy to dole out alms herself, and it never
+occurred to her that she might do such good actions by proxy, just as
+Queen Charlotte picked up five old books in the booths of Holywell
+Street. The truth is that Lady Waterford valued practicalness more
+than imagination, as do the great majority of women; she longed to
+_see_ the good she did, and she could not realise to herself that art
+has a permanent ethical influence. Closing her eyes to this truth,
+Lady Waterford wrote as follows to one of her friends:--
+
+"I could never attain to even one work that I see in my mind's eye, and
+if I could it would be less than those of the great men of old, _whose
+greatest works have not quelled evil or taught good_.... I could not
+live for art--it would not be what I am put in the world to do. I do
+not despise art, but I should feel that it was not given for that. Two
+homes have been given me, and it is to try to do what I can in them
+that they are given for brief life."
+
+Is not that pathetic? Is it not the very music of a woman's
+rationalism? What has "quelled evil?" But if our hearts and minds rise
+to an entire sympathy with Lady Waterford's sketches, we shall
+certainly feel that a noble spirit in art does indeed "teach good," is
+a spiritual almsgiving for all time, a charity that goes on
+ministering, through long generations, to that which is best in human
+nature.
+
+                                                WALTER SHAW SPARROW.
+
+    [Illustration: DESIGN BY CHRISTINE ANGUS.]
+
+
+
+
+Modern British Women Painters
+
+By Ralph Peacock
+
+
+It is the privilege of man, in his youth, to ignore his limitations.
+For this ignorance he pays in failure the price of a possible success.
+In his wiser middle age he does not repent, he finds that it is only
+by some sort of an attack on his limitations that apparent results are
+attained, and he learns to take on faith the difference there is in
+fact between the attainment and the attempt. The experience of a woman
+is, I take it, very similar. It follows in no way that, because her
+limitations are different from, and in a physical sense greater than,
+man's, the brutal laws which go to produce results are in her case
+different. She is marching along the same road, and though she may
+have other stopping places by the way and perhaps may take up more
+modest quarters in the end, it is a journey and an arrival, an effort
+and a result, and the things seen by the wayside become of
+significance to her as the painted banners under which she seeks her
+way.
+
+Englishwomen do not seem to have done much in painting before the
+generation or two that are just past. Public opinion was against them.
+The early Victorian conditions under which a woman like Charlotte
+Bronte produced her great results in another art are more or less
+familiar to all, and in the matter of painting the voice of prejudice
+has had still more to say. By these days it has croaked itself into
+the feeble hoarseness of a respectable and decent old age, and we can
+already look back to a succession of women painters who seem to have
+been conscious at first of their leading-strings, but who have shown a
+development more than corresponding to that of the conditions under
+which they worked. Kate Greenaway, who died only a few years ago, was
+no doubt a good example of the charming results to be obtained in
+leading-strings. To compare her with an artist who works in a similar
+field to-day is to note an advance, not only of a generation, but of
+the changing educational conditions within the generation. It is a far
+cry from Kate Greenaway to Miss Alice Woodward, for instance, and it
+is difficult to imagine that another age will say anything more, or
+less, of Miss Woodward than that she was a most distinguished artist.
+The leading-strings are gone.
+
+It will always be a special field for women, the production of work in
+the first place for children, and it is unnecessary to spend time in
+emphasising or over-emphasising its importance. Art itself reckons
+little with motives and much with results. In a more general view it
+would, perhaps, be better to start this small article with some notice
+of the women painters of the seventeenth, eighteenth and early
+nineteenth centuries. There is Mrs. Mary Beale, who was a child when
+Cromwell was Lord Protector, and who later on painted a most excellent
+portrait of Charles II. There is some work of hers in the National
+Portrait Gallery, London, work of the quiet, genuine kind, and better
+than most of the painting that came for some time afterwards. Then
+there is Angelica Kauffman, R.A., who provides us with perhaps the
+only well-known name of the early periods, and there are some
+portrait-painters of interest, like Miss Catharine Read, of Reynolds'
+time, or like Mrs. Anne Mee, of the early part of last century. But it
+must be confessed that it would be a sorry list for a couple of
+centuries if it were a fact that women had had the same opportunities
+and no greater disabilities than the men of the period. It is not
+indeed until we reach such painters as Margaret Carpenter, the
+portrait painter, Mrs. Matilda Heming, the landscapist, and Lady
+Waterford, that more than charming amateur who might have done so
+much, that we begin to feel we have a reasonable genesis of the worker
+of to-day. These painters show to us now rather the influences of
+their time or the limitations of their opportunities, than
+personalities which are outside such considerations, but they
+nevertheless provide us with evidence of a very genuine and lively
+activity.
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    THE SIBYL. AFTER THE PICTURE IN THE ROYAL GALLERY, DRESDEN. FROM
+    A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Maria Angelica Kauffman, R.A., Painter
+    1741-1807]
+
+The work of Mrs. Heming is interesting in a rather more special way.
+It is distinctly rare to find the ordinary landscapist of her time
+working with an eye to truth rather than to the making of a so-called
+composition of the period, rare enough in fact to place her quite
+above the ordinary.
+
+It is at first sight a curious thing that more women painters have not
+even in these days been attracted by pure landscape. It is strange in
+the sense that they have among them such painters as Lady Butler and
+Miss Lucy Kemp-Welch. But no branch of art is more that of the
+specialists than landscape. It developed later in history than any
+other, and it calls to those who would tire of the didactic in human
+thought and who might find in the study of any obviously human affair
+something to remind them of a phase of experience they would, in
+paint, avoid. No doubt the Empress Frederick turned to landscape as an
+occupation of relief from the pressing human affairs in which her life
+was involved, and it is just in such a way that the natural
+landscapist turns from the human side of life to the more abstract
+emotions he finds in the garden of the Great Spirit.
+
+Women, I believe, are more held by the personal than the abstract.
+Mrs. Allingham may be one of the exceptions. In any case Mrs.
+Allingham claims quite a special place for herself in any
+sketch-survey of the work of English women painters. Few women have
+shown a more definitely English sympathy in landscape than she has.
+Her method is simple, obvious and plain for all to see. For that
+reason it would fail to appeal in any way to the Eclectics, or to
+those among them, at any rate, who, in the words of a subtle Eclectic,
+confound the natural with the commonplace. A distinctly home-bred
+feeling, such as Mrs. Allingham has among women, or, in the grand
+manner, Fred Walker among men, is however a very rare thing and is
+becoming rarer. How far it may, in individual cases, change to other
+things may be seen in some of the more modern painters, in the
+remarkably strong work of Miss Margaret Cameron, Miss Biddie
+Macdonald, Miss Alice Fanner, and Miss Beatrice How. This latter
+painter has not merely been affected in matters of technique, but
+gives us, most delightfully, the very sentiment of the country people
+she paints. It is quite a little miracle of transplanted adaptability.
+
+It has been said that every good woman has in her marching outfit a
+supply of adaptability which, in sum total, accounts for most of the
+happiness enjoyed by the human race at large. If so, it may be added
+that in its superior manifestations the affair is sub-conscious,
+artistic, most natural and not at all one of the commonplaces of life.
+It perhaps explains, or rather is illustrated by, the number of
+painters in the very first rank among women who have shown in their
+work the influence of some near relative. In any case, Lady
+Alma-Tadema for one has produced work so extraordinarily good in
+itself that it is easy to believe the similarity of her technique to
+that of Sir Laurence Alma-Tadema to be merely one of the happy chances
+of her life. A very similar thought arises in connection with the work
+of the late Miss Margaret Dicksee. It is easy to influence technique,
+but first causes are not set in action by human hands. If one who did
+not know her may say so, there is written on the canvases that Miss
+Dicksee has left behind the evidence of a most lovable nature.
+
+Mrs. Stanhope Forbes, Miss Lucy Kemp-Welch and Lady Granby are
+isolated examples whose work has no connection in itself and shows
+very little affinity, beneath the surface, with the special influences
+of their time. The strong brushwork of Mrs. Stanhope Forbes, it is
+true, may be said to have arrived by way of Newlyn, but the fanciful
+sentiment underlying her work has an arrival quite of its own. Miss
+Lucy Kemp-Welch has made, and deserved, a place for herself the last
+few years, and she stands alone among women as an animal painter of
+power. Lady Granby, who is an amateur, is also an artist. Magna est
+ars et prevalet. Ave!
+
+Miss Mary Gow, the late Alice Havers, Miss Jessie Macgregor, Miss Anna
+Alma-Tadema, Miss Lily Blatherwick, Miss Amy Sawyer, and Louisa Starr
+(Madame Canziana) also make a special appeal, each in her own way.
+
+Mrs. Swynnerton is a lady who has given us a great deal of work of a
+very high order indeed. In the first place she has always something to
+say that is worth saying. Her work is exuberant with the joy of life,
+the joy of colour. Her very brush is surcharged with a high and lavish
+spirit. Blue eyes look out, so blue, from happy sunburnt faces, so
+sunburnt, that take their places on her canvases as in a drama to tell
+us something of her thoughts and of themselves. Mrs. Swynnerton, plus
+her faults, is genuine through and through. The work of another
+painter, Mrs. De Morgan, naturally comes into consideration when we
+turn to symbolism. More tenaciously in earnest and more austere in
+every way than Mrs. Swynnerton, her work is as the poles apart. The
+one romps, if the term be allowed, in a flower-spangled meadow, the
+other's province is the study; and, as is the way with students, her
+mind is often on the thought of the past rather than with affairs of
+the present. Before one of Mrs. De Morgan's pictures one thinks
+through, by way of Burne-Jones, to Botticelli and the great ancestors
+of art, and it is saying a very great deal for Mrs. De Morgan that in
+such case one can bless the passive hand that gives and the hand that
+receives.
+
+Her work may very well lead us to a small band of artists, not
+definitely connected in themselves, but allied with each other in the
+sense that they work for somewhat similar ends: Mrs. Marianne Stokes,
+Miss Eleanor Fortescue Brickdale and Mrs. Young Hunter. To these,
+perhaps, may one day be added a name very little known at present,
+Miss Milicent E. Gray. It is not unusual in speaking of the work of
+either of these first three artists, and more especially of Miss
+Eleanor Brickdale, to refer to the pre-Raphaelite influence in art. It
+is, however, extremely probable that the influence takes direct effect
+in these days more as a method than as a conviction. The great
+conviction itself has leavened Art, and the individualities of these
+painters are so strong that it becomes in their case a nearer interest
+to ignore all potters and regard the clay. Mrs. Young Hunter has a
+quaint flitting fancy that wanders over hill and dale and seizes from
+life subtle little touches that are full of the elusiveness of tales
+told after school hours.
+
+Mrs. Marianne Stokes is made of sterner stuff. She has worked of late
+in that most stern and stubborn medium, tempera, and small things of
+hers in various exhibitions attract one always with the desire to know
+more of her most attractive work. Miss Eleanor Brickdale works, or
+plays, always with an idea. And the idea she is not satisfied to leave
+until it has taken on for other eyes a most cunning and beautiful
+bodily shape, in line, in form, in colour--above all in line. She is
+probably, without knowing it, as good an antithesis as may be found of
+the Impressionist, so-called. The Impressionist is the incarnation of
+the abstract in terms of paint, the Symbolist uses the material to
+convey definite abstractions in thought. It is, by contrast with
+music, the motive of symphony as compared to the motive of Oratorio or
+opera, and the apposite methods may be equally well, or badly, used or
+abused. Abuse may lead the militant Impressionist to an impasse of
+assertive agnosticism as pedantic in its way as the lucubrations of
+the most literary pedant in paint. On the other side of the lantern
+you may have Watts, and the painted canvases of a Whistler. So be it.
+
+Art is a long lane with many turnings, and down each there may be
+found a little house with a fireside and human hearts thereby.
+
+                                                       RALPH PEACOCK.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1900.
+    YOUTH AND THE LADY. REPRODUCED FROM THE ORIGINAL WATER-COLOUR,
+    BY KIND PERMISSION OF CHARLES DOWDESWELL, ESQ., THE OWNER OF THE
+    PICTURE AND ITS COPYRIGHT.
+    Miss Eleanor Fortescue Brickdale, Painter]
+
+
+
+
+Women Painters in the United States of America
+
+
+During the 19th century, in the United States of America, there came
+slowly into existence a new school of painting--new often in temper
+rather than in manner, for its followers usually came to Europe for
+their methods. Race, climate, religion, commerce, social life,
+influence art, and the painters of the United States reveal in their
+work all the characteristics for which their country has long been
+famous: vivacity, invention, constant enterprise, a democratic
+enthusiasm, a love of truth (truth often united with romance or else
+with sensationalism), and last, but not least, a rare felicity in
+transforming borrowed knowledge into something quite original. It is
+not often that a civilisation embodies itself in the genius of one
+man, giving an epitome of all its dominant qualities; but in Mr. John
+S. Sargent, R.A., we recognise a painter of tremendous gifts who does
+for the United States what the manly, swaggering Rubens did for
+Flanders, symbolising a people and a civilisation.
+
+One sign of the democratic spirit in the progress of American Art is
+to be noticed in the fact that women have participated largely in the
+honours gained by the pioneers. It is noteworthy, for instance, that
+the first book on Women Painters should have been written by an
+American lady, Mrs Ellet, as far back as 1859. Mrs. Ellet showed great
+industry, but following a custom rashly encouraged by writers on art,
+she believed that she could teach painting and sculpture by the use of
+words alone, in recording biographical facts, and in offering
+criticisms on work that her readers could not see in illustrations.
+Written history is the phonograph of all past centuries, but the
+understanding of art owes little to its words.
+
+Still, the enthusiasm that fired Mrs. Ellet was shared by many of her
+countrywomen, and to it we owe some truly clever artists, like the
+four sculptors, Harriet Hosmer, Florence Freeman, Edmonia Lewis and
+Emma Stebbins, or like the following painters: Emily Sartain
+(portraits and genre), Sara M. Peale (portraits), Mrs. J. W. Dewing
+(portraits, subject pictures, flowers and still-life), Annie C. Shaw
+(cattle and landscapes), Mrs. Adele Fassett (portraits) Mrs. Elisa
+Greatorex (landscapes), Mrs. Henry A. Loop (portraits), Ella A. Moss
+(portraits), Jennie Brownscombe (subject pictures), May Alcott (copies
+after J. M. W. Turner and still-life), Elizabeth Boott (figure
+subjects), Charlotte B. Coman (landscapes in the manner of Corot), and
+that delicate recorder of pleasant secrets learnt from nature in the
+fields, Fidelia Bridges. The very titles of this lady's pictures have
+the fragrance of field flowers or else they glow with the plumage of
+birds. It has been said of Fidelia Bridges that her art sings little
+pastoral lyrics, and her art is certainly very fresh and sweet,
+charmed with much sympathetic appreciation of nature in some of her
+unnumbered smiling moods. For Fidelia Bridges, like Birket Foster,
+paints as though the year were all springtime, a series of twelve May
+months, all full of gaiety and bounty. She seldom takes heed of that
+eternal warfare which accompanies Nature's bountifulness, filling the
+seed-carrying winds with the presence of death, and setting every
+living thing to prey upon another. To this part of Nature's life
+Fidelia Bridges usually shuts her eyes, unlike Miss E. M. Carpenter,
+whose landscape art reveals at times the menacing suggestion of great
+rivers and of high solitary mountains.
+
+It would serve no useful purpose to enumerate all the earlier women
+painters of the United States. They worked bravely and well, and if
+their doings are now forgotten or undervalued, it is only because the
+harvest sowed by them is being reaped by the present generation.
+To-day the names of at least two American women painters, Mary Cassatt
+and Cecilia Beaux, are known in every country where good art is
+studied. Mary Cassatt, the only pupil of Degas, is bracketed always
+with Berthe Morisot, for both ladies became Impressionists at about
+the same time, adding the charm of their personalities to a rugged
+revolt in art. The work of each has great interest, but that of Mary
+Cassatt is the more attractive and the more enduring. It is not
+overburdened with a heavy adherence to methods originated by men; and
+it is richer with the emotions of the painter's own heart. To Mary
+Cassatt, Impressionism is a chosen dialect, a means by which she can
+express herself in colour and form; to Berthe Morisot, on the other
+hand, it was in itself the final word in painting. So, mistaking the
+clay of art for the finished statue, she obeyed the methods of a
+school with so much zeal and so much self-sacrifice that her own
+nature became enslaved to the difficulties of technique. Compare
+Berthe Morisot's able study (page 211) with the charming homeliness of
+Mary Cassatt's picture (page 157), and you will see at a glance how
+wide is the difference between the emotional and aesthetic value of the
+subjects represented. Berthe Morisot remains a student, while Mary
+Cassatt passes beyond technique to a universal delight in childhood.
+She feels both the pathos and the humour of the beginnings of our
+life, and she makes infancy welcome in art because she understands it
+and shows no maudlin sentiment.
+
+Something of the same kind is done by Miss Cornelia Conant, in her
+domestic picture called "The End of the Story" (page 151); and another
+view of child-life, delightfully rendered by Helen Hyde, may be seen
+in colour on page 145.
+
+The pictures by which Miss Cecilia Beaux is represented in this book
+show very clearly that her genius has dramatic strength, sustention,
+and flexibility. The portrait on page 182 is handled with a sculptural
+vigour that responds admirably to the character of the sitter, while
+the "Mother and Child" (page 121) has a quietness of tone, a reserved
+simplicity of style, a permeating suggestion of pathos, having much in
+common with Whistler's portrait of his mother. Miss Cecilia Beaux is a
+dramatist in her studies of character, and her art is probably more
+subtle and more various than that of any woman painter who has devoted
+her life to portraiture. The reader will do well to contrast her style
+with that of Mrs. Anna Lea Merritt, the first woman painter whose
+work was purchased by the Chantrey Fund, London (page 139).
+
+It is fitting now that a list should be given of other leading artists
+of the United States, though their work is not represented here, owing
+to the adventures in delays that attend a despatch of letters from
+London to America.
+
+1. Sarah C. Sears (Mrs. J. Montgomery Sears), pupil of Turner, Brush
+and Tarbell; prizes at New York, 1893, Chicago, 1893, Paris, 1900,
+Buffalo, 1901, Charleston, 1902. 2. Miss Mary L. Macomber, pupil of
+Boston Museum; prizes at Boston, 1895, Atlanta, 1895, National Academy
+of Design, 1897, Pittsburgh, 1901. 3. Miss Katherine Abbot, bronze
+medal at Paris, 1900. 4. Miss Elizabeth F. Bonsall, pupil of Howard
+Pyle, prize winner at Philadelphia, 1885, 1888, 1897. 5. Miss Matilda
+Browne, pupil of Dewey and Bisbing, medals at Chicago, 1890, National
+Academy of Design, 1899 and 1901. 6. Miss Maria Brooks, pupil of the
+Royal Academy Schools, London. 7. Mrs. Brewster Sewell, pupil of Duran
+in Paris, of Chase in New York; winner of several prizes, as at
+Charleston in 1902. 8. Rosina Emmet Sherwood, pupil of Chase and of
+Julian's School, Paris; prizes in Paris, 1889, Chicago, 1893, Buffalo,
+1901. 9. Mrs. Emily M. Scott, prizes at Buffalo, 1901, New York, 1902.
