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+The Project Gutenberg eBook of Women artists in all ages and
+countries, by E. F. (Elizabeth Fries) Ellet
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world 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. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Women artists in all ages and countries
+
+Author: E. F. (Elizabeth Fries) Ellet
+
+Release Date: January 29, 2023 [eBook #69897]
+
+Language: English
+
+Produced by: The Online Distributed Proofreading Team at
+             https://www.pgdp.net (This file was produced from images
+             generously made available by The Internet Archive)
+
+*** START OF THE PROJECT GUTENBERG EBOOK WOMEN ARTISTS IN ALL AGES AND
+COUNTRIES ***
+
+
+
+
+
+                             WOMEN ARTISTS
+
+
+                      IN ALL AGES AND COUNTRIES.
+
+
+                            BY MRS. ELLET,
+
+        AUTHOR OF “THE WOMEN OF THE AMERICAN REVOLUTION,” ETC.
+
+
+                               NEW YORK:
+                    HARPER & BROTHERS, PUBLISHERS,
+                           FRANKLIN SQUARE.
+
+                                 1859.
+
+
+
+
+    Entered, according to Act of Congress, in the year one thousand
+                   eight hundred and fifty-nine, by
+
+                          HARPER & BROTHERS,
+
+ in the Clerk’s Office of the District Court of the Southern District
+                             of New York.
+
+
+
+
+                                  TO
+
+                        MRS. COVENTRY WADDELL,
+
+           WHOSE ELEGANT TASTE AND APPRECIATION OF ART, AND
+                WHOSE LIBERAL KINDNESS TO ARTISTS, HAVE
+                       FOSTERED AMERICAN GENIUS,
+
+                       This Volume is Inscribed
+
+                             BY HER FRIEND
+
+                              THE AUTHOR.
+
+
+
+
+                               PREFACE.
+
+
+I do not know that any work on Female Artists--either grouping them or
+giving a general history of their productions--has ever been published,
+except the little volume issued in Berlin by Ernst Guhl, entitled “Die
+Frauen in die Kunstgeschichte.” In that work the survey is closed with
+the eighteenth century, and female poets are included with painters,
+sculptors, and engravers in the category of artists. Finding Professor
+Guhl’s sketches of the condition of art in successive ages entirely
+correct, I have made use of these and the facts he has collected,
+adding details omitted by him, especially in the personal history of
+prominent women devoted to the brush and the chisel. Authorities, too
+numerous to mention, in French, Italian, German, and English, have been
+carefully consulted. I am indebted particularly to the works of Vasari,
+Descampes, and Fiorillo. The biographies of Mdlles. Bonheur, Fauveau,
+and Hosmer are taken, with a little condensing and shaping, from late
+numbers of that excellent periodical, “The Englishwoman’s Journal.” The
+sketches of many living artists were prepared from materials furnished
+by themselves or their friends.
+
+It is manifestly impossible, in a work of this kind, to include even
+the names of all the women artists who are worthy of remembrance. Among
+those of the present day are many who have not yet had sufficient
+experience to do justice to their own powers, and any criticism of
+their productions would be premature and unfair.
+
+No attempt has been made in the following pages to give elaborate
+critiques or a connected history of art. The aim has been simply
+to show what woman has done, with the general conditions favorable
+or unfavorable to her efforts, and to give such impressions of the
+character of each prominent artist as may be derived from a faithful
+record of her personal experiences. More may be learned by a view
+of the early struggles and trials, the persevering industry and the
+well-earned triumphs of the gifted, than by the most erudite or
+fine-spun disquisition. Should the perusal of my book inspire with
+courage and resolution any woman who aspires to overcome difficulties
+in the achievement of honorable independence, or should it lead to
+a higher general respect for the powers of women and their destined
+position in the realm of Art, my object will be accomplished.
+
+                                                               E. F. E.
+
+
+
+
+                               CONTENTS.
+
+
+  CHAPTER I.
+
+  THE EARLY AGES.
+
+  Women in Art.--Kind of Painting most practiced by them.--Feminine
+  Employments in early Ages.--The fair Egyptians.--Women of Assyria and
+  Babylon.--Grecian Women.--Sculpture and Painting in Greece.--The
+  Daughter of Dibutades.--The Lover’s Profile.--The first
+  Bas-relief.--Timarata.--Helena.--Anaxandra.--Kallo.--Cirene.--Calypso.