+10. Miss Rhoda H. Nicolls, born in England and studied in England; a
+frequent prize-winner. 11. Edith M. Prellwitz, a frequent prize-winner
+and a pupil of Brush, in New York, of Julian, in Paris. 12. Lydia
+Field Emmet, pupil of Bouguereau, in Paris, of Chase, in New York;
+prizes at Chicago, 1893, Atlanta, 1895, Buffalo, 1901. 13. Mrs. Kenyon
+Cox, pupil of the National Academy of Design; prize-winner at Paris,
+1900, at Buffalo, 1901. 14. Emma L. Cooper, Medals at Chicago, 1893,
+Atlanta, 1895. 15. Mrs. Charlotte B. Comans, Medal at San Francisco,
+1894. 16. Miss Clara S. MacChesney; and last, but not least, Miss Mary
+F. MacMonnies.
+
+                                                              W. S. S.
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    THE QUEEN AND THE PAGE. AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY DIXON & SON, LONDON
+    Mrs. Marianne Stokes, Painter]
+
+    [Illustration: BRITISH SCHOOL, XVII CENTURY
+    PORTRAIT OF THE ENGLISH POET, ABRAHAM COWLEY (1618-1667). FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING
+    IN THE NATIONAL PORTRAIT GALLERY, LONDON
+    Mrs. Mary Beale, born Cradock, Painter
+    1632-1697]
+
+    [Illustration: PORTRAIT OF KING CHARLES II OF ENGLAND. FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING
+    IN THE NATIONAL PORTRAIT GALLERY, LONDON Mrs. Mary Beale, born
+    Cradock, Painter
+    1632-1697]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    CARICATURE OF EDWARD GIBBON, HISTORIAN. IN THE PRINT ROOM, THE
+    BRITISH MUSEUM
+    Lady Diana Beauclerk, Amateur
+    1734-1808]
+
+    [Illustration: CUPIDS. AFTER AN ENGRAVING BY F. BARTOLOZZI, R.A.
+    Lady Diana Beauclerk, Amateur 1734-1808]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    ARIADNE. AFTER THE ORIGINAL PAINTING IN THE DRESDEN GALLERY,
+    FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH
+    Maria Angelica Kauffman. R.A., Painter
+    1741-1807]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    PORTRAIT OF MISS HARRIOT POWELL. FROM A MEZZOTINT BY RICHARD
+    HOUSTON. THE PROOF LENT BY MR. ALFRED DAVIS
+    Miss Catharine Read, Painter
+    Died about 1786]
+
+    [Illustration: PORTRAIT OF MISS JONES. FROM AN ENGRAVING BY J.
+    WATSON, DATED 1767. THE PRINT LENT BY MR. ALFRED DAVIS Miss
+    Catharine Read, Painter Died about 1786]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "THE FISHER WIFE." AFTER THE DRAWING IN WATER-COLOUR AND CRAYON,
+    FROM A PHOTOGRAPH BY W. E. GRAY, LONDON
+    Mrs. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, XVIII CENTURY
+    PORTRAIT (PAINTED BY HERSELF) OF ANGELICA KAUFFMAN, R.A., AFTER
+    THE ORIGINAL PICTURE IN THE UFFIZI GALLERY. FROM A PHOTOGRAPH BY
+    ALINARI]
+
+    [Illustration: THE VESTAL VIRGIN. AFTER THE ORIGINAL PICTURE IN
+    THE ROYAL GALLERY, DRESDEN, FROM A PHOTOGRAPH BY HANFSTAENGL
+    Maria Angelica Kauffman, R.A., Painter 1741-1807]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1793
+    RIVERSIDE LANDSCAPE WITH A CASTLE IN THE DISTANCE. PAINTED IN
+    1793, WHEN TURNER AND GIRTIN WERE ONLY EIGHTEEN. THE BREADTH AND
+    MANNER OF THIS DRAWING ARE THEREFORE REMARKABLE, ESPECIALLY AS
+    COMING FROM A LADY OF THAT TIME. THE SCENIC POMP OF THE DESIGN
+    POINTS TO THE INFLUENCE OF FRANCIS NICHOLSON. AFTER THE ORIGINAL
+    WATER-COLOUR (19-5/8 INCHES BY 26-3/4 INCHES) IN THE PRINT ROOM
+    OF THE BRITISH MUSEUM, FROM A PHOTOGRAPH BY W. E. GRAY
+    Amelia Hotham, Painter
+    End of 18th Century]
+
+    [Illustration: BRITISH SCHOOL, END OF XVIII CENTURY AND
+    BEGINNING OF XIX CENTURY
+    A COUNTRY BOY. REPRODUCED FROM AN ORIGINAL SOFT-GROUND ETCHING
+    THAT SHOWS THE MINGLED INFLUENCES OF GAINSBOROUGH AND MORLAND
+    Catherine Maria Fanshawe, Painter-Etcher
+    1765-1834]
+
+    [Illustration: PORTRAIT OF SARAH, COUNTESS OF KINNOULL, FROM A
+    STIPPLE ENGRAVING AFTER A MINIATURE BY SAMUEL SHELLEY Caroline
+    Watson, Engraver to Queen Caroline 1760(?)-1814]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY A PINCH OF
+    SNUFF. AFTER AN ENGRAVING BY MADAME BOVI, A PUPIL OF F.
+    BARTOLOZZI, R.A. THE PRINT LENT BY MR. ALFRED DAVIS
+    Lavinia Countess Spencer, Amateur
+    Died 1831]
+
+    [Illustration: PORTRAIT OF PERCY BYSSHE SHELLEY (1792-1822).
+    AFTER THE ORIGINAL DRAWING IN THE NATIONAL PORTRAIT GALLERY,
+    LONDON. FROM A PHOTOGRAPH BY J. CASWALL SMITH Miss A. Curran,
+    Amateur
+    Died 1847]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "FLORA." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Miss Evelyn Pickering (Mrs. William De Morgan), Painter]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF MRS. STUART FROM A MEZZOTINT BY S. W. REYNOLDS,
+    KINDLY LENT BY MR. ALFRED DAVIS
+    Mrs. J. Robertson, Painter
+    Worked 1824 to 1844]
+
+    [Illustration: PORTRAIT OF LADY DALRYMPLE HAMILTON, DAUGHTER OF
+    ADMIRAL LORD DUNCAN FROM AN ENGRAVING BY J. AGAR Mrs. Anne Mee,
+    born Foldsone, Painter Died very old in 1851]
+
+    [Illustration: BRITISH SCHOOL 1764 TO 1826 VASE OF FLOWERS.
+    PAINTED IN 1764 AND FORMERLY IN THE COLLECTION OF QUEEN
+    CHARLOTTE. AFTER THE TEMPERA PAINTING AT SOUTH KENSINGTON
+    Mary Moser, R.A. (Mrs. Hugh Lloyd)
+    1744-1819]
+
+    [Illustration: GROUP OF FLOWERS IN A JAR. PAINTED IN 1806 FOR
+    PRINCESS ELIZABETH, DAUGHTER OF GEORGE III. AFTER THE
+    WATER-COLOUR AT SOUTH KENSINGTON Mrs. Margaret Meen, Painter
+    Worked 1775 to 1810]
+
+    [Illustration: FLOWERS AND GRAPES. PAINTED IN 1826. AFTER THE
+    WATER-COLOUR AT SOUTH KENSINGTON
+    Miss Anne Frances Byrne, Painter
+    1775-1837]
+
+    [Illustration: WOOD SCENE. AFTER THE DRAWING IN INDIA INK ON A
+    WATER-COLOUR TINT AT SOUTH KENSINGTON
+    Viscountess Templetown, Amateur
+    Died 1824]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, EARLY XIX.
+    CENTURY BACKWATER, WEYMOUTH, DORSET. AFTER THE ORIGINAL
+    WATER-COLOUR IN THE BRITISH MUSEUM FROM A PHOTOGRAPH BY W. E.
+    GRAY, LONDON Mrs. Matilda Heming, born Lowry, Painter
+    1808-1855]
+
+    [Illustration: LANDSCAPE AT KENILWORTH AFTER AN ORIGINAL
+    WATER-COLOUR BY THE GRANDMOTHER OF MRS. HELEN ALLINGHAM, R.W.S.
+    Mrs. John Herford, Amateur]
+
+    [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF HENRIETTA SHUCKBURGH, AFTER THE WATER-COLOUR IN THE
+    BRITISH MUSEUM
+    Mrs. Margaret Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: PORTRAIT OF MARGARET CARPENTER. AFTER THE
+    WATER-COLOUR IN THE BRITISH MUSEUM Mrs. Margaret Carpenter, born
+    Geddes, Painter 1793-1872]
+
+    [Illustration: LODONA. FROM POPE'S "WINDSOR FOREST."
+    FROM THE ENGRAVING BY F. BARTOLOZZI, R.A.
+    Mrs. Maria Cosway, born Hadfield, Painter
+    1759-1838]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "ELSPETH." AFTER THE ORIGINAL PORTRAIT IN BODY-COLOUR, BY KIND
+    PERMISSION OF MRS. J. M. CURRIE, LONDON
+    Miss Ann Macbeth, Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY
+    PALM BRANCHES. AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY
+    J. CASWALL SMITH, LONDON
+    Louisa Marchioness of Waterford, Painter
+    1818-1891]
+
+    [Illustration: SPRING. AFTER THE ORIGINAL DRAWING IN
+    WATER-COLOUR FROM A PHOTOGRAPH BY J. CASWALL SMITH Louisa
+    Marchioness of Waterford, Painter 1818-1891]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    PORTRAIT OF JOHN GIBSON, R.A., SCULPTOR (1791-1866). AFTER THE
+    PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON, FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO.
+    Mrs. Margaret Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: PORTRAIT OF R. P BONINGTON, PAINTER (1801-1828).
+    AFTER THE PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON,
+    FROM A PHOTOGRAPH BY W. A. MANSELL & CO. Mrs. Margaret
+    Carpenter, born Geddes, Painter
+    1793-1872]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    JESUS CHRIST AMONG THE DOCTORS AFTER THE ORIGINAL WATER-COLOUR
+    FROM A PHOTOGRAPH BY J. CASWALL SMITH
+    Louisa Marchioness of Waterford, Painter
+    1818-1891]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY
+    STUDY OF A BIRD'S NEST. REPRODUCED FROM THE ORIGINAL DRAWING IN
+    WATER-COLOUR BY PERMISSION OF MESSRS. BROWN & PHILLIPS
+    Mrs. Helen Cordelia Angell, born Coleman, Painter
+    1847-1884]
+
+    [Illustration: BRITISH SCHOOL, 1901
+    "TO-DAY FOR ME." FROM A PHOTOGRAPH BY H. DIXON & SON, AFTER THE
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS
+    Miss Eleanor Fortescue Brickdale, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1871
+    ELAINE. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY
+    PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART GALLERY,
+    LIVERPOOL
+    Mrs. Sophie Anderson, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1873
+    SINTRAM AND HIS MOTHER (VIDE DE LA MOTTE FOUQUE). REPRODUCED
+    FROM A PHOTOGRAPH BY PERMISSION OF THE ARTS COMMITTEE, THE
+    WALKER GALLERY, LIVERPOOL
+    Louisa Starr (Madame Canziana), Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1875-1895
+    THROUGH THE WOOD. REPRODUCED FROM THE ORIGINAL WATER-COLOUR AT
+    SOUTH KENSINGTON
+    Miss Ivy Heitland, Painter
+    1875-1895]
+
+    [Illustration: MOTHER AND CHILD. DATED 1894. FROM THE
+    WATER-COLOUR IN THE IONIDES COLLECTION AT SOUTH KENSINGTON Miss
+    Mary L. Gow, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1880
+    "BLANCHISSEUSES." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING BY PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART
+    GALLERY, LIVERPOOL
+    Miss Alice Havers, Painter
+    Died 1890]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY
+    A COTTAGE NEAR CROCKEN HILL
+    FROM THE ORIGINAL WATER-COLOUR
+    Mrs. Helen Allingham, R.W.S., Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1888
+    THE POTATO HARVEST. AFTER THE ORIGINAL WATER-COLOUR, DATED 1888,
+    FROM A PHOTOGRAPH KINDLY LENT BY THE ARTIST
+    Miss Edith Martineau, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1890
+    IN MEMORIAM. AFTER A PHOTOGRAPH BY HENRY DIXON & SON, BY KIND
+    PERMISSION OF MISS MARY A. DICKSEE AND FRANK DICKSEE, ESQ., R.A.
+    Miss Margaret Isabel Dicksee, Painter
+    1858-1903]
+
+    [Illustration: BRITISH SCHOOL, 1887 AND 1890
+    GOOD FRIENDS. AFTER THE ORIGINAL PAINTING, DATED 1887, FROM A
+    PHOTOGRAPH BY NEWIDEIN, PARIS
+    Mrs. Elizabeth Strong, Painter]
+
+    [Illustration: THE END OF A STORY. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Miss Emily
+    Hart, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1900
+    "SLEEP, THAT KNITS UP THE RAVELL'D SLEAVE OF CARE." FROM A
+    PHOTOGRAPH BY DIXON & SON, LONDON, AFTER THE ORIGINAL
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS
+    Miss Eleanor Fortescue Brickdale, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    LABOURERS OF THE NIGHT.
+    FROM THE STUDY IN OIL-COLOUR ON DRAWING PAPER
+    Miss Lucy E. Kemp-Welch, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    STUDY FROM THE LIFE.
+    AFTER THE ORIGINAL CHALK DRAWING
+    Evelyn Pickering (Mrs. William De Morgan), Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    YELLOW ROSES. AFTER THE ORIGINAL WATER-COLOUR
+    Mrs. William Duffield, R.I.
+    FROM A NEAPOLITAN VILLA. AFTER THE ORIGINAL WATER-COLOUR
+    Miss A. M. Youngman, R.I.]
+
+    [Illustration: ROOM AT LEICESTER IN WHICH SHAKESPEARE IS SAID TO
+    HAVE ACTED BEFORE QUEEN ELIZABETH. AFTER THE ORIGINAL SKETCH IN
+    WATER-COLOUR DATED 1903
+    Miss Alice M. Hobson, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "A FOR APPLE-PIE: E EAT IT." AFTER THE ORIGINAL
+    DRAWING IN THE COLLECTION OF JOHN GREENAWAY, ESQ. REPRODUCED BY
+    PERMISSION OF FREDERICK WARNE & CO.
+    Miss Kate Greenaway, Illustrator
+    1846-1901]
+
+    [Illustration: "WHO LOVES A GARDEN LOVES A GREENHOUSE TOO" AFTER
+    THE ORIGINAL PICTURE EXHIBITED AT THE ROYAL INSTITUTE OF
+    WATER-COLOUR IN 1904
+    Miss A. M. Youngman, R.I.]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    ST. BRIDGET. FROM A PHOTOGRAPH BY R. J. W. HAINES
+    Mrs. Louise Jopling, R.B.A., Painter
+    WAIFS FROM THE GREAT CITY. COPYRIGHT RESERVED BY THE ARTIST
+    Mrs. Staples (M. Ellen Edwards), Illustrator]
+
+    [Illustration:  UNITED STATES OF AMERICA, CONTEMPORARY
+    MOTHER AND CHILD
+    AFTER THE ORIGINAL PAINTING
+    Miss Cecilia Beaux, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    DRAPERY STUDY. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL
+    DRAWING
+    Evelyn Pickering (Mrs. William De Morgan)]
+
+    [Illustration: PORTRAIT OF THE LADY ALIX. EGERTON, FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Miss Biddie Macdonald,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    WHITE TREASURES AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    THE AUTOTYPE CO. NEW OXFORD STREET, LONDON
+    Miss Florence White, Painter]
+
+    [Illustration: "HUSH! REMIND NOT EROS OF HIS WINGS." AFTER THE
+    ORIGINAL WATER-COLOUR Miss Katharine Cameron, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    AFTER WORK
+    A STUDY IN LEAD PENCIL
+    Miss Lucy Kemp-Welch, Artist]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    "OLIVIA." REPRODUCED FROM THE ORIGINAL DRAWING BY PERMISSION OF
+    MESSRS. BROWN & PHILLIPS, LONDON
+    Mrs. Mary Young Hunter, Illustrator]
+
+    [Illustration: "HE MARRIED A WIFE." AFTER THE ORIGINAL
+    WATER-COLOUR IN THE COLLECTION OF MISS EVANS Miss Eleanor
+    Fortescue Brickdale, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, XIX CENTURY
+    "A. FOR APPLE PIE: C. CUT IT." AFTER THE WATER COLOUR DRAWING IN
+    THE COLLECTION OF JOHN GREENAWAY, ESQ., REPRODUCED BY PERMISSION
+    OF MESSRS. FREDERICK WARNE & CO., OWNERS OF THE COPYRIGHT
+    Miss Kate Greenaway, Designer
+    1846-1901]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    PORTRAIT OF THE HON MRS. WALTER JAMES. AFTER THE ORIGINAL
+    PICTURE FROM A PHOTOGRAPH BY MESSRS. DIXON & SON, LONDON
+    Mrs. Marianne Stokes, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    AN INTERESTING STORY
+    AFTER THE ORIGINAL WATER-COLOUR
+    Miss Marian Chase, Painter]
+
+    [Illustration: "WHERE SHALL WISDOM BE FOUND?" AFTER AN ORIGINAL
+    PICTURE PAINTED IN 1902 Mrs. Mary Young Hunter, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    PORTRAIT OF MRS. BLAIR WITH HER DOGS. AFTER AN ORIGINAL PAINTING
+    THAT GAINED A "MENTION HONORABLE" IN THE SALON OF 1904
+    Miss Margaret Cameron, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A SONG OF THE SEA
+    FROM THE ORIGINAL ETCHING
+    Miss Amelia Bauerle, Painter-Etcher]
+
+    [Illustration: FAUNS FROM THE ORIGINAL ETCHING Miss Amelia
+    Bauerle, Painter-Etcher]
+
+    [Illustration: BRITISH SCHOOL, 1895
+    THE SENSE OF SIGHT. REPRODUCED FROM THE PAINTING IN THE WALKER
+    GALLERY, LIVERPOOL, BY PERMISSION OF THE ARTS COMMITTEE
+    Mrs. Annie L. Swynnerton, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    RIVERSIDE LANDSCAPE
+    AFTER THE ORIGINAL PAINTING
+    Miss Alice Fanner, Painter]
+
+    [Illustration: MEMORIES. AFTER THE ORIGINAL WATER-COLOUR
+    EXHIBITED IN 1904 AT THE ROYAL INSTITUTE OF PAINTERS IN
+    WATER-COLOUR Miss Gertrude Demain Hammond, R.I., Painter]
+
+    [Illustration: BRITISH SCHOOL, 1903
+    BLUEBELLS
+    FROM THE ORIGINAL PAINTING
+    THE ROYAL ACADEMY, 1903
+    Miss Christabel A. Cockerell (Mrs. Geo. Frampton), Painter]
+
+    [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1904
+    PONTE WIDMAN, VENICE. AFTER THE ORIGINAL OUT-DOOR SKETCH IN
+    WATER-COLOUR
+    Mrs. Helen Allingham, R.W.S., Painter]
+
+    [Illustration: CAMPANILE SAN STEFANO, VENICE. AFTER THE ORIGINAL
+    OUT-DOOR SKETCH IN WATER-COLOUR Mrs. Helen Allingham, R.W.S.,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL, 1904
+    THE HERDSMAN OF ADMETUS AFTER THE ORIGINAL PICTURE EXHIBITED IN
+    1904 AT THE ROYAL SOCIETY OF PAINTERS IN WATER-COLOURS.
+    COPYRIGHT RESERVED
+    Miss Constance Phillott, A.R.W.S., Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, 1890
+    "LOVE LOCKED OUT." AFTER THE PAINTING IN THE CHANTREY COLLECTION
+    IN THE TATE GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL
+    Mrs. Anna Lea Merritt, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    Miss Eleanor Fortescue Brickdale, Illustrator]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    REPRODUCED FROM THE ORIGINAL DRAWING IN CRAYONS.
+    Miss E. Fortescue Brickdale, Illustrator
+    LE REPAS. EXHIBITED AT THE PARIS SALON IN 1903
+    Miss Beatrice How, Painter]
+
+    [Illustration: THE LATE CECIL RHODES. AFTER THE PENCIL DRAWING
+    THE LATE LORD SALISBURY. AFTER THE PENCIL DRAWING The
+    Marchioness of Granby, Portraitist]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    ON THE WAY TO THE HORSE FAIR. FROM A PHOTOGRAPH BY THE AUTOTYPE
+    CO., NEW OXFORD STREET LONDON
+    Miss Lilian Cheviot, Painter]
+
+    [Illustration: ALMOND BLOSSOM IN LONDON AFTER THE ORIGINAL
+    WATER-COLOUR Miss Rose Barton, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    DAY-DREAMS. AFTER THE ORIGINAL PICTURE IN WATER-COLOUR
+    Jane M. Dealy (Mrs. Lewis), R.I., Painter
+    BABY. AFTER THE ORIGINAL PORTRAIT IN WATER COLOUR
+    Jane M. Dealy (Mrs. Lewis), R.I., Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    "DAY DREAMS." FROM THE COLOURED WOODCUT IN THE JAPANESE MANNER.
+    PRINTED IN JAPAN BY NATIVE WORKMEN UNDER THE SUPERVISION OF THE
+    ARTIST. REPRODUCED BY PERMISSION OF MR. C. KLACKER. 12,
+    HAYMARKET, LONDON. COPYRIGHT IN ALL COUNTRIES
+    Miss Helen Hyde, Designer and Painter]
+
+    [Illustration: BRITISH SCHOOL OF WATER-COLOUR, CONTEMPORARY
+    "IN WITH YOU!" REPRODUCED FROM THE ORIGINAL PICTURE IN
+    BODY-COLOUR]
+
+    [Illustration: "CUCKOO." REPRODUCED FROM THE ORIGINAL PICTURE IN
+    BODY-COLOUR Mrs. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    IN THE REIGN OF TERROR. AFTER THE ORIGINAL PAINTING, DATED 1891,
+    IN THE WALKER GALLERY, LIVERPOOL
+    Miss Jessie Macgregor, Painter]
+
+    [Illustration: IN A DUTCH COTTAGE. AFTER AN ORIGINAL PAINTING
+    EXHIBITED AT THE PARIS SALON IN 1904 Miss Beatrice How,
+    Painter]
+
+    [Illustration: BRITISH SCHOOL OF WATER-COLOUR, 1904
+    MAY EVENING
+    AFTER THE ORIGINAL PICTURE
+    Mrs. E. Stanhope Forbes, A.R.W.S., Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A COTTAGE GIRL. REPRODUCED FROM THE ORIGINAL WATER-COLOUR
+    Miss Minnie Smythe, A.R.W.S., Painter]
+
+    [Illustration: PORTRAIT OF SIR CHARLES HOLROYD. REPRODUCED FROM
+    THE ORIGINAL PAINTING Lady Holroyd, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, 1880
+    THE END OF THE STORY. REPRODUCED FROM A COPYRIGHT PHOTOGRAPH BY
+    PERMISSION OF BRAUN, CLEMENT & CO., PARIS
+    Cornelia W. Conant, Painter]
+
+    [Illustration: BRITISH SCHOOL, 1890
+    OPHELIA: "THERE'S RUE FOR YOU." REPRODUCED BY KIND PERMISSION OF
+    THE ARTS COMMITTEE, THE WALKER ART GALLERY, LIVERPOOL
+    Mrs. E. Normand (Henrietta Rae), Painter]
+
+    [Illustration: BRITISH SCHOOL, 1897
+    "STEADY THE DRUMS AND FIFES!" FROM A PHOTOGRAPH OF THE ORIGINAL
+    PICTURE, BY KIND PERMISSION OF LADY ELIZABETH BUTLER AND OF
+    MESSRS. GOUPIL & CO., LONDON AND PARIS, PUBLISHERS OF THE LARGE
+    REPRODUCTION RECENTLY ISSUED
+    Lady Elizabeth Butler, Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    AFTER THE BULL-FIGHT
+    FROM THE ORIGINAL PICTURE
+    Miss Margaret Cameron, Painter]
+
+    [Illustration: WINTRY WEATHER AFTER THE ORIGINAL PICTURE Lily
+    Blatherwick (Mrs. A. S. Hartrick), Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    A YORKSHIRE TROUT STREAM.
+    AFTER THE ORIGINAL PICTURE
+    Miss Alice Fanner, Painter
+    PORTRAIT OF MISS ANNA ALMA-TADEMA. AFTER THE ORIGINAL PAINTING
+    Miss Anna Alma-Tadema, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    BABY'S TOILETTE. REPRODUCED FROM THE ORIGINAL PASTEL, BY
+    PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS THE OWNERS OF
+    THE COPYRIGHT.
+    Miss Mary Cassatt, Pastellist and Painter]
+
+    [Illustration: BRITISH SCHOOL, CONTEMPORARY
+    FROM THE ORIGINAL PEN-DRAWING
+    Miss Jessie M. King, Illustrator]
+
+    [Illustration: THE MUSIC LESSON Mrs. J. M. Swan, Painter PANEL
+    OF A SCREEN AFTER THE ORIGINAL PAINTING Miss Amy Sawyer,
+    Painter]
+
+    [Illustration: BRITISH AND AMERICAN SCHOOLS, CONTEMPORARY.
+    OPHELIA. FROM A PHOTOGRAPH BY THE AUTOTYPE CO., NEW OXFORD
+    STREET, LONDON
+    Miss Offor (Mrs. F. Littler), Painter, England.]
+
+    [Illustration: PRAYER. AFTER THE ORIGINAL PICTURE, FROM A
+    CARBON-PRINT PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Mrs.
+    Cecilia Wentworth, Painter, U.S.A., America.]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    THE PEACE BALL AFTER THE DECLARATION OF INDEPENDENCE: THE FRENCH
+    OFFICERS, LAFAYETTE AND ROCHAMBEAU, BEING INTRODUCED TO
+    WASHINGTON'S MOTHER. REPRODUCED BY PERMISSION OF C. KLACKNER,
+    HAYMARKET, LONDON
+    Miss Jennie Brownscombe, Painter]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY.
+    PORTRAIT. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    KINDLY LENT BY THE ARTIST.
+    Miss Cecilia Beaux, Painter.]
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    THE BAMBOO FENCE. FROM A WOODCUT DESIGNED IN THE JAPANESE MANNER
+    AND PRINTED IN COLOURS BY JAPANESE WORKMEN. REPRODUCED BY
+    PERMISSION OF C. KLACKNER, NEW YORK, U.S.A., AND 12, HAYMARKET,
+    LONDON. DATE OF COPYRIGHT, 1904
+    Miss Helen Hyde, Designer]
+
+    [Illustration: FRENCH SCHOOL, 1755-1842
+    Portrait of Madame Vigee Le Brun and her Daughter. After the
+    painting in the Louvre, from a Photograph by Braun, Clement &
+    Co., Paris
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+
+
+
+Of Women Painters in France
+
+By Leonce Benedite. Translated into English by Edgar Preston
+
+
+Woman in Art is a fruitful subject. It is both psychological and
+aesthetic, involving as it does a question of paramount interest. At
+the same time it includes a special up-to-date character, by virtue of
+the grave questions arising from the position of woman in our social
+system of to-day. It is, indeed, the position of woman which has for
+so long a period set limits to her production of creations of the
+mind, and her position has had a distinct bearing on her inspiration.
+
+Thus it will be grasped, in these times of ours when the movement for
+the total emancipation of woman has commenced, and when the first
+franchises granted to her have already borne conclusive results, how
+it is that our honoured colleague, the editor of this book, has been
+led, both as an artist and as a writer on art, to conduct a sort of
+historical examination enabling one to understand the position woman
+has won in the realms of art in the past, and permitting one to
+foresee the place she is called upon to occupy in the future.
+
+With regard to the productions of the mind, it becomes necessary to
+establish a well-defined distinction, at least in so far as the past,
+anterior to the 19th century, is concerned, between the position of
+women artists and that of literary women. The literary woman, like the
+man of letters, was not subjected to any special obligation beyond the
+official sanction granting her the privilege of publication--a
+sanction which bore only on the question of morals and religion. Every
+woman was free to write without let or hindrance, without any
+preliminary education, and even without going through the formalities
+of publication or the necessities of printing, since a famous woman
+like Madame de Sevigne owed her celebrity to letters which were not
+destined to be made public. This explains the number of charming
+writers among women who have added lustre to French literature by
+their novels, stories, or simply by their letters, and enables one to
+realise how these women authors are, in contradistinction to women
+artists, persons of high standing. The chronicles of the Hotel de
+Rambouillet constitute an interesting little chapter in the history of
+letters in France, just as the "Precieuses Ridicules" or the "Femmes
+Savantes" of Moliere reveal to us the defects and eccentricities into
+which the literary pretensions of the feminine world had fallen in the
+17th century. It cannot, however, be denied that the fair sex freely
+infused into the literature of that period spontaneity, life and
+spirit, piquancy, affectation, and the delicate sentiments inherent to
+its nature, and that it had its share of influence on French taste at
+that time.
+
+Altogether different is the position of their sisters, the
+women-painters. Let us first look into that of the men. Painters
+formerly were part of a Guild such as that of the Drapers, Bakers and
+Butchers, and in their case it was a Guild which was far from
+occupying the first place in the hierarchy of Guilds. The Butchers
+were beyond doubt higher up in the scale than the painters. The
+painters were subjected to narrow and despotic regulations; rigorous
+conditions governed both apprenticeship and mastership, conditions
+hardly encouraging to those who had a vocation, more especially in the
+case of women, ill-protected by the weakness of their sex, by
+prevalent custom, and ill-adapted for the struggle. The _regime_ of
+the Academies, which followed that of the Guilds, did not bring in its
+wake conditions in any degree profitable to womankind. The Academie de
+Saint-Luc, while pretending to safeguard the professional interests of
+artists, displayed such tyrannical pretensions that a certain number
+of artists rose in revolt against it, and appealed to the Royal power,
+which, approached by its chief painter, Charles Le Brun, came to their
+rescue, by helping them to found the celebrated Academie Royale de
+Peinture et de Sculpture (1666). The Academie Royale proved itself
+somewhat more liberal. It set no limits to the reception of those who
+seemed worthy of its suffrages; we know that it welcomed into its
+bosom a number of strangers of merit, and that it opened its doors to
+women. Therein lies a victory of appreciable importance, if one
+considers the energy and the talent which women artists were compelled
+to display, in order to conquer ancient prejudices in so signal a
+fashion. Henceforth a place was assigned in art to women, a place
+still hedged in with limitations, and which could be attained only by
+the few privileged ones. For, in its turn, the Academie served the
+purpose of a few, but not that of the many. The Academie reserved the
+monopoly of exhibitions exclusively for its members; and artists who
+did not, in one way or other, belong to this congregation, were
+allowed to exhibit their works in public only once a year. It was on
+the one day of the Octave of Corpus Christi, for a space of two hours,
+in the open air, and within the circumference of the Place Dauphine.
+All great artists had to submit to this treatment, ere they could
+force the portals of the Academie. But times have changed! Our
+contemporaries, so inconstant, so impatient, who wear out the
+attention of the public by the excessive multiplicity of their
+exhibitory manifestations, should occasionally think of the conditions
+under which their forerunners laboured.
+
+Imagine a woman placed in the midst of these quarrels and struggles of
+rival Academies, with men in strong and often fierce antagonism on all
+sides of her; picture not only these general difficulties, but those
+of a more particular sort which arise from the disabilities of her
+sex, her subordinate state; think of the drawbacks--the prejudices,
+the _convenances_ to be considered, and then the embarrassing
+promiscuity of life in studio and school, particularly as regards the
+study from the living model--and one can realise how brave, how
+energetic, or how ambitious must be the woman who would win the title
+of Artist.
+
+It is clear that the Royal Academy's liberal measure in opening its
+doors to women of talent was an event of some importance, from the
+moral point of view at any rate. It was the public recognition of
+woman's capacity in matters of art, the official consecration of merit
+which might come to light; also it afforded a goal to strive for--a
+goal hard to reach and very remote, doubtless, but still a goal
+possible of attainment to the most courageous and the most hopeful
+among women. The real, as distinct from the moral, advantages were,
+however, rather limited. From 1663, the date which marks the admission
+of the first woman artist, to 1783, when the last was admitted--that
+is to say during a period of eighty years--exactly fifteen women
+painters were elected, and among them were three foreigners. In 1770,
+indeed, on the nomination of Mlle. Giroust, wife of Roslin, the
+painter, it was decided that, as there were already in the company two
+other women previously elected, there must not be more than four women
+in all within the Academy. This measure of restriction was renewed in
+1783 and ratified by Royal ordinance on the election of Mme. Vigee Le
+Brun.
+
+Nevertheless there was an appreciable number of women artists in
+France throughout the course of the 18th century. Their social rank
+was strictly confined. There were no "women of quality," such as were
+to be found in the world of letters, no representatives of the
+_bourgeoisie_ even. The women artists, with very rare exceptions, all
+belonged to artist families. They were the wives, the daughters, the
+sisters or the nieces of artists, and this tradition, as we shall see,
+even continued long into the 19th century. Catherine Duchemin, the
+first woman elected to the Academy, was the wife of the sculptor,
+Girardon, while Genevieve and Madelaine Boulogne, both academicians,
+were related to distinguished painters of that name. Mlle. Reboul was
+Mme. Vien, and Mme. Labille des Vertus became Mme. Vincent on her
+second marriage. Then we have Mlle. Natoire, sister of the director of
+the Academy of France, Catherine van Loo, one of the innumerable
+family of Van Loo, Mme. de Valsaureaux, _nee_ Parrocel, of the no less
+numerous family of Parrocel, Mme. Therbouch, _nee_ Liscewska, all this
+family, father, mother, and daughters alike, being painters; and Mme.
+Vigee herself, who married the picture dealer Le Brun, was the
+daughter of a portrait painter.
+
+During the 17th and 18th centuries these great artist families
+intermarried to such an extent as to form a series of veritable
+dynasties--for instance, those of the Coypels, the Coustous, the Van
+Loos, the Boulognes, the Parrocels, and the Vernets, to name but a few
+of the most renowned. Artist families became allied just as do those
+of lawyers and merchants. Thus their social life grew more limited,
+each category more and more distinct and apart, for these artist
+families rarely strayed beyond their own _milieu_. And those very
+circumstances which tended to retard the development of the artistic
+calling in woman exerted their influence over the inspiration of the
+female artist. The impossibility of pursuing very far the study of
+anatomical drawing, owing to the nudity of the model, diverted them
+almost entirely to the studies of observation and of imitation, to
+portrait work, and flowers and animals and still-life. Later, when
+they obtained greater liberty, they devoted themselves to _genre_ of a
+size and kind demanding less substantial preparation. But as for
+composition, they never touched "history," as it was termed--that is,
+lofty, heroic or allegorical subjects--and if there should chance to
+have been any exception to this rule, it was simply in the direction
+of religious _motifs_.
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1793-1824
+    Portrait of Gaetano Apollino Baldassare Vestris, Dancer
+    (1729-1808). Reproduced from a Photograph by permission of
+    Braun, Clement & Co., Paris
+    Madame Adele Romany, nee de Romance, Painter
+    exhibited from 1793 to 1824]
+
+Further, they long affected what may be called medium processes:
+pastel, water-colour, miniature, all kinds of work offering
+opportunity of finish and _eclat_. They showed a partiality for oil
+painting after the manner of the smaller Dutch masters, who had no
+more faithful imitators in all France. Mme. Vien, Mme. de Valsaureaux,
+_nee_ Parrocel, and particularly Mme. Vallayer Coster--"_femme qui fut
+un habile homme_," according to the verses written in her
+honour--excelled in this style.
+
+Some of the "_Academistes_"--to use the old French expression--won
+real celebrity, but few there were who achieved lasting glory. In the
+reign of Louis XIV, the woman artist whose reputation shone with the
+clearest lustre was Elisabeth Sophie Cheron, who excelled in all the
+arts--for she was a clever painter, a consummate musician, a poet of
+merit and _femme d'esprit_ into the bargain. Following the general
+rule she belonged to one of the numerous artist families. Daughter of
+a painter (Louis Cheron), she was also sister of a painter. This
+latter, who was her junior, had talent, but not to the extent of the
+elder. Elisabeth Sophie Cheron was of Huguenot family, as was
+frequently the case among the Academicians, although, from what absurd
+prejudice I know not, the _reformes_ were regarded as less artistic
+than other folk. But in 1668,--she was twenty then--terrified no doubt
+by the ever-increasing persecution of the Protestants--a persecution
+which was soon to result in the Edict of Nantes--she, like her sister,
+abjured her faith, whereas her brother, remaining true to the family
+faith, was forced to take refuge in London, where he died.[1]
+
+[1] Several Academiciens of the reformed religion were excluded, or
+obliged to submit to the Catholic religion.
+
+Sophie translated into French the Psalms of David, which her brother
+illustrated admirably, and she has left at least one important
+engraved work, but above all, she has left a number of portraits of
+well-known people of her time, portraits that the sitters made her
+copy four and even five times.
+
+Among other "_Academistes_," interesting if not so well known, was
+that sister of the "_Visitandine_" order, Anne Marie Tresor, who
+decorated with religious subjects the church of the monastery of the
+"Dames de Ste. Marie de Chaillot." She was received by the Academy in
+1676, and the choice of the Academy showed, as its accepted members
+were of such different views, that the body was after all somewhat
+broad in character. Another proof of this liberal spirit is to be
+found in the fact that the Academy received foreign artists within its
+body. There were three of them; the first was Mlle. Haverman, of Dutch
+origin, who was, however, excluded shortly after her election--she
+attempted to justify her election by sending in a painting which was
+not her own, but the work of her master, Van Huysum. The second
+foreign "_Academiste_" was specially illustrious and worthy of the
+honour conferred on her. She was Rosalba Carriera, a Venetian, a woman
+who was really original, and whose reputation has lived through the
+centuries, but about whom, in this chapter devoted to France, I must
+not speak at length. The last of the three was Mme. Terbouche, or,
+more exactly, Therbousch, who, although born in 1728 at Berlin, was
+numbered by our old museum catalogues in the ranks of the French
+School.
+
+May 31st, 1783, was an exceptionally important date for the Academy,
+in respect of women artists. On that day were received Mme. Vigee Le
+Brun and Mme. Adelaide Labille Guyard (or Guiard). One may say that at
+that very hour began officially the rivalry which constantly existed
+between the two women, both of real merit, throughout their careers--a
+rivalry which has been maintained in the preference shown for one or
+the other, after death, by their historians. Mme. Vigee Le Brun was
+the more celebrated of the two, and rightly so, for one might say that
+of all the women painters of her time she had a personality quite her
+own, quite feminine, rich in grace, ease, variety of attitude, gesture
+and composition, discreet and delicate affectedness, freshness and
+brightness. Mme. Vigee Le Brun was the daughter of a somewhat mediocre
+painter, and the wife of a well-known picture dealer, whom she married
+when quite young. She had lessons from Doyen, Greuze and Joseph
+Vernet, and her success was quickly achieved. Mlle. Adelaide Labille
+des Vertus, the daughter of a mercer, was married to a certain Guyard,
+a neighbour. She did not live long with him, and had lessons from an
+old friend, the painter Vincent (the father), and afterwards from La
+Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette,
+was supported by the Court, Mme. Guyard secretly made friends in the
+body of the Academy itself, painting the portraits of first one member
+and then another. On the day of the election, she seemed to be
+overcoming her rival, whom her friends succeeded in putting on one
+side because the rules of the Academy forbade the traffic in pictures.