+  --Other Pupils of Grecian Art.--The Roman
+  Women.--The Paintress Laya.--Lala.--Influence of Christianity
+  on Art.--Adornment rejected by the early Christians.--Art degraded
+  for Centuries.--Female Influence among the Nations that
+  rose on the Ruins of Rome.--Wise and clever Princesses.--Anna
+  Comnena.--The first Poetess of Germany.--The first Editress of a
+  Cyclopædia.--The Art of Illuminating.--Nuns employed in copying
+  and painting Manuscripts.--Agnes, Abbess of Quedlinburg.--Princesses
+  at work.--Convent Sisters copying and embellishing religious
+  Works.--The Nuns’ Printing-press.--The first Sculptress, Sabina
+  von Steinbach.--Her Works in the Cathedral of Strasburg.--Elements
+  that pervade the Sculpture of the Middle Ages.--Painting
+  of the Archbishop crowning Sabina.                             Page 21
+
+
+  CHAPTER II.
+
+  THE FIFTEENTH CENTURY.
+
+  Commencement of the History of modern Art.--Causes of the Barrenness
+  of this Century in female Artists.--The Decline of Chivalry
+  unfavorable to their mental Development.--Passing away of the
+  Ideal and Supernatural Element in Art.--New Feeling for Nature.--New
+  Life and Action in Painting.--Portrayal of Feelings
+  of the Heart.--Release of Painting from her Trammels.--Severer Studies
+  necessary for Artists.--Woman excluded from the Pursuit.--Patronage
+  sought.--One female Artist representing each prominent
+  School.--Margaretta von Eyck.--Her Miniatures.--Extensive Fame.--Her
+  Decoration of Manuscripts.--Work in Aid of her Brothers.--“The
+  gifted Minerva.”--Single Blessedness.--Another Margaretta.--Copies
+  and illuminates MSS. in the Carthusian Convent.--Eight folio Volumes
+  filled.--Caterina Vigri.--Her Miniature Paintings.--Founds a
+  Convent.--“The Saint of Bologna.”--Miraculous Painting.--The warrior
+  Maiden Onorata.--Decorates the Palace at Cremona.--Insult offered
+  her.--She kills the Insulter.--Flight in male Attire.--Soldier
+  Life.--Delivers Castelleone.--The mortal Wound.                     32
+
+
+  CHAPTER III.
+
+  THE SIXTEENTH CENTURY.
+
+  This Century rich in great Painters.--Not poor in female
+  Artists.--Memorable Period both in Poetry and Painting.--Fruits of the
+  Labor of preceding Century now discernible.--Female Disciples in all
+  the Schools of Italian Art.--Superiority of the Bolognese
+  School.--Properzia Rossi.--Her Beauty and finished Education.--Carving
+  on Peach-stones.--Her Sculptures.--The famous Bas-relief of Potiphar’s
+  Wife.--Properzia’s unhappy Love.--Slander and Persecution.--Her
+  Works and Fame.--Visit of the Pope.--Properzia’s
+  Death.--Traditional Story.--Isabella Mazzoni a Sculptor.--A female
+  Fresco Painter.--Sister Plautilla.--Her Works for her Convent
+  Church.--Other Works.--Women Painters of the Roman School.--Teodora
+  Danti.--Female Engravers.--Diana Ghisi.--Irene di Spilimberg.--Her
+  Education in Venice.--Titian’s Portrait of her.--Tasso’s
+  Sonnet in her Praise.--Poetical Tributes on her Death.--Her
+  Works and Merits.--Vincenza Armani.--Marietta Tintoretto.--Her
+  Beauty and musical Accomplishments.--Excursions in Boy’s Attire
+  with her Father.--Her Portraits.--They become “the Rage.”--Invitation
+  from the Emperor.--From Philip of Spain.--The Father’s
+  Refusal.--Her Marriage and Death.--Portrait of her.--Women
+  Artists of Northern Italy.--Barbara Longhi and others.--The
+  Nuns of Genoa.                                                      38
+
+
+  CHAPTER IV.
+
+  THE SIXTEENTH CENTURY.
+
+  The six wonderful Sisters.--Sofonisba Anguisciola.--Her early
+  Sketches.--Painting of three Sisters.--Her Success in
+  Milan.--Invitation to the Court of Madrid.--Pomp of her Journey and
+  Reception.--The Diamond.--Paints the Royal Family and the
+  Flower of the Nobility.--Her Present to Pope Pius.--His Letter.--Her
+  Style.--Lucia’s Picture.--Sofonisba Governess to the Infanta.