+Mme. Le Brun was received only by order of the King. Her own
+autobiography, as well as the pamphlets of the time, depict for us the
+powerful rivalry which existed, and also the many calumnies with which
+the three women painters were attacked (there was a third candidate,
+Mme. Vallayer Coster), even in their private life, the persecution of
+offensive insinuations, and the existence of the accusation so often
+levelled against women painters, that their work is not their own.
+Posterity has reconciled the rivals on the walls of our galleries. If
+Mme. Vigee Le Brun certainly holds pride of place, Mme. Guyard, by her
+more solid talent, perhaps more characteristic, has an enviable
+position at her side.
+
+By the side of these celebrated women there are a few others of whom
+the recollection is not quite so keen, but who were not without a
+touching grace, though they lived their life within the sphere of
+their masters' influence, illuminated by the renown of these masters
+and breathing their atmosphere. It would not be right to say that
+these women artists copied their masters, or slavishly imitated them,
+but they transposed their qualities, elevated them by feminising them.
+Of these, I may mention Mlle. Ledoux, who followed in the wake of
+Greuze; Mlle. Marguerite Gerard, who lived under the shadow of
+Fragonard; and that exquisite and sorrowful figure, Mlle. Constance
+Mayer, whose devotion for her master Prudhon found its supreme
+expression in her tragic end. Less brilliant, rather hidden in the
+twilight of history, these women yet exercise on our thoughts an
+influence more subtle and delicate, and more penetrating.
+
+The approach of the great national crisis, and even the worst days of
+that period, at the same time glorious yet barbaric, did not
+extinguish the zeal of the women painters. It seems rather as though
+they shut themselves up in the study of their art so as to secure a
+refuge for their hopes and their dreams. In the first "Salons" of the
+century, one is surprised to find works by a comparatively large
+number of women painters. In 1800, of 180 exhibitors they number 25;
+eight years later, in the "Salon" of 1808, they are 46 out of 311. The
+difficulties set up by the Academy were overcome, the liberty to
+exhibit was a fresh encouragement, even an exceptional stimulus. The
+figures, therefore, rise still further in the first quarter of the
+century, so that in 1831 the women number 149 out of 873 exhibitors.
+The "staff," so to speak, of the women artists of that day,
+surrounding Mme. Vigee Le Brun, whose glorious and somewhat
+chequered career did not close till 1842, included a number of
+distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of
+Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie
+Morin; Mme. Adele Romance, who also signed Romany, or Romany de
+Romance; the "good" Mlle. Godefroid, pupil of Baron Gerard, who helped
+him in so many of the portraits of contemporary cosmopolitan people of
+distinction, commissions for which rained in the master's studio,
+after the entry of the allied forces into Paris. Later on, we have
+Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great
+sculptor, who had a severe yet confident talent. Lastly, there was the
+woman artist who benefited by all the advantages of fashion, Mme.
+Haudebourt-Lescot.
+
+    [Illustration: FRENCH SCHOOL, 1755-1842
+    MADAME VIGEE LE BRUN AND HER DAUGHTER. AFTER THE PAINTING IN THE
+    LOUVRE, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+Mlle. Lescot, wife of Haudebourt, the architect, and pupil of
+Lethiere--mischievous tongues, of course, declared that he painted her
+pictures--was a strange creature, who, at the start, owed the
+popularity she obtained as much to her personal charm as to her real
+talent. Her first success was in the drawing-room, where people
+admired her dances. "She was," says a writer, "ugly and captivating,
+with crooked eyes and a charming expression, her mouth ill-shaped, but
+tender and inviting," such as Ingres represented her in one of his
+finest pencil drawings.
+
+Hitherto, women had certainly banished themselves into the domain of
+portrait or still-life painting, that is to say, they had done little
+that was not sheer copying. But, little by little, under the influence
+of the lesser Dutch masters, who had been passionately appreciated
+since the close of the previous reign, and thanks to the opening of
+the Royal Collections at the Luxembourg Palace, where they could be
+studied and copied, the women-painters, following the example of the
+masters who gained inspiration therefrom, began to devote themselves
+to landscape and to _genre_. They sought out little touching subjects,
+which very frequently bordered on the ridiculous. For example, "the
+child's bed catches fire through the carelessness of the nurse who has
+fallen asleep, and the dog attempts to waken her."
+
+Mlle. Lescot cut herself adrift from all these insipidities. The
+opportunity came for her to spend several years in Rome. She was
+struck by the popular customs of the country, by its colour and that
+singular and picturesque charm which Granet had been the first to
+discover--the charm which, after her own time, was to be made further
+known by the paintings of the well-known Leopold Robert. As a matter
+of fact, she was practically the creator of the type of exotic
+subjects borrowed from Italy, to which numerous artists in France
+devoted themselves--Hebert, Bonnat and Jules Lefebvre, to name but a
+few of the most important of them. In choosing her _motifs_ she
+displayed wit and inventiveness, and at times a delicate grace,
+notably in her first pictures, before the desire to satisfy a daily
+increasing connection had driven her into unduly hurried work. Her
+technique, too, was brisk, yet careful, as it should be in small works
+such as hers. Her lightly-touched lithographs, together with those
+which she did "after" her own pictures, contributed to popularise her
+special subjects and her name.
+
+The novelty of these paintings, devoted to the cult of "local colour,"
+caused them to be adopted as "romantic." It was the same with Schnetz
+and Leopold Robert, who shared the popularity. But the real "Young
+romantic" among artists was Mlle. de Fauveau. What one discovers with
+regard to her is that she is not a painter but a sculptor. The Royal
+Academy of the 17th century had already boasted certain wood carvings
+by _la demoiselle_ Masse. Also, there was Mme. Falconet. But the great
+and austere art was cultivated only as a rare exception by woman.
+Mlle. Felicie de Fauveau was the first pre-Raphaelite, although the
+return to the primitive Italian masters of the 16th century dates
+further back, but with cropped head under a velvet toque, after the
+style of Raphael himself, she unceasingly uttered curses against that
+noble personality, whose brush produced the highest incarnation of the
+art of painting.
+
+But the naturalist movement it was that witnessed the development of
+the greatest artistic personality in the feminine world of
+to-day--Rosa Bonheur. The _role_ played by Rosa Bonheur is important
+from the feminine point of view, for the reason that she broke away
+from ancient traditions. She revealed what woman was capable of in the
+matter of energy, of continuity of purpose, of method, of scientific
+direction, in a word, in the indispensable impetus of inspiration.
+Before her day, the woman-painter had always been looked upon rather
+as a phenomenon, or her place in the domain of art was conceded to her
+on the grounds that she was indulging in an elevating and tasteful
+pastime, coming under the category of "accomplishments." Rosa Bonheur
+gave to woman a position equal to that of man. She won for herself
+unanimous admiration, based, not on the singularity of her life, not
+on looseness of morals, not on social triumphs, not on friends at
+Court, but on her robust, virile, observant and well-considered
+talent, which in its turn was based on a primary study of anatomy and
+osteology, developed by a continuous observation of the constitution
+and the life of the animal world. Her long life was crowned with
+glory. She held an exceptional place in art, akin to that of George
+Sand in the world of letters.
+
+From that day forth, there appeared a new phase in the artistic life
+of woman. Art became for her, not merely an intellectual pastime, but
+a vocation and a career. Rosa Bonheur lived nearly to the close of the
+nineteenth century, seeing many revolutions both in French life and in
+French art, but remaining always quite true to herself. Perhaps the
+most uncertain period of all, historically, so far as women were
+concerned, was that period of wave-like fluctuation in French art that
+occurred in the seventies and eighties, reflecting itself in the work
+of such women painters as Angele Dubos, Jeanne Fichel, Marie Petiet,
+Laure de Chatillon, Felicie Schneider, Eva Gonzales, Marie Nicolas,
+and Rosa Bonheur's successor--her heiress, so to speak--Madame
+Virginie Demont-Breton, the daughter, wife and niece of a family of
+distinguished artists. She has achieved a well-deserved popularity
+with her subjects of popular and rustic life, and, like Rosa Bonheur,
+has attained the rank of officer of the Legion of Honour. Two other
+feminine personalities have attracted the attention of both public
+and artists, the one, the sister-in-law of Manet, the delightful
+Mademoiselle Morisot, who has, so to speak, improved on the refinement
+of her master; the other, that strange and alluring young Russian
+girl, who adopted France as her Fatherland, and whom France adopted as
+artist. Marie Bashkirtseff, struck down by a cruel and premature
+death, at the age of twenty-three, revealed something far more than
+mere happy gifts. One is surprised at the amount of studies produced
+by the unfortunate and beautiful creature in the short space allotted
+to her for her life-work.
+
+We now enter upon the present period of woman's artistic life, the
+active period, let us call it. We no longer trouble about her place at
+our exhibitions, since she has nowadays her own exhibition, or rather
+exhibitions proper to herself. Among the many youthful _amateurs_ who
+constitute the bulk of feminine artists, one finds a number of true
+artists. To name a few: Mademoiselle Louise Abbema, Madame Madeleine
+Lemaire, Madame Nanny Adam, Mlle. Fierard, Mme. Vallet-Bisson, Madame
+Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme.
+Baury-Saurel, and many others, as this book proves.
+
+Several women-artists have won their place in the National Museum,
+wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton,
+by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg
+(widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned
+to execute some important decorations for the Sorbonne, Mlle.
+Delasalle, Mlle. Marie Gautier, Senora Eva Gonzales, and a couple of
+semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle.
+Breslau, a Swiss--both dames of the Legion of Honour.
+
+To conclude, women are proving just now not only that the domain of
+art should be open to them as freely as it is to men, on the grounds
+of right and reason, but also that they are specially gifted by their
+delicate sensitiveness, their quickness of comprehension, their
+initiative faculty, and lastly, by all the phases of their natural
+temperament, and by their intelligence to endow art with the elements
+of expression and beauty proper to womankind.
+
+                                                      LEONCE BENEDITE.
+
+    [Illustration: FRENCH SCHOOL, 1768-1826
+    PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE. AFTER THE
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Marie Guilhelmine Benoits, Painter
+    1768-1826]
+
+    [Illustration: FRENCH SCHOOL, XVII AND XVIII CENTURIES
+    PORTRAIT OF MADAME VICTOIRE DE FRANCE. AFTER THE ORIGINAL
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY BRAUN CLEMENT AND
+    CO., PARIS
+    Madame Guyard, nee Labille des Vertus, Painter
+    1749-1803]
+
+    [Illustration: PORTRAIT OF MARIE DE RABUTIN-CHANTAL, MARQUISE DE
+    SEVIGNE (1626-1696) AFTER THE ORIGINAL PAINTING AT VERSAILLES,
+    FROM A COPYRIGHT PHOTOGRAPH BY NEWIDEIN, PARIS Mademoiselle de
+    Vanteuil, Painter
+    17th Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    THE SONS OF CHARLES X. OF FRANCE. AFTER AN ORIGINAL PICTURE IN
+    THE MUSEE DE VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Anna Rosalie Filleul, nee Bocquet, Painter
+    Died 1794]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    PORTRAIT OF THE DUC D'ANGOULEME, SON OF CHARLES X FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS, AFTER AN ORIGINAL
+    PASTEL AT VERSAILLES
+    Madame Filleul, nee Bocquet, Pastellist
+    Died 1794]
+
+    [Illustration: PORTRAIT OF MADAME RECAMIER IN THE YEAR 1799.
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., AFTER AN ORIGINAL
+    PAINTING AT VERSAILLES Madame Eulalie Morin, Painter Late 18th
+    Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII CENTURY
+    PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA. AFTER THE
+    ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY NEWIDEIN,
+    PARIS
+    Madame Adelaide Guyard, nee Labille des Vertus, Painter
+    In second marriage Mme. F. A. Vincent
+    1749-1803]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    Portrait of Madame Adelaide D'Orleans (1777-1847). After the
+    painting at Chantilly, from a Photograph by Braun, Clement &
+    Co., Paris
+    Mademoiselle Marie Amelie Cogniet, Painter
+    1798-1869]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN. AFTER THE
+    ORIGINAL PAINTING AT VERSAILLES, FROM A CARBON PRINT BY BRAUN,
+    CLEMENT & CO., PARIS
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, BETWEEN 1792 AND 1820
+    PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792. FROM A
+    PHOTOGRAPH BY ALINARI
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: "THE MINIATURE." FROM THE PAINTING IN THE GLASGOW
+    GALLERY AFTER A PHOTOGRAPH BY HANFSTAENGL Madame Caroline de
+    Valory, Pupil of Greuze, Painter Early 19th Century]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MADAME LE BRUN, AFTER THE ORIGINAL PAINTING IN THE
+    NATIONAL GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL
+    PORTRAIT OF LOUISE MARIE ADELAIDE DE BOURBON (1753-1821). AFTER
+    THE ORIGINAL PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY
+    NEWIDEIN, PARIS
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF AN ACTRESS, PROBABLY MLLE. BELIER. REPRODUCED FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING BY PERMISSION OF BRAUN,
+    CLEMENT & CO., PARIS
+    Mademoiselle Bouilliar, Painter
+    Early 19th Century]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    STUDY OF A BULL REPRODUCED FROM A PHOTOGRAPH, BY PERMISSION OF
+    BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE COPYRIGHT
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    PORTRAIT OF DAME DE LONGROIS (1763-1826). AFTER THE PASTEL IN
+    THE TROCADERO FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS
+    Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter
+    1761-1818]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    MADAME VIGEE LE BRUN AT HER EASEL. AFTER THE ORIGINAL PAINTING
+    IN THE UFFIZI, FLORENCE, FROM A PHOTOGRAPH BY W. A. MANSELL &
+    CO.
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, 1778-1821
+    THE HAPPY MOTHER. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
+    PARIS, FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Mademoiselle Marie Francoise Constance Mayer, Painter
+    1778-(committed suicide)1821]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793). AFTER
+    THE ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY BRAUN,
+    CLEMENT & CO., PARIS
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF THE DUCHESS OF POLIGNAC. FROM A PHOTOGRAPH BY BRAUN,
+    CLEMENT & CO., PARIS
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, 1767 TO 1830
+    PORTRAIT OF MADAME VILLOT, NEE BARBIER. FROM A CARBON PRINT BY
+    BRAUN, CLEMENT & CO., PARIS
+    Mme. Jeanne Elisabeth Chaudet, nee Gabiou, Painter
+    1767-1830]
+
+    [Illustration: PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN
+    OF HOUDON THE SCULPTOR. PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle.
+    Marguerite J. A. Houdon, Painter 1771-1795]
+
+    [Illustration: FRENCH SCHOOL, 1778-1849
+    PORTRAIT OF MADAME DE STAEL (1766-1817). AFTER THE ORIGINAL
+    PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN
+    PORTRAIT OF CHARLES MAURICE, PRINCE OF TALLEYRAND-PERIGORD
+    (1754-1838). FROM A PHOTOGRAPH BY NEWIDEIN, AFTER THE PAINTING
+    AT VERSAILLES
+    Mademoiselle Marie Eleonore Godefroid, Painter
+    1778-1849]
+
+    [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
+    PORTRAIT OF MADAME MOLE-RAYMOND, ACTRESS OF THE
+    COMEDIE-FRANCAISE. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Madame Elisabeth Louise Vigee Le Brun, Painter
+    1755-1842]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    "Shepherd Watching his Sheep." After the picture in the Musee de
+    Chantilly, from a Copyright Photograph by Braun, Clement & Co.,
+    Paris
+    Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    PORTRAIT OF MARSHAL LEFEVRE, DUKE OF DANTZIC. FROM A PHOTOGRAPH
+    BY NEWIDEIN AFTER THE PAINTING AT VERSAILLES
+    Madame C. H. F. Davin, nee Mirvault, Painter
+    1773-1844]
+
+    [Illustration: PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE,
+    PUPIL OF DAVID. FROM A PHOTOGRAPH BY NEWIDEIN, PARIS, AFTER THE
+    ORIGINAL PAINTING AT DIJON Madame Sophie Rude, nee Fremiet,
+    Painter
+    1797-1867]
+
+    [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
+    A GOOD DAUGHTER. REPRODUCED AFTER THE ORIGINAL PICTURE, FROM AN
+    ENGRAVING BY S. W. REYNOLDS
+    Madame Antoinette Cecile Haudebourt Lescot, Painter
+    1784-1845]
+
+    [Illustration: FRENCH SCHOOL, 1847
+    PLOUGHING IN THE NIVERNAIS. DATED 1847. AFTER THE ORIGINAL
+    PAINTING IN THE MUSEE DU LUXEMBOURG, FROM A CARBON PRINT BY
+    BRAUN, CLEMENT & CO.
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    THE HORSE FAIR. AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY,
+    LONDON, FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY, NEW OXFORD
+    STREET, LONDON
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
+    PORTRAIT OF A YOUNG WOMAN SEATED. REPRODUCED FROM THE ORIGINAL
+    PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
+    NEW YORK
+    Berthe Morisot, Painter
+    1840-1895]
+
+    [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
+    THE JETTY.--AN OUTDOOR IMPRESSION. REPRODUCED FROM THE ORIGINAL
+    PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
+    NEW YORK
+    Berthe Morisot, Painter
+    1840-1895]
+
+    [Illustration: FRENCH SCHOOL, 1879
+    THE KING OF THE DESERT. FROM AN ORIGINAL PAINTING IN THE PRADO,
+    MADRID, DATED 1879. AFTER A PHOTOGRAPH BY J. LAURENT & CO.,
+    MADRID
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1879
+    'BRISCO,' A SHEPHERD'S DOG. AFTER THE ORIGINAL PAINTING IN THE
+    WALLACE COLLECTION, LONDON, FROM A PHOTOGRAPH BY W. A. MANSELL &
+    CO.
+    Mademoiselle Rosa Bonheur, Painter
+    1822-1899]
+
+    [Illustration: FRENCH SCHOOL, 1878 AND 1879
+    A NEW SONG. FROM THE ORIGINAL PAINTING, DATED 1879, AFTER A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Mademoiselle Angele Dubos, Painter]
+
+    [Illustration: THE BOUQUET. FROM THE ORIGINAL PAINTING, DATED
+    1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Madame
+    Jeanne Fichel, nee Samson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MISTLETOE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    MESSRS. BRAUN, CLEMENT & CO., PARIS
+    Madame Jacqueline Comerre-Paton, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1878 AND 1881
+    THE KNITTER ASLEEP. AFTER THE ORIGINAL PICTURE, DATED 1881, FROM
+    A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Mademoiselle Marie Petiet, Painter]
+
+    [Illustration: A YOUNG ADOLESCENT. FROM A PICTURE EXHIBITED AT
+    THE SALON IN 1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Madame Laure de Chatillon, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1880
+    PRIVATE AND CONFIDENTIAL. AFTER AN ORIGINAL PICTURE EXHIBITED AT
+    THE PARIS SALON IN 1880
+    Madame Armand Emilie Leleux, Painter]
+
+    [Illustration: SITTING FOR A PORTRAIT IN 1806. AFTER THE
+    ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.,
+    PARIS Mademoiselle Jeanne Rongier, Painter]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1881
+    "REGALEZ-VOUS, MESDAMES!" AFTER THE ORIGINAL PAINTING, DATED
+    1881, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Mlle. Jenny Zillhardt, Painter
+    BY THE BANK OF A STREAM. FROM A PHOTOGRAPH BY BRAUN, CLEMENT &
+    CO., PARIS
+    Mlle. Hermine Waternau. Painter]
+
+    [Illustration: FRENCH SCHOOL, 1882
+    FATHER RICARD. AFTER A PAINTING EXHIBITED AT THE SALON IN 1882,
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Mlle. Marie Nicolas, Painter]
+
+    [Illustration: THE LAST SURVIVORS OF A FAMILY. FROM A PHOTOGRAPH
+    OF THE ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame
+    Felicie Schneider, Painter]
+
+    [Illustration: FRENCH SCHOOL, XIX CENTURY
+    PORTRAIT OF A LADY SEATED. AFTER THE PASTEL IN THE MUSEE DU
+    LUXEMBOURG, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame Eva Gonzales, Pastellist
+    1849-1883]
+
+    [Illustration: FRENCH SCHOOL, BETWEEN 1882 AND 1898
+    CHARITY. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN,
+    CLEMENT & CO., PARIS
+    Madame Uranie Colin-Libour, Painter]
+
+    [Illustration: "FLEURS DE SERRE." FROM A PHOTOGRAPH OF THE
+    ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame Alix
+    Enault, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1883
+    ON THE SEA-SHORE. AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
+    PARIS, DATED 1883, FROM A PHOTOGRAPH BY MESSRS. LEVY & SONS,
+    PARIS
+    Madame Virginie Demont-Breton, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1887 TO ABOUT 1892
+    BEFORE THE DANCE. AFTER AN ORIGINAL PAINTING DATED 1887, FROM A
+    PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madame E. de Tavernier, Painter]
+
+    [Illustration: DESOLATION. AFTER THE ORIGINAL STUDY FROM A
+    PHOTOGRAPH LENT BY THE ARTIST Madame Marie Cazin, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1885 AND 1890
+    IN THE GYNAECEUM. DATED 1885. FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING BY BRAUN, CLEMENT & CO., PARIS
+    Mlle. Diana Coomans, Painter]
+
+    [Illustration: AT LOW TIDE. AFTER THE ORIGINAL PICTURE, DATED
+    1890. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Eugenie
+    Salanson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "Sleep." Reproduced from a Photograph by permission of Braun,
+    Clement & Co., the Owners of the Copyright.
+    Francine Charderon, Painter]
+
+    [Illustration: FRENCH SCHOOL, FROM 1880 TO THE PRESENT DAY
+    THE FRUIT GIRL. AFTER THE ORIGINAL PICTURE BY PERMISSION OF
+    MESSRS. DURAND-RUEL & SONS, PARIS
+    Madame Eva Gonzales, Painter
+    1849-1883]
+
+    [Illustration: STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH LENT BY THE ARTIST Mademoiselle Dufau,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, 1880 AND 1894
+    A GOOD CIGARETTE. AFTER THE ORIGINAL PAINTING, DATED 1880, FROM
+    A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Madame Delphine de Cool, nee Fortin, Painter]
+
+    [Illustration: A HOLIDAY AT SOSTHENE. AFTER THE ORIGINAL
+    PAINTING, DATED 1894, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Madame Blanche Paymal-Amouroux, Painter]
+
+    [Illustration: FRENCH SCHOOL, 1894
+    "STELLA MARIS." AFTER THE ORIGINAL PAINTING, DATED 1894, AND
+    EXHIBITED AT THE SALON IN 1895, FROM A PHOTOGRAPH BY NEWIDEIN,
+    PARIS
+    Madame Virginie Demont-Breton, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MATERNAL LOVE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    BRAUN, CLEMENT & CO., PARIS
+    Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "THE PATHWAY TO THE VILLAGE CHURCH." AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Madame Fanny Fleury, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    THE GODDESSES BEFORE PARIS.
+    FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Elisabeth Sonrel, Painter]
+
+    [Illustration: WINTER. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Louise Abbema,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    THE JUDGMENT OF PARIS. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    MOTHER AND CHILD
+    AFTER THE ORIGINAL PICTURE
+    Madame Marie Cazin, Painter]
+
+    [Illustration: THE SHEPHERD AFTER THE ORIGINAL PAINTING Madame
+    Marie Cazin, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    IMPRESSION OF A CITY.
+    AFTER THE ORIGINAL PAINTING
+    Mademoiselle Dufau, Painter]
+
+    [Illustration: A BASKET OF FLOWERS. AFTER THE ORIGINAL PAINTING
+    Madame Victoria Dubourg (Fantin-Latour), Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "THE DEPARTURE." REPRODUCED BY PERMISSION AFTER A PHOTOGRAPH BY
+    BRAUN, CLEMENT & CO., PARIS
+    Madame Vallet-Bisson, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    CHARACTER IN SPAIN
+    AFTER THE ORIGINAL STUDY
+    Mademoiselle Dufau, Painter]
+
+    [Illustration: STUDY OF TIGERS. AFTER THE ORIGINAL PAINTING
+    Madame Abran, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "LES CHANDELLES." AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
+    SALON IN 1896, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
+    Madeleine Carpentier, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    IN SEARCH OF PREY. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE
+    PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
+    Mademoiselle E. Hilda, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    ROMEO AND JULIET. AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
+    PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
+    Mademoiselle A. Oppenheim, Painter]
+
+    [Illustration: FRENCH SCHOOL, ABOUT 1892.
+    WILL YOU BUY? AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
+    MESSRS. BRAUN, CLEMENT & CO., PARIS
+    Mademoiselle Consuelo Fould, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    CHILDREN EATING SOUP IN A CHARITY SCHOOL. FROM AN ORIGINAL
+    PICTURE EXHIBITED AT THE PARIS SALON IN 1901. FROM A PHOTOGRAPH
+    BY NEWIDEIN
+    Mademoiselle E. Herland, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    COURTSHIP FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN,
+    CLEMENT & CO., PARIS
+    Mdlle. Achille-Fould, Painter]
+
+    [Illustration: FRENCH SCHOOL, CONTEMPORARY
+    "BEBE ET ZIZON." REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN
+    Madame Lucas-Robiquet, Painter
+    "DO YOU WANT A MODEL?" FROM A PHOTOGRAPH BY NEWIDEIN
+    Madame Real del Sarte, Painter]
+
+    [Illustration: THE LESSON. AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle. Josephine Houssay,
+    Painter]
+
+    [Illustration: FRENCH SCHOOL, 1903 AND 1904
+    PORTRAIT. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY
+    BRAUN, CLEMENT & CO., PARIS
+    Madame Le Roy, Painter]
+
+    [Illustration: FLORA. AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Mademoiselle Claudie,
+    Painter]
+
+
+
+
+Women Painters in Belgium and in Holland
+
+By N. Jany. Translated by Edgar Preston
+
+
+As far as we are able to ascertain, the history of the present subject
+takes us back to the time of Hubert and Jean Van Eyck, whose sister
+Marguerite made a name for herself in art. In the important volume by
+M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing
+"after" a miniature by Marguerite Van Eyck, representing St. Catherine
+and St. Agnes, but we read elsewhere that "no work can with certainty
+be attributed to her."
+
+Among women workers a century later, we find: Clara de Keyzer, Suzanne
+Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who
+flourished about 1530, visited Germany, Italy, France and Spain.
+Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a
+painter of Ghent, who betook himself to England, and became painter to
+Henry VIII. Duerer knew him at Antwerp, in 1521, and there paid homage
+to the skill of his daughter, who was then barely 18 years of age. She
+accompanied her father to England, and was there received with the
+utmost favour; she made a rich marriage with John Parcker (or Parker),
+one of the King's archers, and died full of honours in her adopted
+country.
+
+Anne Smyters who flourished about 1540, is named in words of praise by
+Van Mander, Vaernewyck and Guicciardini. She married the celebrated
+sculptor, Jean de Heere, and was the mother of Luc de Heere, the
+painter, who made a long stay in England, where, among other works of
+importance, he did a series of decorative paintings for the Earl of
+Lincoln.
+
+Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister
+of Mons, was the possessor of the only known picture by Catherine van
+Hemessen. This is a half-length study of the Virgin fondling the
+infant Christ, with a background of landscape wherein one perceives
+snow. It is painted on wood, and bears the signature: 'Caterina de
+Hemessen pingebat.'" But there is in London an interesting portrait of
+a man, by her, dated 1552, and an illustration of it will be found on
+page 263.
+
+Then comes a series of daughters (and a sister) of famous painters,
+viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine
+Peeters; Anne-Marie, Francoise-Catherine and Marie-Therese van
+Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck
+was born in London, in 1641. "She was wedded at the age of 12," says
+Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and
+abjured Protestantism at Antwerp on the 19th of August, 1660. Left a
+widow, she made a second marriage with Martin de Carbonell. Van Dyck's
+daughter was unfortunate, for she found herself compelled to ask the
+King for a pension, which she obtained."
+
+The daughter of Otto van Veen, known as Venius, the teacher of Rubens,
+was born at Antwerp in 1602. She was a pupil of her father, and
+married Louis Malo. The Brussels gallery contains a portrait of her
+father, from her brush. She died in 1643. The daughter of Martin Pepyn
+lived in Antwerp about 1619. She specialised in portrait work, and was
+received into the Corporation of St. Luke, of that city, in 1650, by
+virtue of being a daughter of the master.
+
+The success obtained by the flower-paintings of Seghers and Breughel
+suddenly caused a great development of this special branch of art, to
+which, moreover, the celebrated Dutchman Jean-David de Heem, then
+domiciled in Antwerp, was a notable contributor. Among the women who
+became inspired by their example and followed their technique may be
+mentioned: Catherine Peeters, and the three daughters, pupils of the
+painter, Jean-Philippe van Thielen (himself a direct disciple of
+Seghers), and Laurence-Catherine Ykens.
+
+The registers of the Antwerp Academy for 1784 contain the name of
+Marie Baesten, _nee_ Ommeganck. Siret's "Dictionnaire" also mentions
+(at Bruges), the daughter of Louis de Deyster, the painter. Anne de
+Deyster (1690-1747) attracted notice by the perfection with which she
+copied her father's pictures. Gertrude de Pelichy, of Utrecht
+(1743-1825), was appointed an honorary member of the Imperial and
+Royal Academy of Painting in Vienna, and at Bruges she painted the
+portrait of the Emperor Joseph II., and that of the Empress
+Maria-Theresa.
+
+At the opening of the 19th Century, the Art of the Miniature was
+cultivated--as they expressed it in those days--by Marie-Josephe
+Dargent of Liege, a daughter and pupil of Michel Dargent, the elder,
+Hortense van Baerlen, and Amelie van Assche, whose sister, Isabelle
+Catherine, a pupil of her uncle, Henry van Assche, had devoted herself
+to landscape painting.
+
+Siret's dictionary then notices a large number of women painters both
+historical and _genre_.
+
+Marie-Adelaide Kindt of Brussels, who was a pupil of David and of
+Navez, and visited Germany and France; Julie-Anne-Marie Noel,
+wife of the painter, J. B. van Eycken, of Brussels; Mme.
+Isabelle-Marie-Francoise Geefs, _nee_ Corr, of Brussels, a pupil of
+Navez; Mme. de Keyzer, _nee_ Marie Isabelle Telghuis, wife of the
+former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme.
+O'Connel, _nee_ Frederique Miethe, of Berlin, a pupil of Begas and of
+Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux
+Arts en Belgique'), in her wild paintings, as it were, a reflection of
+Rubens."
+
+Mlle. C. de Vrient, of Ghent, sister of the painters Albert and
+Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle.
+de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie
+Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the
+"Racine des Moutons," painted several landscapes in the manner of her
+brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen,
+painted landscapes characteristic of Zeeland and the Campine. The
+Brussels Gallery has several of her works, including _Les Vieux
+Chenes, ile de Walcheren_, and a _Lisiere de Bois en Hollande_.
+
+Before citing the names of the professional women painters who
+continue to contribute to the fame of the Belgian School, let me say a
+word in admiration of the talent of sundry "amateurs" (as they are
+called, to distinguish them from the others), chief among whom is
+H.R.H. the Comtesse de Flandre. The small-sized portraits in oils
+painted by the Duchesse d'Ursel are restrained in manner and full of
+charm.
+
+Furthermore, the pastel portraits by the Baroness Lambert de
+Rothschild attract attention by the richness of their colouring and
+their firm drawing, while those of the Comtesse Ghislaine de Caraman
+impress one by their distinction and their style. Madame Philippson,
+who is at present devoting herself specially to sculpture, has
+exhibited oil paintings, boldly handled and decorative in effect, and
+Madame Rolin-Jacquemyns has engraved in most skilful fashion several
+etchings representing "The Desolate Spots of the Campine."
+
+The most notable of the women-painters of the Belgian School to-day is
+certainly Madame Marie Collart, who with rare skill, has chosen a path
+to herself whereon she walks alone with an admirable instinct for
+intimate rusticity, showing much deep feeling. The painting of Mlle.
+Anna Boch, on the other hand, is bright and gay. She formed one of the
+famous group of the XX., and following the example of several of its
+members, she has now turned her attention to the special study of
+light in the open air. Mlle. Louise Heger, after painting the lonely
+_dunes_ of Flanders, and the Campine, has been studying and skilfully
+representing the slaty tints of the high plateau of the Ardennes.
+
+The most interesting of the "Menages d'artistes" existing at present
+in the Belgian School is that of the Wytsmans. While Rodolph Wytsman
+seeks out the characteristic aspects of the landscapes of Brabant and
+the silent spots among the Flemish towns, Mme. Juliette Wytsman, for
+her part represents, so to speak, the floral life of the sites chosen
+by her husband. She has indeed created a _genre_ in which she is
+without a rival.
+
+The daughters of the German engraver, Hoppe, one of whom has married
+Bernier, the animal painter, and the other the landscapist, Gilsoul,
+have likewise attained celebrity.
+
+    [Illustration: DUTCH SCHOOL, XVII CENTURY
+    THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE
+    PAINTING IN THE RIJKSMUSEUM AMSTERDAM.
+    Judith Leyster, Painter
+    1600(?)-1660]
+
+The daughters and granddaughters of famous artists form yet another
+section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette
+Ronner, is beyond dispute the foremost painter of still-life in
+Belgium to-day. Her technical qualities are of the highest order, her
+_mise-en-page_, her draughtsmanship and her colour are in the grand
+style, and her works one and all have a really masterly air. Mlle.
+Marguerite Verboeckhoven, the granddaughter of the famous animal
+painter, has set herself to study the delicate gradations of colour
+seen on the Belgian littoral. Mlle. Verwee, daughter of the painter of
+the _Beau Pays de Flandre_, exhibits portraits, which display the
+wealth of her palette; and the still-life subjects by Mlle. Georgette
+Meunier, daughter of the engraver, Jean Baptiste, and niece of the
+great Constantin Meunier, are delicate both in design and in
+colouring. She is a pupil of Alfred Stevens.
+
+Mme. Destree-Danse and Mlle. Louise Danse, daughters of Auguste Danse,
+the engraver, have revealed themselves worthy of their father's high
+gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie
+Durand, who has done some interesting heads, both prove that in
+Auguste Danse the teacher is fully worthy of the artist.
+
+With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of
+Belgian Fine Art," writes in the following terms:--"In the Antwerp
+Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and
+_L'Enfant malade_, which had the freshness and the limpidity of
+Chardin, with a grace, a delicacy of touch, a feminine sense revealing
+the teaching of that most imperious of masters, Alfred Stevens." Mlle.
+Berthe Art, too, followed this prodigious master painter. She has made
+her position by means of pastels which, while preserving their natural
+charm, have all the solidity of oil-paintings.
+
+Mlle. Marie Antoinette Marcotte at first devoted herself to the
+representation of the life of the poor. Since then, however, she has
+created an altogether original _genre_, which has won for her many a
+success--the painting of glass-house interiors. She was "coached" by
+Emile Claus, the landscapist, among whose pupils were Mme. de Weert
+and Mlle. Montigny.
+
+The number of women painters is ever on the increase. There were as
+many as thirty-nine represented at the Brussels Salon of 1848, while
+at the last Brussels Salon in 1903, they were more than a hundred; and
+to close this rapid survey of feminine art in Belgium, I may record a
+success of another kind. In 1904, Mlle. L. Brohee, after the various
+eliminating trials, found herself among the half-dozen artists
+permitted to take part in the final examination for the Prix de Rome.
+
+Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name
+of a Dutch woman painter given in Siret's "Historical Dictionary." She
+was born at Utrecht, of noble family, and made a speciality in
+portrait painting. Her name is mentioned by J. van Beverwyck. Her
+daughter Cornelie also took up painting, and died at a great age in
+1629.
+
+Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second
+Anne Schurman." She was one of the most learned women of her time, and
+was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La
+Fleur du Paradis des Arts et des Sciences." She specialised in
+portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great
+fame. From the year 1613 she was a member of the Guild of St. Luke,
+of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on
+leaving her entered the studio of Franz Hals. She was married at
+Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also
+a native of Haarlem. She is eulogistically mentioned by Th.
+Schrevelius, the historian of Haarlem, who describes her as a famous
+woman, justly, as he remarks, called "the true guide in the
+arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying
+'Guide.' She died in 1660.
+
+The most celebrated of the Dutch women painters of the 18th century
+was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with
+keen spirit and with extraordinary firmness, are extremely rich and
+varied in their arrangement. She was a pupil of Guillaume Aelst. In
+1695 she married Jurian Pool, and was admitted into the Hague
+Corporation of Painters in 1701, the same year as her husband. Without
+neglecting her duties as a mother (she had ten children) she was
+constantly devoted to her art. In 1708 she was appointed Court Painter
+of the Elector Palatine. Poets have sung the virtues and the gifts of
+this renowned woman.
+
+Agathe and Cornelie van der Myn, sister and daughter of Herman van der
+Myn, accompanied the latter when he settled in London. Notable work
+was produced by three miniaturists: Henriette van Pee, wife of Herman
+Wolters, was born at Amsterdam, in 1692, and became her father's
+pupil. Peter the Great and the King of Prussia visited her studio,
+which had a high reputation, and the customary poets wrote the
+customary verses in her honour. Caroline-Petronille van Cuyck was made
+an honorary member of the _Pictura_ of the Hague, in 1777. Anne
+Folkema, who lived between 1695 and 1768, was an active assistant of
+her brother, Jacques, in his numerous works. Nor must one forget Alida
+Carre, who confined herself, for the most part, to painting fans;
+Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of
+the Confrerie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem
+(1678-1738), and Elisabeth Gertrude Wassenberg, of Groningue,
+(1726-1782), who painted _genre_ and portraits.
+
+At the opening of the 19th century the women painters of still-life,
+flowers and fruit, were still in large numbers.
+
+An interesting figure who has left a poetical memory is Cornelie
+Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of
+the celebrated painters Henry and Ary, who belong to the French
+School. After the death of her husband she settled in Paris, and there
+ended her days. Her attainments, her wit, her eminent merits, made her
+one of the most remarkable women of her day. She was a draughtsman and
+an engraver.
+
+The name of Henriette Ronner is one of great popularity. This
+indefatigable artist is known as "the painter of cats," and she has
+charmingly "hit off" both the heavy laziness of the mature animal, and
+the frolicsomeness of the kitten.