+  Marriage to the Lord of Sicily.--His Death at Palermo.--The
+  Widow’s Voyage.--The gallant Captain.--Second Love and Marriage.--Her
+  Residence at Genoa.--Royal Visitors.--Loss of Sight.--Vandyck
+  her Guest.--Her Influence on Art in Genoa.--Her
+  Portrait and Works.--Sofonisba Gentilesca.--Her Miniatures of the
+  Spanish Royal Family.--Caterina Cantoni.--Ludovica Pellegrini.--Angela
+  Criscuolo.--Cecilia Brusasorci.--Caterina dei Pazzi.--Her
+  Style shows the Infusion of a new Element of religious
+  Enthusiasm into Art.--Tradition of her painting with eyes closed.--Her
+  Canonization.--Women in France at this period.--Isabella
+  Quatrepomme.--Women in Spain.--A female Doctor of Theology.--Change
+  wrought by Protestantism in the Condition of Woman.--Its
+  Influence on Art.--An English Paintress.--Lavinia Benic.--Catherine
+  Schwartz in Germany.--Eva von Iberg in Switzerland.--Women
+  Painters in the Netherlands.--Female Talent in Antwerp.--Albert
+  Durer’s Mention of Susannah Gerard.--Catherine Hämsen.--Anna
+  Seghers.--Clara de Keyzer.--Liewina Bennings’ and Susannah
+  Hurembout’s Visits to England.--The Engraver Barbara.--The Dutch
+  Engraver.--Constantia, the Flower Painter.                          48
+
+
+  CHAPTER V.
+
+  THE SEVENTEENTH CENTURY.
+
+  New Ground presented for Progress.--Greater Diversity of
+  Style.--Naturalism.--The Caracci instrumental in giving to Painting
+  the Impetus of Reform.--Their Academy.--One opened by a Milanese
+  Lady.--The learned Poetess and her hundredth Birthday.--Female
+  Painters and Engravers.--Lavinia Fontana.--The hasty
+  Judgment.--Lavinia a Pupil of Caracci.--Character of her
+  Pictures.--Honors paid to her.--Courted by Royalty.--Her Beauty and
+  Suitors.--A romantic Lover.--Lavinia’s Paintings.--Close of the Period
+  of the Christian Ideal in Art.--Lavinia’s _Chef-d’Œuvre_.--Her
+  Children.--Professional Honors.--Her Death.--Female Disciples of
+  the Caracci School.--Pupils of Domenichino, Lanfranco, and Guido
+  Reni.--The churlish Guercino a Despiser of Women.--The Cardinal’s
+  Niece and Heiress.--Her great Paintings.--Founds a
+  Cloister.--Artemisia Gentileschi, a Pupil of Guido.--Her
+  Portraits.--Visit to England.--Favor with Charles I.--Luxurious Abode
+  in Naples.--Her Correspondence.--Judgment of her Pictures.--Elisabetta
+  Sirani.--Her artistic Character.--Her household Life.--Industry and
+  Modesty.--Her Virtues and Graces.--Envious Artists.--Defeat of
+  Calumny.--Her mysterious Fate.--Conjectures respecting it.--Funeral
+  Obsequies.--Her principal Works.--Her Influence on female
+  Artists.--Her Pupils.--Other Women Artists of Bologna.              59
+
+
+  CHAPTER VI.
+
+  THE SEVENTEENTH CENTURY.
+
+  School of the Academicians after Caravaggio.--Unidealized
+  Nature.--Rude and violent Passions delineated.--Dark and stormy Side
+  of Humanity.--Dark Coloring and Shadows.--The gloomy and passionate
+  expressed in Pictures appeared in the Lives of Artists.--The
+  Dagger and Poison-cup common.--Aniella di Rosa.--The Pupil of
+  Stanzioni.--Character of her Painting.--Romantic Love and
+  Marriage.--The happy Home destroyed.--The hearth-stone
+  Serpent.--Jealousy.--The pretended Proof.--Phrensy and Murder.--Other
+  fair Neapolitans.--The Paintress of Messina.--The Schools of Bologna
+  and Naples embrace the most prominent Italian Paintings.--Commencement
+  of Crayon-drawing.--Tuscan Ladies of Rank cultivating Art.--The
+  Rosalba of the Florentine School.--Art in the City of the Cæsars.--The
+  Roman Flower-painter.--Engravers.--Medallion-cutters.--A female
+  Architect.--A Roman Sculptress.--Women Artists of the Venetian
+  School.--At Pavia.--The Painter’s four Daughters.--Chiara
+  Varotari.--Shares her Brother’s Labors.--A skillful Nurse.--Her
+  Pupils.--Other female Artists of this time.--The Schools of Northern
+  Italy.--Their Paintresses.--Giovanna Fratellini.                    74
+
+
+  CHAPTER VII.
+
+  THE SEVENTEENTH CENTURY.
+
+  Contrast between the Academicians and Naturalists, and between the
+  French and Spanish Schools of Painting.--Peculiarities of
+  each.--Ladies of Rank in Madrid Pupils of Velasquez.--Instruction of
+  the royal Children in Art.--The Engraver of Madrid.--Every City in
+  the South of Spain boasts a female Artist.--Isabella Coello.--Others
+  in Granada.--In Cordova.--The Sculptress of Seville.--Luisa
+  Roldan; her Carvings in Wood.--The Canons “sold.”--Invitation
+  to Madrid.--Sculptress to the King.--Other Women
+  Artists in Spain.--In France Woman’s Position more prominent
+  than in preceding Age.--Corruption of court Manners.--Unworthy Women
+  in Power.--Women in every Department of Literature.--Mademoiselle
+  de Scudery.--Madame de la Fayette.--Madame Dacier.--Women in
+  theological Pursuits.--Their Ascendency in Art not so
+  great.--Miniature and Flower Painters.--Engravers.--Elizabeth
+  Sophie Chéron.--A Leader in Enamel-painting.--Her
+  Portraits and History-pieces.--Her Merits and Success.--Her
+  Translations of the Psalms.--Musical and Poetical Talents.--Honors
+  lavished on her.--Love and Marriage at three-score.--Her Generosity
+  to the needy.--Verses in her Praise.--Historical Tableaux.--Madelaine
+  Masson.--The Marchioness de Pompadour.                              85
+
+
+  CHAPTER VIII.
+
+  THE SEVENTEENTH CENTURY.
+
+  Two different Systems of Painting in the North.--The Flemish School
+  represented by Rubens.--The Dutch by Rembrandt.--Characteristics
+  of Rubens’ Style.--No female Disciples.--Unsuited to feminine
+  Study.--Some Women Artists of the first Part of the Century.--Features
+  of the Dutch School.--A wide Field for female
+  Energy and Industry.--Painting _de genre_.--Its Peculiarities.--State
+  of Things favorable to female Enterprise.--Early Efforts in
+  Genre-painting.--Few Women among Rembrandt’s immediate
+  Disciples.--Genre-painting becomes adapted to female Talent.--“The
+  Dutch Muses.”--Another Woman Architect.--Dutch Women
+  Painters and Engravers.--Maria Schalken and others.--“The
+  second Schurmann.”--Margaretta Godewyck.--The Painter-poet.--Anna
+  Maria Schurmann.--Wonderful Genius for Languages.--Early
+  Acquirements.--Her Scholarship and Position among the
+  learned.--A Painter, Sculptor, and Engraver.--Called “the Wonder of
+  Creation.”--Royal and princely Visitors.--Journey to
+  Germany.--Embraces the religious Tenets of Labadie.--His
+  Doctrines.--Joins his Band.--Collects his Followers, and leads them
+  into Friesland.--Poverty and Death.--Visit of William Penn to
+  her.--Her Portrait.--Her female Contemporaries in
+  Art.--Flower-painting in the Netherlands.--Its Pioneers.--Maria
+  Van Oosterwyck.--Her Birth and Education.--Early
+  Productions.--Celebrated at foreign Courts.--Presents from
+  imperial Friends.--Enormous Prices for her Pictures.--Royal
+  Purchasers.--The quiet Artist at work.--The Lover’s Visit.--The
+  Lover’s Trial and Failure.--Style of her Painting.--Rachel
+  Ruysch.--The greatest Flower-painter.--Early Instruction.--Spread
+  of her Fame.--Domestic Cares.--Professional Honors.--Invitations to
+  Courts.--Her Patron, the Elector.--Her Works in old Age.--Her
+  Character.--Rarity of her Paintings.--Personal Appearance.          94
+
+
+  CHAPTER IX.
+
+  THE SEVENTEENTH CENTURY.