+
+The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so
+well known, tempted that excellent engraver, Philippe Zilcken, who has
+"translated" with marvellous success their freshness and their
+_eclat_. Mme. Bilders van Bosse, of the Hague, is well known by her
+skilfully drawn and powerfully painted landscapes, and Mlle. Therese
+Schwartze, of Amsterdam, a painter of high merit, has the art of
+giving character to a portrait; and knows how to group her figures and
+paint them in strong and sombre tones. Mme. Mesdag van Houten, of the
+Hague, wife of the famous marine painter, affects the landscape at
+dark, and realises fully the melancholy tenderness of the hour.
+
+It may be interesting now to name a truly remarkable artist who never
+exhibits--Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten.
+She is an excellent painter of figure pictures and still-life; her
+etchings are of the highest quality, and embrace a large number of
+subjects--interiors with lamp effects, children's heads, landscapes,
+dead birds, bouquets of enormous sunflowers and gaudy tulips. Further,
+she has interpreted in masterly fashion, Eugene Delacroix, Jules
+Dupre, Gustave Courbet and other great masters of the French School.
+
+Mention must be made of Mme. Bisschop-Robertson, who paints popular
+subjects with astounding vigour; Mme. Marie Heyermans, whose pictures
+deal with the life and surroundings of the poor; Mlles. Anna Abrahams
+and Anna Kerling, whose charming still-life pieces are coloured now in
+bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of
+the Hague, who has turned her attention to flower painting; Mlle.
+Nelly Bodenheim, who does some very clever comic scenes, for the
+benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of
+portraits and peasant subjects.
+
+Last we come to Mlle. Marius, whose fair-tinted and most distinguished
+still-life works have been seen and admired. She is an excellent art
+critic, and is now publishing an important work on Dutch painting of
+the 19th century.
+
+                                                              N. JANY.
+
+    [Illustration: FLEMISH SCHOOL, 1552
+    PORTRAIT OF A FLEMISH GENTLEMAN. AFTER THE ORIGINAL PAINTING IN
+    THE NATIONAL GALLERY, LONDON, FROM A CARBON PRINT BY BRAUN,
+    CLEMENT & CO., PARIS
+    Catharina van Hemessen, Painter
+    16th Century]
+
+    [Illustration: DUTCH SCHOOL, XVII CENTURY
+    YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK. FROM A
+    PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PICTURE IN
+    A PRIVATE COLLECTION
+    Judith Leyster, Painter
+    1600(?)-1660]
+
+    [Illustration: DUTCH SCHOOL, XVII AND XVIII CENTURIES
+    PICTURE OF FRUIT WITH INSECTS AND LIZARDS. FROM A PHOTOGRAPH BY
+    ANDERSON AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY,
+    FLORENCE
+    Rachel Ruysch, Painter
+    1664-1750]
+
+    [Illustration: DUTCH AND FLEMISH SCHOOLS, LATE XIX CENTURY
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING.
+    Mme. Gilsoul-Hoppe, Painter
+    Belgium]
+
+    [Illustration: AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Baronne van Hogendorp, Painter Holland]
+
+    [Illustration: STUDY OF STILL LIFE: ROSES IN A BASKET. FROM A
+    TRANSLATOR'S-ETCHING BY P. ZILCKEN Madame G. J. van de Sande
+    Bakhuyzen, Painter Holland, 1826-1895]
+
+    [Illustration: DUTCH SCHOOL, BETWEEN 1880-1890
+    LANDSCAPE NEAR OOSTERBEEK
+    FROM THE ORIGINAL CHALK DRAWING
+    Mevrouw Marie Philippine Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: DUTCH SCHOOL, LATE XIX CENTURY
+    A BLEAK PASTORAL SCENE
+    AFTER THE ORIGINAL WATER-COLOUR
+    Madame Mesdag van Houten, Painter]
+
+    [Illustration: WINDMILL AT HEELSUM AFTER THE ORIGINAL OIL
+    PAINTING Madame Marie Philippine Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAIT STUDY OF A GIRL AFTER THE ORIGINAL PICTURE
+    Mlle. Barbara van Houten, Painter]
+
+    [Illustration: ORPHANS. FROM A PHOTOGRAVURE OF THE ORIGINAL
+    PICTURE PAINTED IN 1887 Mlle. Therese Schwartze, Painter]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAIT OF MLLE. THERESE SCHWARTZE. PAINTED BY HERSELF FOR THE
+    UFFIZI GALLERY, FLORENCE, BY REQUEST OF THE ITALIAN GOVERNMENT.
+    REPRODUCED FROM A PHOTOGRAPH BY BROGI
+    Mlle. Therese Schwartze, Painter]
+
+    [Illustration: DUTCH AND FLEMISH SCHOOLS, CONTEMPORARY
+    A POOL NEAR OOSTERBEEK. AFTER THE ORIGINAL PAINTING
+    Madame Bilders van Bosse, Painter
+    1837-1900]
+
+    [Illustration: WITH THE POOR AT HOME. REPRODUCED FROM A
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Mademoiselle E. Marcotte,
+    Painter Belgium]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM. REPRODUCED
+    FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL
+    Mademoiselle Therese Schwartze, Painter and Pastellist]
+
+    [Illustration: DUTCH SCHOOL, CONTEMPORARY
+    "LOUTJE."
+    FROM A SKETCH
+    Mlle. Barbara van Houten, Painter]
+
+    [Illustration: PORTRAIT OF A. G. C. VAN DUYL, AUTHOR. FROM A
+    PHOTOGRAPH OF THE ORIGINAL PASTEL Mlle. Therese Schwartze,
+    Pastellist and Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    STUDY OF STILL LIFE: GRAPES AND PARTRIDGES.
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Mademoiselle Berthe Art, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    PORTRAIT STUDY OF THE COUNTESS FLORENCE FABBRICOTTI
+    Baroness Lambert de Rothschild, Painter]
+
+    [Illustration: PORTRAIT OF MONSIEUR GEVAERT. REPRODUCED FROM THE
+    ORIGINAL PAINTING Baroness Lambert de Rothschild, Painter]
+
+    [Illustration: FLEMISH AND DUTCH SCHOOLS, CONTEMPORARY
+    PORTRAIT OF MLLE. DETHIER. AFTER A PROOF OF THE ORIGINAL ETCHING
+    Mlle. Louise Danse, Painter-Etcher
+    Belgium]
+
+    [Illustration: A DUTCH PEASANT WOMAN. FROM A PHOTOGRAPH OF THE
+    ORIGINAL PAINTING Madame Suse Bisschop-Robertson, Painter
+    Holland]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    "THE LAST MOVE." REPRODUCED FROM THE ORIGINAL PAINTING BY
+    PERMISSION OF MESSRS. BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE
+    COPYRIGHT
+    Madame Henriette Ronner, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    NEW TENANTS--NOUVEAUX LOCATAIRES. AFTER THE ORIGINAL PICTURE,
+    FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS, OWNERS OF
+    THE COPYRIGHT
+    Madame Henriette Ronner, Painter]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    STUDY OF A HERON. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Mlle. Georgette Meunier, Painter]
+
+    [Illustration: THE MASSACRE OF THE INNOCENTS. AFTER MATTEO DI
+    GIOVANNI DA SIENA Madame Marie Destree-Danse, Etcher]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    A SUNSET IN THE CAMPINE. REPRODUCED BY PERMISSION FROM AN
+    ETCHING AFTER THE PAINTING BY JOSEPH COOSEMANS IN THE BRUSSELS
+    MUSEUM
+    Mademoiselle E. Wesmael, Etcher]
+
+    [Illustration: FLEMISH SCHOOL, CONTEMPORARY
+    LILIES IN THE COURTYARD OF A HOUSE OF REST AT BRUGES.
+    AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
+    Madame Juliette Wytsman, Painter]
+
+
+
+
+In Germany and Austria, in Russia, Switzerland and Spain
+
+By Wilhelm Schoelermann. Translated into English by Wilfrid Sparroy
+
+
+When we look into the past history of the present subject, the first
+German name we come upon is that of the Nun of Nuremberg, Sister
+Margareta, who worked from 1459 to 1470, and who copied many religious
+works. A century later, at Udina, in Italy, Irene von Spilimberg was
+born, descending from a noble German family; and although Irene died
+at the age of nineteen, she yet lived long enough to win the hearty
+admiration of her great master, Titian. As a picture by Irene von
+Spilimberg could not be obtained for this book, the editor has begun
+the German section with Anna Maria Schurman and with Maria Sibylla
+Merian. The first was a clever painter-etcher as well as the most
+learned lady of her time; the second was the daughter of Matthew
+Merian, and the exquisite studies she made, in water-colour, of
+insects and of plants and flowers, have never been excelled in their
+own line.
+
+From Maria Sibylla Merian (1647-1717) we pass on to an admirable
+mezzotint, after Morland, by Maria Prestel, who died in 1794; and then
+we are brought into the heart of the 19th century by the searching
+industry and skill of Anna Maria Ellenrieder, a very capable
+painter-etcher, who lived between the years 1791 and 1863. Ellenrieder
+looked to the past for her inspiration, going to the art of the early
+Dutch masters. She has little or nothing in common with the other
+German women artists of her time. How different is her ideal, for
+instance, from that of the well-known painter of historical subjects,
+the Baroness Hermione von Preuschen, whose dramatic and sensational
+spirit appeals so strongly to the great public, as in that canvas in
+which is represented the Corpse of Irene von Spilimberg, young and
+beautiful, lying in state in her Venetian gondola, draped with black
+and covered with flowers. Artists do not often care for pictures of
+this romantic type; and they find higher and more subtle qualities in
+the quiet wisdom of Julie Wolfthorn, a Berlin painter of note, and a
+follower of the modern school of psychological portraiture. Julie
+Wolfthorn combines depth of feeling and refinement of taste with
+keenness of penetration into the mystery of individual character. Her
+portrait of a young sculptor, given in the illustration on page 304,
+is a good example of the painter's methods.
+
+Another Berlin artist of note is Fraeulein Kaethe Kollwitz, whose
+principal field of artistic expression has hitherto been restricted to
+the burin and copper plate. She has studied etching almost entirely by
+herself, and by dint of persistent courage and skill has developed her
+gifts in a direction all her own. The subjects that appeal most
+forcibly to her mind are taken with scarcely an exception from the
+darkest and most painful sides of social life and social unrest. Take
+a glance at the father, mother, and child, reproduced on page 302, and
+entitled "Destitution and Despair." Are you not inclined to marvel,
+almost, how a woman had the courage to depict, without flinching, the
+sad truths of such bitter poverty? Can you not fancy that you hear the
+moan of misery, the shrill scream of starvation, the cries of
+rebellion and death, as when, on the outbreak of the strike, the bulk
+of the working classes casts itself upon the streets? Such masses in
+motion have been made real to us in her series of plates from the
+"Peasants' War."
+
+An artist of considerable versatility and intuition is Dora Hitz, of
+Berlin. Born at Altdorf, near Nuernberg, she began her studies at
+Munich, afterwards continuing them at intervals in Paris. In 1878 she
+acted upon the invitation of Carmen Silva, the Poet-Queen of Roumania,
+and executed a series of decorative panels for the royal castle of
+Petes, at Sinaivo, the pictorial subjects of which were chosen from
+the literary works of her Majesty. Four years later she settled in
+Paris, and there she remained till 1891. During all that time her
+industry never flagged, and she was much indebted to the friendly
+interest which Eugene Carriere took in her work. The portrait of a
+little girl which may be seen here on page 303, belongs to the modern
+collection in the Berlin National Gallery.
+
+Our next lady painter, though of German descent, her grandfather being
+a native of Hamburg, was herself born in Sweden. Her name is Jeanna
+Bauck. When she was twenty-three years of age she saw the fulfilment
+of her life-long yearning to go to Germany for the purpose of studying
+painting, and there, with a few short breaks, she has remained ever
+since, first in Dresden and Duesseldorf, and then at Munich, where she
+has now taken up her abode. She was also in Paris for a while, for the
+sake of study. At first exclusively a landscapist, she afterwards
+turned to portrait painting, an example of which may be found on page
+300. For seven years (1897-1904) she lived in Berlin, and painted
+landscapes and portraits alternately, whilst superintending a
+flourishing school of art for ladies. In drawing your attention to her
+landscape on page 301, I should like to add that Jeanna Bauck takes
+rank among the most serious women painters of to-day.
+
+There is yet another portrait painter who deserves a memory for the
+sake of her refinement and sensibility. I refer to the wife of Wilhelm
+Jensen, the historical novelist and poet of Schleswig-Holstein. Now,
+Frau Marie Jensen (Munich), once a pupil of the late Emil Lugo,
+devotes herself to her art in private. Most of her portraits, too,
+give proof of this same love of retirement, originating as they do in
+the family circle (see page 303).
+
+The portrait of a lady, on page 300, is the work of that very gifted
+portrait painter, Fraeulein Maria Davids. This capable artist has
+produced some excellent likenesses; among others those of the poet
+Gustav Frenssen, of Professor Weber, of Freiburg, of Fraeulein von
+Sydow, a daughter of the Minister of State, and of Frau Vermehren of
+Luebeck. Another portrait painter of fame and much power of expression,
+is Frau Vilma Parlaghy, her draughtsmanship being particularly good.
+Hungarian by birth, she lives and works for the most part in the
+German capital. Her handling of the brush is vigorous, yet sober, her
+colouring is warm and harmoniously balanced, and her insight into
+character quite strikingly true and convincing. The finest and most
+successful efforts, in my opinion, are the portrait of the aged
+Field-marshal Count von Moltke, taken in his eighty-ninth year,
+shortly before his death, and that of Windhorst, the German statesman.
+
+In Austria, in the dominions of the Emperor Francis Joseph, women
+painters are numerous, but those of more than average gifts are not
+perhaps so plentiful as elsewhere. In the Bohemian capital of Prague,
+Fraeulein Hermine Laucota has worked her way up to a position of
+distinction quite on her own grounds. Leading a most retired life,
+devoted chiefly to the pursuit of natural history and art, she studied
+first in Prague, and then partly at Antwerp and in Munich, but since
+the year 1888 she has resided altogether in her native town. It is not
+in colours so much as in etching on the copper plate that she has
+found her medium of artistic expression, and the subjects she has
+chosen are for the most part of a symbolical character, as in the
+distinguished etching on page 307.
+
+To come to Vienna, a couple of names of good repute occur to me: Frau
+Olga Wisinger-Florian and Frau Tina Blau-Lang, the latter a refined
+landscapist (see pages 306 and 308). The two views of the Prater will
+speak for themselves. With their charming freshness and their genial
+breadth of handling, they tell us as plain as words that "all's right
+with the world" in the springtime. Every touch is so bracing that it
+needs no praise. Frau Blau-Lang is an optimist beyond a doubt, and
+that as much by temperament as by choice of motive.
+
+And when we look beyond Austria and Germany, we find everywhere among
+women the same enthusiasm for art, and the same unflagging courage in
+mastering the difficulties that thwart their every effort. That their
+persistence has been crowned with much success is shown in a very
+remarkable manner by this present book. How admirable, for instance,
+is the work done in Finland by Maria Wiik and Helene Schjerfbeck! In
+Switzerland, too, if we take a glance at the country where Anna
+Wasser, at the beginning of the 18th century, achieved fame by her
+paintings--there, too, we are welcomed by a particularly interesting
+painter's painter, Mdlle. Louise Breslau, who, with her thorough
+knowledge of modern realism, never truckles to the taste of the
+general public; and there, also, we find another woman painter whose
+art has been inspired on several occasions by the life of Christ: a
+woman painter so much occupied with the conception of her pictures
+that her technique has a tendency to lag behind the almost literary
+eloquence of her design. But Mdlle. Ottilie Roederstein is
+nevertheless an artist of real ability.
+
+From Switzerland we must turn to Spain if we would do for ourselves
+what the accompanying illustrations will do for us in the pleasantest
+of pleasant ways. Take, for example, the airy, fresh, excellent
+landscape, a "Scene at Comillas," painted in water-colour by the
+Infante Dona Paz de Bourbon. Then, again, the "Carriage Race at
+Naples," by Dona Stuart Sindici, with its splendid dash and dexterity
+of composition, and the court outside a "Roman Hostelry," by Elena
+Brockmann, likewise a sunny scene, simply teem with warmth and colour,
+and with life and beauty. Not quite so strong and independent are the
+"Fisher Boys," by Antonia de Banuelos, the conception and the
+execution alike being apparently inspired by that mild and noble
+master of Spanish painting, Esteban Murillo. Again, in Russia, we meet
+with a portrait-painter, Olga de Boznanska (page 316), whose work
+unites a certain independent character of its own with the influences
+of her Parisian training: qualities that marked in a much higher and
+more perfect degree the pictorial appeals of that young and
+marvellously spirited genius whose premature death cut short a career
+of infinite promise: Marie Bashkirtseff, the friend of Bastien Lepage,
+and a realist full of subtlety and of penetration.
+
+                                                  WILHELM SCHOELERMANN.
+
+
+
+
+Some Finnish Women Painters
+
+By Helena Westermarck, Critic and Painter
+
+
+Art in Finland, pictorial art, like much else in that country, is a
+young growth. It is in the nineteenth century that we are first able
+to verify its existence, and it is only in the year 1840, or
+thereabouts, that we find any traces of women who seriously devoted
+themselves to the study of painting. The pioneers in this may be said
+to be Mathilda Rotkirch and Victoria Abey.
+
+Somewhat later, in or about 1870, Fanny Churberg, after working in
+Duesseldorf and Paris, evinced much independent and original talent in
+landscape painting, her art having also an inaugural character, in
+that she was the first who applied herself to the decoration of
+textile fabrics, adapting to her purpose the old national Finnish
+patterns, a practice which has since then had a large following in the
+field of applied design. Her career, unfortunately, was soon ended by
+illness and an early death. After her came the generation of women
+artists who are at present carrying forward a young school of
+enthusiastic workers.
+
+In the sphere of painting, the women artists of Finland study under
+much the same circumstances as their male comrades. The Schools of Art
+subsidized by the State are open both to male and to female pupils,
+and this applies also to all prizes and rewards of merit. Some account
+of the principal women painters may be of interest.
+
+Maria Wiik (1853), after an apprenticeship in the Finnish Schools of
+Art and in Professor Becker's Private Academy, spent several years of
+study in Paris--occasionally moving her easel in the summers to
+Brittany, to Normandy, or even to St. Ives, in England. She has
+further developed her art in later years by visits to Holland and to
+Italy. Her talent lies in the direction of portrait and genre painting
+and she has now the name of being among the best Finnish portrait
+painters. She has executed many public commissions, such as the
+portrait of the Professor at the Rein University in Helsingfors, for
+the Finnish Literary Society, and that of the poet, Z. Topelius, for a
+large public school for girls. Many will remember her portrait of the
+School Inspector, Ohberg, which now hangs in the Helsingfors Board
+School. Maria Wiik has exhibited at the Paris Salons, and at picture
+exhibitions in Moscow, Copenhagen, and Dresden, and besides the prizes
+awarded her in her own country, she has received a bronze medal in
+Paris (1900) for a picture painted in St. Ives, called, "Out into the
+World."
+
+Helene Schjerfbeck (1863), also a pupil of the Finnish Schools of Art
+and of Prof. Becker's Private Academy, continued her studies in Paris
+and afterwards visited Brittany, England, Austria and Italy. She has
+painted some important historical pictures, taking her subjects from
+Finnish and Swedish history, as in her two admirable paintings,
+"Liukoeping's Prison in 1600" and "The Death of W. v. Schwerin." She
+has also painted a few landscapes and a number of genre pictures, many
+of them with subjects taken from French and English life. Helene
+Schjerfbeck has exhibited both at home and at the Paris Salons, has
+twice been awarded the lesser money prize given yearly by the Finnish
+State (for the two historical pictures mentioned above), while at the
+Exhibition in Paris in 1889, she received a bronze medal. She has also
+held an appointment as teacher in the Finnish Academy of Art, in the
+department of painting and in the drawing class from the living model.