+
+  Unfavorable Circumstances for Painting in Germany.--Effects of the
+  Thirty Years’ War.--The national Love of Art shown by the Signs
+  of Life manifested.--Influence of the Reformation.--Inferiority of
+  German Art in this Century.--Ladies of Rank in Literature.--A female
+  Astronomer.--The Fame of Schurmann awakens Emulation.--Distinguished
+  Women.--Commencement of poetic Orders.--Zesen, the Patron of the
+  Sex.--Women who cultivated Art.--Paintresses of Nuremberg.--Barbara
+  Helena Lange.--Flower-painters and Engravers.--Modeling in Wax.--Women
+  Artists in Augsburg.--In Munich.--In Hamburg.--The Princess
+  Hollandina.--Her Paintings.--Maria Sibylla Merian.--Early Fondness for
+  Insects.--Maternal Opposition.--Her Marriage.--Publication of her
+  first Work.--Joins the Labadists.--Returns to the
+  Butterflies.--Curiosity to see American Insects.--Voyage to
+  Surinam.--Story of the Lantern-flies.--Return to Holland.--Her Works
+  published.--Republication in Paris afterward.--Her Daughters.--Her
+  personal Appearance.--The Danish Women Artists.--Anna Crabbe.--King’s
+  Daughters.--The Taste in Art in Denmark and England governed by that
+  of foreign Nations.--Female Artists in England.--The Poetesses most
+  prominent.--Miniaturists.--Portrait-painters.--Etchers.--Lady
+  Connoisseurs.--The Dwarf’s Daughter.--Anna Carlisle.--Mary
+  Beale.--Pupil of Sir Peter Lely.--Character of her Works.--Rumor of
+  Lely’s Attachment to her.--Poems in her Praise.--Mr. Beale’s
+  Note-books.--Anne Killegrew.--Her Portraits of the Royal
+  Family.--History and still-life Pieces.--Her Portrait by Lely.--Her
+  Character.--Dryden’s Ode to her Memory.--Her Poems
+  published.--Mademoiselle Rosée.--The Artist in Silk.--Wonderful
+  Effects.--Her Works Curiosities.--The Artist of the Scissors.--Her
+  singular imitative Powers.--A Copyist of old Paintings.--Her
+  Cuttings.--Views of all kinds done with the Scissors.--Royal and
+  imperial Visitors.--Her Trophy for the Emperor Leopold.--Poems in
+  her Praise.--The Swiss Paintress Anna Wasser.--Her Education and
+  Works.--Commissions from Courts.--Her Father’s Avarice.--Sojourn at a
+  Court.--Return home.--Fatal Accident.--Her literary
+  Accomplishments.                                                   110
+
+
+  CHAPTER X.
+
+  THE EIGHTEENTH CENTURY.
+
+  General Expansion and Extension of Art-culture.--More Scope given
+  to the Tendencies originated in preceding Age.--Reminiscences of
+  past Glories of Art active during the first half of the Century.--The
+  Flemish and Italian Schools in vogue.--Eclecticism.--Influences
+  of the French School mingled with those of the great Masters.--The
+  Rococo Style.--The Aggregate of Woman’s Labor greater
+  than ever before.--Not accompanied by greater Depth.--Less
+  Individuality discernible.--The greatest artistic Activity among
+  Women in Germany.--In France next.--In Italy next.--In other Countries
+  less.--Rapid Growth of Art in Berlin.--In Dresden.--Scholarship
+  and literary Position of Women during the first half
+  of the Century.--Poets and their Inspirations.--Princesses the Patrons
+  of Letters.--Nothing new or striking in Art.--A Revolution
+  in the latter half of the Century.--Instruction in Art a Branch of
+  Education.--Dilettanti of high Rank.--Female Pupils of Painters
+  of Note.--Mengs and Carstens.--Carstens the Founder of modern
+  German Art.--His Style not adapted to female Talent.--A lovely
+  Form standing between him and Mengs.--A female Stamp-cutter.--An
+  Artist in Wax-work.--In Stucco-work.--In cutting precious
+  Stones.--Barbara Preisler.--Other female Artists.--Fashionable
+  Taste in Painting.--Marianna Hayd.--Miniaturists.--Anna Maria
+  Mengs.--Her Works.--Miniature and Pastel-painting.--Flowers
+  and Landscapes a Passion.--Imitators of Rachel Ruysch and Madame
+  Merian.--Celebrities in Flower-painting.--Copper-engraving. Lady
+  Artists of high Rank.--Other Devotees to Art.                      132
+
+
+  CHAPTER XI.
+
+  THE EIGHTEENTH CENTURY.
+
+  Angelica Kauffman.--Parentage and Birth.--Beautiful Scenery of
+  her native Land.--Early Impulse to Painting.--Adopts the Style
+  of Mengs.--Her Residence in Como.--Instruction.--Music or
+  Painting?--Beauty of Nature around her.--Angelica’s Letter about
+  Como.--Escape from Cupid.--Removal to Milan.--Introduction to great
+  Works of Art.--Studies of the Lombard Masters.--The Duke of Modena
+  her Patron.--Portrait of the Duchess of Carrara.--Success.--Return to
+  Schwarzenberg.--Painting in Fresco.--Homely Life of the Artist.--Milan
+  and Florence.--Rome.--Acquaintance with Winkelmann.--Angelica paints
+  his Portrait.--Goes to Naples.--Studies in Rome.--In
+  Venice.--Acquaintance with noble English Families.--In London.--A
+  brilliant Career.--Fuseli’s Attachment to her.--Appointed Professor in
+  the Academy of Arts.--Romantic Incident of her Travel in
+  Switzerland.--The weary Travelers.--The libertine Lord.--The Maiden’s
+  Indignation.--Unexpected Meeting in the aristocratic Circles of
+  London.--The Lord’s Suit renewed.--Rejected with Scorn.--His Rank
+  and Title spurned.--Revenge.--The Impostor in Society.--Angelica
+  deceived into Marriage.--She informs the Queen.--Her Father’s
+  Suspicions.--Discovery of the Cheat.--The Wife’s Despair.--The
+  false Marriage annulled.--The Queen’s Sympathy.--Stories
+  of Angelica’s Coquetry.--Marriage with Zucchi.--Return to
+  Italy.--Her Father’s Death.--Residence in Rome.--Circle of literary
+  Celebrities.--Angelica’s Works.--Criticisms.--Opinions of
+  Mengs and Fuseli.--The Portraits in the Pitti Gallery.--Death of
+  Zucchi.--Invasion of Italy.--Angelica’s Melancholy.--Journey
+  and Return.--Her Death and Funeral.                                144
+
+
+  CHAPTER XII.
+
+  THE EIGHTEENTH CENTURY.
+
+  Female Artists in the Scandinavian Countries.--In Sweden.--Ulrica
+  Pasch.--Danish Women Artists.--A richer Harvest in the
+  Netherlands.--The Belgian Sculptress.--Maria Verelst.--Her Paintings
+  and Attainments in the Languages.--Residence in London.--Curious
+  Anecdote.--Walpole’s Remark.--Women Artists in
+  Holland.--Poetry.--Henrietta Wolters.--Her Portraits.--Invitation from
+  Peter the Great.--Dutch Paintresses.--The young Engraver.--Caroline
+  Scheffer.--Landscape and Flower Painters.--A Follower
+  of Rachel Ruysch.--An Engraver.--In England.--Painting
+  suited to Women.--Literary Ladies.--Effect of the Introduction
+  of a new Manner in Art.--Numerous Dilettanti.--Female Sculptors.--Mrs.
+  Samon.--Mrs. Siddons and others.--Mrs. Damer.--Aristocratic
+  Birth.--Early love of Study and Art.--Horace Walpole
+  her Adviser.--Conversation with Hume.--First Attempt at
+  Modeling.--The Marble Bust and Hume’s Criticism.--Surprise
+  of the gay World.--Miss Conway’s Lessons and Works.--Unfortunate
+  Marriage.--Widowhood.--Politics.--Walpole’s Opinion of Mrs. Damer’s
+  Sculptures.--Darwin’s Lines.--Sculptures.--Envy and Detraction.--Going
+  abroad.--Escape from Danger.--Noble Ambition.--Return to
+  England.--Politics and Kissing.--Private Theatricals.--The three
+  Heroes.--Friendship with the Empress.--Walpole’s Bequest.--Parlor
+  Theatricals, etc.--Removal.--Project for improving India.--Mrs.
+  Damer’s Works.--Opinions of her.                                   164
+
+
+  CHAPTER XIII.
+
+  THE EIGHTEENTH CENTURY.
+
+  Mary Moser.--Nollekens’ House.--Skill in Flower-painting.--The
+  Fashions.--Queen Charlotte.--Patience Wright.--Birth in New
+  Jersey.--Quaker Parents.--Childish Taste for
+  Modeling.--Marriage.--Widowhood.--Wax-modeling.--Rivals
+  Madame Tussaud.--Residence in England.--Sympathy with America in
+  Rebellion.--Correspondence with Franklin.--Intelligence
+  conveyed.--Freedom of Speech to Majesty.--Franklin’s Postscript.--“The
+  Promethean Modeler.”--Letter to Jefferson.--Patriotism.--Art
+  the Fashion.--Aristocratic lady Artists.--Princesses Painting.--Lady
+  Beauclerk.--Walpole’s “Beauclerk Closet.”--Designs and
+  Portrait.--Lady Lucan.--Her Illustrations of Shakspeare.--Walpole’s
+  Criticism.--Other Works.--Mary Benwell and others.--Anna
+  Smyters and others.--Madame Prestel.--Mrs. Grace.--Mrs.