+Her many pictures have been among the best that our women artists have
+produced.
+
+Venny Soldan-Brofeldt (1860) is another pupil of the Finnish Schools
+of Art and of Prof. Becker's Academy, and has studied later in Paris,
+and in Spain and Italy. Her best work is in the genre style, many of
+her pictures being very characteristic and true scenes of Finnish
+peasant life, such as "Meal time in a Peasant's Hut" and "Pietists."
+Her landscapes, too, are remarkable for a sensitive conception of
+Nature; especially is this true of her pictures of our coast scenery,
+with its low granite rocks, washed over by the sea waves. Mrs.
+Soldan-Brofeldt has illustrated also some books for children, among
+others a part of a large Scandinavian edition of Topelius' Saga tales
+for children. At the Paris Exhibition of 1889, she received a "Mention
+Honorable," and in 1900, a bronze medal. She is the wife of the
+author, Juhani Aho. Brofeldt. Mrs. Soldan-Brofeldt's work is not
+illustrated in this book, as a photograph of her most important
+picture was broken into fragments in its journey from Finland to
+London.
+
+It is characteristic of all these painters that their artistic bias
+was determined by their study in Paris of the French naturalists, who
+inspired them with a stern respect for drawing, and taught them to
+study Nature seriously. Starting from this common standpoint, they
+have, whilst working in their own way, developed along their own
+individual lines.
+
+Many another woman artist deserves mention, but the limited space at
+my disposal permits me to give only a list of their names.
+
+There is Ellen Thesleff, a figure painter; there is Elin
+Danielson-Gambogi (wife of the Italian painter, R. Gambogi),
+well-known for her portraits and landscapes; there is Julia Stigzelius
+de Cock (wife of the Belgian artist, Cesare de Cock), a clever
+landscape painter; there is Amelie Lundahl, figure painter; and Ada
+Thilen, with her landscapes; and Hanna Roennberg, with her subject
+pictures and outdoor scenes; and Anna Sahlsten, a figure painter; and
+last, but not least, I name Annie Torselles-Schybergson, a good
+painter of animals.
+
+                                                   HELENA WESTERMARCK.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM.]
+
+    [Illustration: RUSSIAN SCHOOL, 1884
+    "A MEETING." AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
+    PARIS, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS
+    Mademoiselle Marie Bashkirtseff, Painter
+    1860-1884]
+
+    [Illustration: GERMAN SCHOOL, XVII CENTURY
+    PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM. AFTER ONE OF THE
+    MANY DRAWINGS BY THE SAME ARTIST IN THE BRITISH MUSEUM. THEY
+    ONCE BELONGED TO SIR HANS SLOANE, WHO PURCHASED THEM AT A HIGH
+    PRICE.
+    Maria Sibylla Merian (Frau Graff), Painter
+    1647-1717]
+
+    [Illustration: GERMAN SCHOOL, XVII CENTURY
+    PORTRAIT ETCHED BY HERSELF OF ANNA MARIA SCHURMAN PERHAPS THE
+    MOST FAMOUS LINGUIST OF HER TIME IN EUROPE
+    Anna Maria Schurman, Painter-Etcher
+    1607-1678]
+
+    [Illustration: PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM.
+    REPRODUCED FROM THE ORIGINAL DRAWING IN THE BRITISH MUSEUM Maria
+    Sibylla Merian (Frau Graff), Painter 1647-1717]
+
+    [Illustration: GERMAN SCHOOL, END OF XVIII CENTURY
+    GYPSIES ON A COMMON
+    AFTER GEORGE MORLAND
+    Frau Maria Catharina Prestel, Engraver
+    Died 1794]
+
+    [Illustration: GERMAN SCHOOL, 1817 AND 1820
+    PORTRAIT OF A WOMAN. FROM THE ORIGINAL ETCHING IN THE BRITISH
+    MUSEUM]
+
+    [Illustration: PORTRAIT OF A MAN. REPRODUCED FROM THE ORIGINAL
+    ETCHING IN BRITISH MUSEUM Anna Marie Ellenrieder, Painter-Etcher
+    1791-1863]
+
+    [Illustration: GERMAN SCHOOL, LATE XIX CENTURY
+    A GIRL OF BOHEMIA. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.,
+    PARIS
+    Caroline von Maupeou, Painter]
+
+    [Illustration: BRETON GIRL PRAYING. FROM A PHOTOGRAPH BY BRAUN,
+    CLEMENT & CO., PARIS Frau Adelaide Salles-Wagner, Painter]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    PORTRAIT OF FRAEULEIN VON SYDOW. FROM THE ORIGINAL PAINTING
+    Fraeulein Maria Davids, Painter
+    PORTRAIT. FROM A PHOTOGRAPH BY HANFSTAENGL KINDLY LENT BY THE
+    ARTIST
+    Jeanna Bauck, Painter]
+
+    [Illustration: GERMAN AND SPANISH SCHOOLS, CONTEMPORARY
+    A WOODLAND LAKE.
+    AFTER THE ORIGINAL PICTURE
+    Jeanna Bauck, Painter, Germany]
+
+    [Illustration: THE CASTLE AND PALACE OF PENA IN CINTRA. AFTER
+    THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY J. LAURENT & CO.,
+    MADRID Maria G. Silva Reis, Painter, Spain]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    MOTHERHOOD. FROM A PHOTOGRAPH LENT BY THE ARTIST
+    Dora Hitz, Painter]
+
+    [Illustration: DESOLATION AND DESPAIR AFTER THE ORIGINAL ETCHING
+    Fraeulein Kaethe Kollwitz, Painter-Etcher]
+
+    [Illustration: GERMAN SCHOOL, CONTEMPORARY
+    PORTRAIT OF A LITTLE GIRL. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY FRANZ KULLRICH, BERLIN, LENT BY THE ARTIST
+    Dora Hitz, Painter]
+
+    [Illustration: PORTRAIT OF WILHELM JENSEN, POET AND HISTORICAL
+    NOVELIST. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH LENT BY
+    THE ARTIST
+    Frau Marie Jensen, Painter]
+
+    [Illustration: GERMAN AND SWISS SCHOOLS, CONTEMPORARY
+    PORTRAIT OF A SCULPTOR. FROM A PHOTOGRAPH BY FRANZ KULLRICH
+    KINDLY LENT BY THE ARTIST
+    Frau Julie Wolfthorn, Painter
+    Germany]
+
+    [Illustration: "ANAIS." AFTER THE ORIGINAL PAINTING FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle.
+    Louise Breslau, Painter
+    Switzerland]
+
+    [Illustration: SWISS SCHOOL, CONTEMPORARY
+    THEIR DAILY BREAD. AFTER THE ORIGINAL PAINTING, REPRODUCED BY
+    PERMISSION FROM A CARBON PRINT BY BRAUN, CLEMENT & CO.
+    Mademoiselle Ottilie Roederstein, Painter]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    SPRINGTIME IN THE PRATER, VIENNA. AFTER THE ORIGINAL PAINTING
+    FROM A PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST
+    Frau Tina Blau-Lang, Painter]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    BY THE SHORE OF LETHE LAKE
+    AFTER A PROOF OF THE ORIGINAL ETCHING
+    Fraeulein Hermine Laucota, Painter-Etcher]
+
+    [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
+    VIEW IN THE PRATER, VIENNA. AFTER THE ORIGINAL PICTURE FROM A
+    PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST
+    Frau Tina Blau-Lang, Painter]
+
+    [Illustration: FINNISH SCHOOL, CONTEMPORARY
+    PORTRAIT OF A LADY.
+    AFTER THE ORIGINAL PICTURE
+    Maria Wiik, Painter]
+
+    [Illustration: FINNISH SCHOOL, 1887
+    THE CONVALESCENT
+    AFTER THE ORIGINAL PAINTING
+    Helene Schjerfbeck, Painter]
+
+    [Illustration: SWISS SCHOOL, CONTEMPORARY
+    "LE MOIS DE MARIE." REPRODUCED AFTER THE ORIGINAL PAINTING FROM
+    A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
+    Mademoiselle Ottilie Roederstein, Painter]
+
+    [Illustration: FINNISH SCHOOL, FROM 1887 TO ABOUT 1895
+    PREPARING TO LEAVE HOME. FROM A PHOTOGRAPH OF THE ORIGINAL
+    PAINTING, DATED 1887
+    Maria Wiik, Painter]
+
+    [Illustration: AT WORK. REPRODUCED FROM A CARBON-PRINT
+    PHOTOGRAPH OF THE ORIGINAL PAINTING Helene Schjerfbeck,
+    Painter]
+
+    [Illustration: FINNISH AND SWISS SCHOOLS, ABOUT 1904
+    A FINNISH PEASANT GIRL
+    FROM THE ORIGINAL DRAWING
+    Ellen Thesleff, Painter
+    Finland]
+
+    [Illustration: A PORTRAIT-GROUP OF FRIENDS. AFTER THE ORIGINAL
+    PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO Mlle. Louise
+    Breslau, Painter Switzerland]
+
+    [Illustration: RUSSIAN SCHOOL, XIX CENTURY
+    PORTRAIT OF MARIE BASHKIRTSEFF. AFTER THE ORIGINAL PASTEL IN THE
+    MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS
+    Mlle. Marie Bashkirtseff, Pastellist
+    1860-1884]
+
+    [Illustration: PORTRAIT OF THE COMTESSE DE TOULOUSE. AFTER THE
+    ORIGINAL PASTEL IN THE MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY
+    NEWIDEIN Mlle. Marie Bashkirtseff, Pastellist 1860-1884]
+
+    [Illustration: GERMAN AND RUSSIAN SCHOOLS, 1870 AND 1903
+    PORTRAIT (DATED 1870) OF THE LATE LUDWIG WINDHORST, GERMAN
+    STATESMAN FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH
+    Frau Vilma Parlaghy, Painter
+    Germany]
+
+    [Illustration: PORTRAIT OF A LADY (DATED 1903), RECENTLY
+    PURCHASED FOR THE LUXEMBOURG, PARIS Mlle. Olga de Boznanska,
+    Painter Russia]
+
+    [Illustration: SPANISH SCHOOL, 1875
+    A CARRIAGE RACE AT NAPLES
+    FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Dona Stuart Sindici, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1881
+    A SCENE AT COMILLAS. REPRODUCED AFTER THE ORIGINAL WATER-COLOUR,
+    DATED 1881, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Infante Dona Paz de Bourbon, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1887
+    OUTSIDE A ROMAN HOSTELRY
+    FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
+    Dona Elena Brockmann, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1881 AND 1890
+    MY MODEL. AFTER THE ORIGINAL WATER-COLOUR, FROM A PHOTOGRAPH BY
+    LAURENT, MADRID
+    Infante Dona Paz de Bourbon, Painter]
+
+    [Illustration: STUDY OF A BABY LAUGHING. AFTER THE ORIGINAL
+    PICTURE, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID Antonia
+    de Banuelos, Painter]
+
+    [Illustration: SPANISH SCHOOL, 1883
+    "THE LITTLE FISHERS." AFTER THE ORIGINAL PAINTING, FROM A
+    PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
+    Antonia de Banuelos, Painter]
+
+
+
+
+INDEX
+
+
+    ABBEMA, MLLE. LOUISE: "Winter," 237.
+
+    ABRAN, MADAME: "Study of Tigers," 243.
+
+    ALLINGHAM, MRS. HELEN, R.W.S.: "A Cottage near Crocken Hill," 109;
+      "Ponte Widman, Venice," 137;
+      "Campanile San Stefano, Venice," 137.
+
+    ALMA-TADEMA, MISS ANNA: "Portrait of Miss Anna Alma-Tadema," 156.
+
+    ANDERSON, MRS. SOPHIE: "Elaine," 105.
+
+    ANGELL, MRS. HELEN CORDELIA: "Study of a Bird's Nest," 102.
+
+    ANGUISCIOLA, SOPHONISBA: "Three Sisters of Sophonisba Anguisciola
+         Playing at Chess," 25;
+      "Portrait of Sophonisba Anguisciola," 36;
+      "Portrait of a Lady," 39.
+
+    ANGUS, CHRISTINE: Design, 64.
+
+    ART, MLLE. BERTHE: "Study of Still Life: Grapes and Partridges,"
+        276.
+
+
+    BAKHUYZEN, MME. G. J. VAN DE SANDE: "Study of Still Life: Roses in a
+        Basket," 266.
+
+    BANUELOS, ANTONIA DE: "Study of a Baby Laughing," 320;
+      "The Little Fishers," 321.
+
+    BARTON, MISS ROSE, A.R.W.S.: "Almond Blossom in London," 143.
+
+    BASHKIRTSEFF, MLLE. MARIE: "A Meeting," 293;
+      "Portrait of Marie Bashkirtseff," 315;
+      "Portrait of the Comtesse de Toulouse," 315.
+
+    BAUCK, JEANNA, "Portrait," 300;
+      "A Woodland Lake," 301.
+
+    BAUERLE, MISS A., A.R.E.: "A Song of the Sea," 132;
+      "Fauns," 132.
+
+    BEALE, MARY: "Portrait of the English Poet, Abraham Cowley," 81;
+      "Portrait of King Charles II. of England," 81.
+
+    BEAUCLERK, LADY DIANA: "Caricature of Edward Gibbon," 82;
+      "Cupids," 82.
+
+    BEAUX, MISS CECILIA: "Mother and Child," 121;
+      "Portrait," 162.
+
+    BENOITS, MADAME: "Portrait of Marie Pauline, Princesse Borghese,"
+        183.
+
+    BILDERS VAN BOSSE, MME.: "Landscape near Oosterbeek," 267;
+      "Windmill at Heelsum," 269;
+      "A Pool near Oosterbeek," 272.
+
+    BISSCHOP-ROBERTSON, MME. SUSE: "A Dutch Peasant Woman," 278.
+
+    BLATHERWICK, LILY (MRS. A. S. HARTRICK): "Wintry Weather," 155.
+
+    BLAU-LANG, FRAU TINA: "Springtime in the Prater, Vienna," 306;
+      "View in the Prater, Vienna," 308.
+
+    BODENHEIM, MLLE. NELLY: Silhouettes, 12, 72, 292, 332.
+
+    BONHEUR, ROSA: "Study of a Bull," 195;
+      "Shepherd Watching His Sheep," 205;
+      "Ploughing in the Nivernais," 209;
+      "The Horse Fair," 210;
+      "The King of the Desert," 214;
+      "Brisco," 215.
+
+    BOUILLIAR, MLLE.: "Portrait of an Actress," 194.
+
+    BOURBON, DE, INFANTE PAZ: "A Scene at Comillas," 318;
+      "My Model," 320.
+
+    BOVI, MADAME: 90.
+
+    BOZNANSKA, DE, OLGA: "Portrait of a Lady," 316.
+
+    BRESLAU, MLLE. LOUISE: "Anais," 304;
+      "A Portrait-Group of Friends," 314.
+
+    BRICKDALE, MISS ELEANOR FORTESCUE, A.R.W.S.: "Youth and the Lady,"
+        73;
+      "To-day for Me," 103;
+      "Sleep, that knits up the Ravell'd Sleave of Care," 114;
+      "He Married a Wife," 126;
+      "Designs," 141;
+      "Iseult of Brittany," 142.
+
+    BROCKMANN, DONA ELENA: "Outside a Roman Hostelry," 319.
+
+    BROWNSCOMBE, MISS JENNIE: "The Peace Ball After the Declaration of
+        Independence," 161.
+
+    BUTLER, LADY ELIZABETH: "Missed," 9;
+      "Steady the Drums and Fifes!" 154.
+
+    BYRNE, ANNE FRANCES: "Flowers and Grapes," 94.
+
+
+    CAMERON, MISS KATHARINE: "Hush! Remind not Eros of His Wings," 124.
+
+    CAMERON, MISS MARGARET: "Portrait of Mrs. Blair with her Dogs," 131;
+      "After the Bull-Fight," 155.
+
+    CAPET, MARIE GABRIELLE: "Portrait of Dame de Longrois," 197.
+
+    CARPENTER, MRS. MARGARET: "Portrait of Henrietta Shuckburgh," 96;
+      "Portrait of Margaret Carpenter," 96;
+      "Portrait of John Gibson, R.A., Sculptor," 100;
+      "Portrait of R. P. Bonington, Painter," 100.
+
+    CARPENTIER, MADELEINE: "Les Chandelles," 244.
+
+    CARRIERA, ROSALBA: "Portrait of a Lady Unknown," 20;
+      "Charity and Justice," 37;
+      "Portrait Study of a Lady with her Pet Monkey," 48;
+      "Portrait Study of Cardinal de Polignac," 48;
+      "Portrait Study of a Girl," 51;
+      "Portrait of Rosalba Carriera," 51.
+
+    CASSATT, MISS MARY: "Baby's Toilette," 157;
+      "Childhood in a Garden," 327;
+      "Mother and Two Children," 327.
+
+    CAZIN, MADAME MARIE: "Desolation," 227;
+      "Mother and Child," 239;
+      "The Shepherd," 239.
+
+    CHARDERON, FRANCINE: "Sleep," 229.
+
+    CHASE, MISS MARIAN, R.I.: "An Interesting Story," 130.
+
+    CHATILLON, DE, MME. LAURE: "A Young Adolescent," 219.
+
+    CHAUDET, MME JEANNE ELISABETH: "Portrait of Madame Villot, nee
+        Barbier," 202.
+
+    CHEVIOT, MISS LILIAN: "On the Way to the Horse Fair," 143.
+
+    CLAUDIE, MLLE.: "Flora," 252.
+
+    COGNIET, MLLE. MARIE AMELIE: "Portrait of Madame Adelaide
+        d'Orleans," 189.
+
+    COLIN-LIBOUR, MADAME: "Charity," 225.
+
+    COMERRE-PATON, MME. J.: "Mistletoe," 217.
+
+    CONANT, MISS CORNELIA W.: "The End of the Story," 151.
+
+       *       *       *       *       *
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "WE ARE BUT LITTLE CHILDREN WEAK, NOR BORN TO ANY HIGH ESTATE."
+    FROM A LARGE PHOTOGRAVURE OF THE ORIGINAL PICTURE BY PERMISSION
+    OF THE BERLIN PHOTOGRAPHIC COMPANY, LONDON, W.
+    Mrs. Marie Seymour Lucas, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "HER MORNING RIDE"
+    AFTER THE ORIGINAL PICTURE
+    Miss Blanche Jenkins, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "FAITH"
+    FROM THE ORIGINAL PICTURE
+    Miss Flora M. Reid, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "HUSH!" FROM A PHOTOGRAPH OF THE ORIGINAL PICTURE BY PERMISSION
+    OF THE BERLIN PHOTOGRAPHIC CO., LONDON, W.
+    Miss Maude Goodman, Painter]
+
+    [Illustration: THE CHILD HANDEL. FROM A PHOTOGRAPH OF THE
+    ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC CO.,
+    LONDON, W.
+    Miss Margaret Isabel Dicksee, Painter
+    1858-1903]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    "NOTHING VENTURE, NOTHING HAVE." FROM A LARGE PHOTOGRAVURE OF
+    THE ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC
+    COMPANY, LONDON, W.