+  Wright.--Flower-painters.--Catherine Read and others.--Maria
+  Cosway.--Peril in Infancy.--Lessons.--Resolution to take the
+  Veil.--Visit to London.--Marriage.--Cosway’s Painting.--Vanity
+  and Extravagance.--The beautiful Italian Paintress.--Cosway’s
+  Prudence and Management.--Brilliant evening Receptions.--Aristocratic
+  Friends.--The Epigram on the Gate.--Splendid new
+  House and Furniture.--Failing Health.--France and Italy.--Institution
+  at Lodi.--Singular Occurrence.--Death of Cosway.--Return
+  to Lodi.--Maria’s Style and Works.                                 181
+
+
+  CHAPTER XIV.
+
+  THE EIGHTEENTH CENTURY.
+
+  Close of the golden Age of Art in France.--Corruption of
+  Manners.--Influence of female Genius.--Reign of Louis XVI.--Female
+  Energy in the Revolution.--Charlotte Corday.--Greater Number
+  of female Artists in Germany.--Reasons why.--French Women
+  devoted to Engraving.--Stamp-cutters.--A Sculptress enamored.--A
+  few Paintresses.--The Number increasing.--Influence of the
+  great French Masters.--Sèvres-painting.--Genre-painting.--Disciples of
+  Greuze.--Portrait-painting in vogue.--Caroline
+  Sattler.--Flower-painters, etc.--Engravers.--Two eminent
+  Paintresses.--Adelaide Vincent.--Marriage.--Portraits and other
+  Works.--The Revolution.--Elizabeth Le Brun.--Talent for Painting.--Her
+  Father’s Delight.--Instruction.--Friendship with Vernet.--Poverty
+  and Labor.--Avaricious Step-father.--Her Earnings squandered.--Success
+  and Temptation.--Acquaintance with Le Brun.--Maternal
+  Counsels to Marriage.--Secret Marriage.--Warnings too
+  late.--The Mask falls.--Luxury for the Husband, Labor and Privation
+  for the Wife.--Success and Scandal.--French Society.--Friendship
+  with Marie Antoinette.--La Harpe’s Poem.--Evening
+  Receptions.--Splendid Entertainments.--Scarcity of Seats.--Petits
+  Soupers.--The Grecian Banquet.--Reports concerning it.--Departure
+  from France.--Triumphal Progress.--Reception in Bologna.--In
+  Rome.--In Naples.--In Florence.--Madame Le Brun’s Portrait.--Goethe’s
+  Remarks.--New Honors.--Reception at Vienna.--An
+  old Friend in Berlin.--Residence in Russia.--Return to
+  France.--Loyalty.--Her Pictures.--Death of her Husband and
+  Daughter.--Advanced Age.--Autobiography.--An emblematic Life.      199
+
+
+  CHAPTER XV.
+
+  THE EIGHTEENTH CENTURY.
+
+  Women Artists in Spain.--Their Participation a Test of general
+  Interest.--Female Representatives of the most important
+  Schools.--That of Seville.--Of Madrid.--The Paintress of Don
+  Quixote.--Ladies of Rank Members of the Academy.--Maria Tibaldi.--Two
+  female Artists besides two Poetesses in Portugal.--The Harvest
+  greater in Italy.--Few attained to Eminence.--Learned Ladies.--Female
+  Doctors and Professors.--Degrees in Jurisprudence
+  and Philosophy conferred on them.--Examples.--The Scholar nine Years
+  old.--A lady Professor of Mathematics.--Women Lecturers.--Comparison
+  with English Ladies.--Brilliant Devotees of the Lyre.--Female Talent
+  in the important Schools of Art.--Women Artists in
+  Florence.--Engravers and Paintresses.--In Naples.--Kitchen-pieces.--In
+  the Cities of northern Italy.--In Bologna.--Princesses.--In
+  Venice.--Rosalba Carriera.--Her childish Work.--Her Genius
+  perceived.--Instruction.--Takes to Pastel-painting.--Merits
+  of her Works.--Celebrity.--Invitations to
+  Paris and Vienna.--Visit from the King of Denmark.--Invited
+  by the Emperor and the King of France.--Portrait for the Grand
+  Duke of Tuscany.--The King of Poland her Patron.--Unspoiled
+  by Honors.--Her moral Worth.--Residence in Paris.--Her Pictures.--The
+  Lady disguised as a Maid-servant.--Want of Beauty.--Anecdote
+  of the Emperor.--Rosalba’s Journal.--Visit to Vienna.--Presentiment
+  of Calamity.--The Portrait wreathed with
+  gloomy Leaves.--Blindness.--Loss of Reason.--Death and Burial.--Her
+  Portrait.--Other Venetian Women.                                   221
+
+
+  CHAPTER XVI.