+    Lady Alma-Tadema, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    ISOLA BELLA LAGO MAGGIORE
+    FROM THE ORIGINAL WATER-COLOUR
+    Mrs. Marrable, Painter]
+
+    [Illustration: "I SHOWED HER THE RING AND IMPLORED HER TO MARRY"
+    FROM THE ORIGINAL PICTURE
+    Miss Julia B. Falkard, Painter]
+
+    [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
+    SKIRMISHERS: COCKER SPANIELS. FROM "BRITISH HOUNDS AND
+    GUN-DOGS"]
+
+    [Illustration: BULL TERRIER: POSITION OF TRUST. FROM THE SERIES
+    ON "TERRIERS AND TOYS" PUBLISHED BY THE BERLIN PHOTOGRAPHIC
+    COMPANY, LONDON, W.]
+
+    [Illustration: FOXHOUNDS: A BURNING SCENT. FROM "BRITISH HOUNDS
+    AND GUN-DOGS"
+    Miss Maud Earl, Painter]
+
+    [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
+    PORTRAIT (PAINTED BY HERSELF) OF MADAME ARSENE DARMESTETER
+    Madame Arsene Darmesteter, Painter]
+
+    [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
+    STUDY
+    FROM THE ORIGINAL PICTURE
+    Madame Arsene Darmesteter, Painter]
+
+       *       *       *       *       *
+
+    COOL, DE, MME. DELPHINE: "A Good Cigarette," 232.
+
+    COOMANS, MLLE. DIANA: "In the Gynaeceum," 228.
+
+    COSWAY, MRS. MARIA: "Lodona," 96.
+
+    CURRAN, MISS A.: "Portrait of Percy Bysshe Shelley," 90.
+
+
+    DANSE, MLLE. LOUISE: "Portrait of Mlle. Dethier," 278.
+
+    DAVIDS, FRAEULEIN: "Portrait of Fraeulein von Sydow," 300.
+
+    DAVIN, MADAME C. H. F.: "Portrait of Marshal Lefevre, Duke of
+        Dantzic," 207.
+
+    DEALY, JANE M. (LADY LEWIS), R.I.: "Day-Dreams," 144;
+      "Baby," 144.
+
+    DEMONT-BRETON, MADAME: "On the Sea-Shore," 226;
+      "Stella Maris," 233.
+
+    DE MORGAN, MRS. EVELYN: "Flora," 91;
+      "Study from the Life," 117;
+      "Drapery Study," 123.
+
+    DESTREE-DANSE, MADAME: "The Massacre of the Innocents," 282.
+
+    DICKSEE, MISS MARGARET ISABEL: "In Memoriam," 112.
+
+    DOLCI, AGNESE: "Mary and the Child Jesus," 47;
+      "Jesus Took Bread and Blessed It," 47.
+
+    DUBOS, MLLE. ANGELE: "A New Song," 216.
+
+    DUBOURG, MME. VICTORIA: "A Basket of Flowers," 240.
+
+    DUFAU, MLLE.: "Study from a Model," 231;
+      "Impression of a City," 240;
+      "Character in Spain," 243.
+
+    DUFFIELD, MRS. WILLIAM, R.I.: "Yellow Roses," 118.
+
+
+    ELLENRIEDER, ANNA MARIE: "Portrait of a Woman," 298;
+      "Portrait of a Man," 298.
+
+    EMPRESS FREDERICK OF GERMANY, THE: "The Akropolis, Athens," 56.
+
+    ENAULT, MADAME ALIX: "Fleurs de Serre," 225.
+
+
+    FANNER, MISS ALICE: "Riverside Landscape," 135;
+      "A Yorkshire Trout Stream," 156.
+
+    FANSHAWE, CATHERINE MARIA: "A Country Boy," 89.
+
+    FANTIN-LATOUR, MME. (VICTORIA DUBOURG): "A Basket of Flowers," 240.
+
+    FICHEL, MME. JEANNE: "The Bouquet," 216.
+
+    FILLEUL, MADAME: "The Sons of Charles X. of France," 186;
+      "Portrait of the Duc d'Angouleme," 187.
+
+    FLEURY, MME. FANNY: "The Pathway to the Village Church," 235.
+
+    FONTANA, LAVINIA: "Marriage of St. Catharine," 39;
+      "Portrait of Lavinia Fontana Zappi," 40;
+      "Jesus Christ Talking with the Women of Samaria," 41.
+
+    FORBES, MRS. STANHOPE, A.R.W.S.: "The Fisher Wife," 85;
+      "In With You!" 147;
+      "Cuckoo," 147;
+      "May Evening," 149.
+
+    FOULD, MLLE. ACHILLE: "Courtship," 250.
+
+    FOULD, MLLE. CONSUELO: "Will You Buy?" 247.
+
+    FRAMPTON, MRS. GEORGE (CHRISTABEL A. COCKERELL): "Bluebells," 136.
+
+
+    GARDNER, ELIZABETH: "Maternal Love," 234;
+      "The Judgment of Paris," 238.
+
+    GENTILESCHI, ARTEMISIA: "Mary Magdalene," 31;
+      "Portrait of Artemisia Gentileschi," 42;
+      "Judith and her Maid with the Head of Holofernes," 45.
+
+    GHISI, DIANA: "A Victor in his Triumphal Chariot," 39.
+
+    GILSOUL-HOPPE, MADAME: "Interior," 266.
+
+    GODEFROID, MLLE. MARIE E.: "Portrait of Madame de Stael," 203;
+      "Portrait of Charles Maurice, Prince of Talleyrand-Perigord," 203.
+
+    GONZALES, EVA: "Portrait of a Lady Seated," 223;
+      "The Fruit Girl," 231.
+
+    GOW, MISS MARY L., R.I.: "Mother and Child," 107.
+
+    GRANBY, MARCHIONESS OF: "The Late Cecil Rhodes," 142;
+      "The Late Lord Salisbury," 142.
+
+    GREENAWAY, MISS KATE: "A. for Apple Pie: E. Eat it," 119;
+      "A. for Apple Pie: C. Cut it," 127.
+
+    GUTTI, ROSINA M.: "The Peacemaker," 53.
+
+    GUYARD, MADAME: "Portrait of Madame Victoire de France," 185;
+      "Portrait of Elisabeth of France, Duchess of Parma," 188.
+
+
+    HAMMOND, MISS G. DEMAIN, R.I.: "Memories," 135.
+
+    HART, MISS EMILY: "The End of a Story," 113.
+
+    HAVERS, MISS ALICE: "Blanchisseuses," 108.
+
+    HEITLAND, MISS IVY: "Through the Wood," 107.
+
+    HEMESSEN, CATHARINA VAN: "Portrait of a Flemish Gentleman," 263.
+
+    HEMING, MRS. MATILDA: "Backwater, Weymouth, Dorset," 95.
+
+    HERFORD, MRS. JOHN: "Landscape at Kenilworth," 95.
+
+    HERLAND, MLLE. E.: "Children Eating Soup in a Charity School," 249.
+
+    HILDA, MLLE. E.: "In Search of Prey," 245.
+
+    HITZ, DORA: "Motherhood," 302;
+      "Portrait of a Little Girl," 303.
+
+    HOBSON, MISS A. M., R.I.: "Room at Leicester in which Shakespeare is
+        said to have Acted before Queen Elizabeth," 118.
+
+    HOGENDORP, BARONNE VAN: "Flowers," 266.
+
+    HOLROYD, LADY: "Portrait of Sir Charles Holroyd," 150.
+
+    HOTHAM, AMELIA: "Riverside Landscape," 88.
+
+    HOUDON, MLLE. M. J. A.: "Portrait of Marguerite J. A. Houdon," 202.
+
+    HOUSSAY, MLLE. JOSEPHINE: "The Lesson," 251.
+
+    HOUTEN, MME. MESDAG VAN: "A Bleak Pastoral Scene," 269.
+
+       *       *       *       *       *
+
+    [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
+    CHILDHOOD IN A GARDEN. REPRODUCED FROM THE ORIGINAL PAINTING BY
+    PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK
+    Miss Mary Cassatt, Painter]
+
+    [Illustration: MOTHER AND TWO CHILDREN. REPRODUCED FROM THE
+    ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS,
+    PARIS AND NEW YORK
+    Miss Mary Cassatt, Painter]
+
+       *       *       *       *       *
+
+    HOUTEN, MLLE. BARBARA VAN: "Portrait Study of a Girl," 270;
+      "Loutje," 275.
+
+    HOW, MISS BEATRICE: "Le Repas," 142;
+      "In a Dutch Cottage," 148.
+
+    HUNTER, MRS. MARY Y.: "Joy and the Labourer," Frontispiece;
+      "Olivia," 126;
+      "Where Shall Wisdom be Found?" 130.
+
+    HYDE, MISS HELEN: "Day Dreams," 145;
+      "The Bamboo Fence," 163.
+
+
+    JENSEN, FRAU MARIE: "Portrait of Wilhelm Jensen," 303.
+
+    JOPLING, MRS. LOUISE, R.B.A.: "St. Bridget," 120.
+
+
+    KAUFFMAN, ANGELICA, R.A. "The Sibyl," 67;
+      "Ariadne," 83;
+      "Portrait of Angelica Kauffman, R.A.," 87;
+      "The Vestal Virgin," 87.
+
+    KEMP-WELCH, MISS L. E., R.B.A.: "Labourers of the Night," 115;
+      "After Work," 125.
+
+    KING, MISS JESSIE M.: "The Court-Yard," 159.
+
+    KOCH, ELISA: "The Little Sister," 49.
+
+    KOLLWITZ, FRAEULEIN KAETHE: "Desolation and Despair," 302.
+
+
+    LAUCOTA, FRAEULEIN HERMINE: "By the Shore of Lethe Lake," 307.
+
+    LARCOMBE, MISS ETHEL: Dedication Page;
+      End-Papers;
+      Initial Letters.
+
+    LE BRUN, MADAME VIGEE: "Portrait of Madame Vigee Le Brun and her
+        Daughter," 166;
+      "Madame Vigee Le Brun and her Daughter," 177;
+      "Portrait of Queen Marie Antoinette and her Children," 191;
+      "Portrait in the Pinacoteca at Turin," 192;
+      "Portrait of Madame Le Brun," 193;
+      "Portrait of Louise Marie Adelaide de Bourbon," 193;
+      "Madame Vigee Le Brun at her Easel," 198;
+      "Portrait of Marie Antoinette, Queen of France," 200;
+      "Portrait of the Duchess of Polignac," 201;
+      "Portrait of Madame Mole-Raymond," 204.
+
+    LELEUX, MADAME ARMAND: "Private and Confidential," 220.
+
+    LE ROY, MADAME: "Portrait," 252.
+
+    LESCOT, MADAME HAUDEBOURT: "A Good Daughter," 208.
+
+    LEYSTER, JUDITH: "The Merry Young Man," 257;
+      "Young Man Encouraging a Girl to Smoke and Drink," 264.
+
+    LONGHI, BARBARA: "Mary and the Child Jesus in the Act of Crowning a
+        Saint," 41.
+
+    LOUISE, H.R.H. PRINCESS, DUCHESS OF ARGYLL: "An English Hebe," 13.
+
+    LUCAS-ROBIQUET, MME.: "Bebe et Zizon," 251.
+
+
+    MACBETH, MISS ANN: "Elspeth." 97.
+
+    MACDONALD, MISS BIDDIE: "Portrait of the Lady Alix Egerton," 123.
+
+    MACGREGOR, MISS JESSIE: "In the Reign of Terror," 148.
+
+    MARCOTTE, MLLE. E.: "With the Poor at Home," 272.
+
+    MARTINEAU, MISS EDITH, A.R.W.S.: "The Potato Harvest," 111.
+
+    MAUPEOU, CAROLINE VON: "A Girl of Bohemia," 299.
+
+    MAYER, CONSTANCE: "The Happy Mother," 199.
+
+    MEE, MRS. ANNE: "Portrait of Lady Dalrymple Hamilton," 93.
+
+    MEEN, MRS. MARGARET: "Group of Flowers in a Jar," 94.
+
+    MERIAN, MARIA S.: "Plant Study," 295; "Plant Study," 296.
+
+    MERRITT, MRS. ANNA LEA, R.B.A.: "Love Locked Out," 139.
+
+    MEUNIER, MLLE. GEORGETTE: "Study of a Heron," 282.
+
+    MORIN, EULALIE: "Portrait of Madame Recamier," 187.
+
+    MORISOT, BERTHE: "Portrait of a Young Woman Seated," 211;
+      "The Jetty," 213.
+
+    MOSER, MARY, R.A.: "Vase of Flowers," 94.
+
+
+    NICOLAS, MLLE. MARIE: "Father Ricard," 222.
+
+    NORMAND, MRS. (HENRIETTA RAE): "Ophelia: 'There's Rue for you,'"
+        153.
+
+
+    OFFOR, B. (MRS. F. LITTLER): "Ophelia," 160.
+
+    OPPENHEIM, MLLE. A.: "Romeo and Juliet," 246.
+
+
+    PARLAGHY, FRAU VILMA: "Portrait of the late Ludwig Windhorst," 316.
+
+    PAYMAL-AMOUROUX, MME.: "A Holiday at Sosthene," 232.
+
+    PETIET, MLLE. MARIE: "The Knitter Asleep," 219.
+
+    PHILLOTT, MISS CONSTANCE, A.R.W.S.: "The Herdsman of Admetus," 138.
+
+    PRESTEL, MARIA C.: "Gypsies on a Common," 297.
+
+
+    REAL DEL SARTE, MME.: "Do you want a Model?" 251.
+
+    RAGNONI, BARBARA: "The Adoration of the Shepherds," 35.
+
+    READ, CATHARINE: "Portrait of the Lady Georgiana Spencer," 61;
+      "Portrait of Miss Harriot Powell," 84;
+      "Portrait of Miss Jones," 84.
+
+    REIS, MARIA G. SILVA: "The Castle and Palace of Pena in Cintra,"
+        301.
+
+    ROBERTSON, MRS. J.: "Portrait of Mrs. Stuart," 93.
+
+    ROEDERSTEIN, MLLE. OTTILIE: "Their Daily Bread," 305;
+      "Le Mois de Marie," 311.
+
+    ROMANI, JUANA: "Study from a Model," 54.
+
+    ROMANY, MME. ADELE: "Portrait of Gaetano Apollino Baldassare
+        Vestris, Dancer," 171.
+
+    RONGIER, MLLE. JEANNE: "Sitting for a Portrait," 220.
+
+    RONNER, MME. HENRIETTE: "The Last Move," 279;
+      "New Tenants," 281.
+
+    ROTHSCHILD, DE, BARONESS LAMBERT: "Portrait Study of the Countess
+        Florence Fabbricotti," 277;
+      "Portrait of Monsieur Gevaert," 277.
+
+    RUDE, MME. SOPHIE: "Portrait of Madame Rude," 207.
+
+    RUYSCH, RACHEL: "Picture of Fruit with Insects and Lizards," 265.
+
+
+    SALANSON, MLLE. EUGENIE: "At Low Tide," 228.
+
+    SALLES-WAGNER, ADELAIDE: "Breton Girl Praying," 299.
+
+    SAWYER, MISS AMY: "Panel of a Screen," 159.
+
+    SCHJERFBECK, HELENE: "The Convalescent," 310;
+      "At Work," 313.
+
+    SCHURMAN, ANNA MARIA: "Portrait of Anna Maria Schurman," 296.
+
+    SCHNEIDER, MME. FELICIE: "The Last Survivors of a Family," 222.
+
+    SCHWARTZE, THERESE: "Orphans," 270;
+      "Portrait of Mlle. Therese Schwartze," 271;
+      "Portraits of the Children of Mr. A. May," 273;
+      "Portrait of A. G. C. van Duyl," 275.
+
+    SINDICI, DONA STUART: "A Carriage Race at Naples," 317.
+
+    SIRANI, ELISABETTA: "The Dream of Saint Anthony of Padua," 43;
+      "The Madonna Weeping," 46;
+      "The Flight into Egypt," 46.
+
+    SISTER A., SIENESE NUN: "Adoration of the Shepherds," 34;
+      "Madonna and Child with St. Catharine and other Saints," 35.
+
+    SISTER B., SIENESE NUN: "The Holy Family with John the Baptist," 34.
+
+    SMYTHE, MISS MINNIE, A.R.W.S.: "A Cottage Girl," 150.
+
+    SONREL, ELISABETH: "The Goddesses before Paris," 237.
+
+    SPENCER, LAVINIA, COUNTESS: "A Pinch of Snuff," 90.
+
+    STAPLES, MRS. (M. E. EDWARDS): "Waifs from the Great City," 120.
+
+    STARR, LOUISA (MME. CANZIANA): "Sintram and his Mother," 106.
+
+    STOKES, MRS. MARIANNE: "The Queen and the Page," 79;
+      "Portrait of the Hon. Mrs. Walter James," 129.
+
+    STRONG, MRS. ELIZABETH: "Good Friends," 113.
+
+    SUBLEYRAS, MARIA TIBALDI: "Mary Magdalene at the Feet of Jesus
+        Christ," 52.
+
+    SWAN, MRS. J. M.: "The Music Lesson," 159.
+
+    SWYNNERTON, MRS. A. L.: "The Sense of Sight," 133.
+
+
+    TAVERNIER, DE, MME. E.: "Before the Dance," 227.
+
+    TEMPLETOWN, VISCOUNTESS: "Wood Scene," 94.
+
+    THESLEFF, ELLEN: "A Finnish Peasant Girl," 314.
+
+
+    VALORY, DE, MME. CAROLINE: "The Miniature," 192.
+
+    VALLET-BISSON, MME.: "The Departure," 241.
+
+    VANTEUIL, DE, MLLE.: "Portrait of Marie de Rabutin-Chantal, Marquise
+        de Sevigne," 185.
+
+    VIGRI, CATERINA: "Saint Ursula and her Maidens," 33.
+
+
+    WATERFORD, LOUISA MARCHIONESS OF: "Palm Branches," 99;
+      "Spring," 99;
+      "Jesus Christ among the Doctors," 101.
+
+    WATERNAU, MLLE. HERMINE: "By the Bank of a Stream," 221.
+
+    WATSON, CAROLINE: "Portrait of Sarah, Countess of Kinnoull," 89.
+
+    WENTWORTH, MRS. CECILIA: "Prayer," 160.
+
+    WESMAEL, MLLE. E.: "A Sunset in the Campine," 283.
+
+    WHITE, MISS FLORENCE: "White Treasures," 124.
+
+    WIIK, MARIA: "Portrait of a Lady," 309;
+      "Preparing to Leave Home," 313.
+
+    WOLFTHORN, FRAU JULIE: "Portrait of a Sculptor," 304.
+
+    WYTSMAN, MME. JULIETTE: "Lilies in the Courtyard of a House of Rest
+        at Bruges," 284.
+
+
+    YOUNGMAN, MISS A. M., R.I.: "In a Neapolitan Villa," 118;
+      "Who Loves a Garden loves a Greenhouse too," 119.
+
+
+    ZAPPI, LAVINIA FONTANA: "Marriage of St. Catharine," 39;
+      "Portrait of Lavinia Fontana Zappi," 40;
+      "Jesus Christ Talking with the Woman of Samaria," 41.
+
+    ZILLHARDT, MLLE. JENNY: "Regalez-vous, Mesdames!" 221.
+
+    [Illustration: SILHOUETTE BY NELLY BODENHEIM.]
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Archaic and inconsistent punctuation, spelling and syntax were retained.
+
+The original had illustrations imbedded in the index.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD***
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