+
+  THE NINETEENTH CENTURY.
+
+  More vigorous Growth of the Branches selected for female
+  Enterprise.--Progress accelerated toward the Close of last
+  Century.--Still more remarkable within the last fifty Years.--Great
+  Number of Women active in Art.--Better intellectual Cultivation and
+  growing Taste.--Increased Freedom of Woman.--Present Prospect
+  fair.--Growing Sense of the Importance of Female Education.--Women
+  earning an Independence.--The Stream shallows as it widens.--Few
+  Instances of pre-eminent Ability.--Fuller Scope of the Influence
+  of the French Masters in the nineteenth Century.--David,
+  the Republican Painter.--His female Pupils.--Angélique Mongez.--Madame
+  Davin and others.--Disciples of Greuze.--Female
+  Scholars of Regnault.--Pupils of the Disciples of David.--Pupils
+  of Fleury and Cogniet.--Madame Chaudet.--Kinds of Painting in
+  Vogue.--The Princess Marie d’Orleans.--Her Statue of the Maid
+  of Orleans.--Her last Work.--Promise of Greatness.--Sculpture
+  by Madame de Lamartine.--“Paris is France.”--Painting on
+  Porcelain.--Madame Jacotot and others.--Condition of Art in
+  Germany.--Carstens.--Women Artists.--Maria Ellenrieder.--Louise
+  Seidler.--Baroness von Freiberg.--Madame von Schroeter.--Female
+  Artists of the Düsseldorf School.--The greatest Number in
+  Berlin.--Rich Bloom of Female Talent in Vienna and Dresden.--Changes
+  in Italy.--Prospect not fair in Spain and Scandinavia.--In
+  England, Sculpture and Painting successfully cultivated.--Fanny
+  Corbeaux.--Superior in Biblical Scholarship.--The Netherlands
+  in this Century.--Encouragement for Women to persevere.--Dr.
+  Guhl’s Opinion.--History the Teacher of the Present.               233
+
+
+  CHAPTER XVII.
+
+  THE NINETEENTH CENTURY.
+
+  Felicie de Fauveau.--Parentage.--Her Mother a Legitimist.--The
+  Daughter’s Inheritance of Loyalty.--Removals.--Felicie’s
+  Studies.--Learns to Model.--Resolves to be a Sculptor.--Labor becoming
+  to a Gentlewoman.--Her first Works.--Early Triumphs.--Social
+  Circle in Paris.--Evening Employments.--Revival of a peculiar
+  Taste.--Mediæval Fashions.--The bronze Lamp.--Equestrian
+  Sketch.--Effect of the Revolution of 1830.--The two Felicies leave
+  Paris.--A rural Conspiracy.--A domiciliary Visit.--Escape of the
+  Ladies.--Discovery and Capture.--The Stratagem at the Inn.--Escape
+  of Madame in Disguise.--Imprisonment of Mademoiselle.--Works
+  in Prison.--Return to Paris.--Politics again.--Felicie
+  banished.--Breaks up her Studio.--Poverty and Privation.--Residence
+  in Florence.--Brighter Days.--Character of Felicie.--Personal
+  Appearance.--Her Dwelling and Studio.--Her Works.--The
+  casting of a bronze Statue.--Industry and Retirement.--“A
+  good Woman and a great Artist.”--ROSA BONHEUR.--Her Birth in
+  Bordeaux.--Her Father.--Rosa a Dunce in Childhood.--Her
+  Parrot.--Rambles.--The Spanish Poet.--Removal to Paris.--Revolution
+  and Misfortune.--Death of Madame Bonheur.--The Children
+  at School.--Rosa detests Books and loves Roaming.--Remarriage of
+  Bonheur.--Rosa a Seamstress.--Hates the Occupation.--Prefers turning
+  the Lathe.--Her Unhappiness.--Placed at a Boarding-school.--Her
+  Pranks and Caricatures.--Abhorrence of Study.--Mortification
+  at her Want of fine Clothes.--Resolves to achieve a
+  Name and a Place in the World.--Discontent and Gloom.--Return
+  home.--Left to herself.--Works in the Studio.--Her Vocation
+  apparent.--Studies at the Louvre.--Her Ardor and Application.--The
+  Englishman’s Prophecy.--Rosa vowed to Art.--Devoted
+  to the Study of Animals.--Excursions in the Country in search of
+  Models.--Visits the _Abattoirs_.--Study of various Types.--Visits
+  the Museums and Stables.--Resorts to the horse and cattle Fairs in
+  male Attire.--Curious Adventures.--Anatomical Studies.--Advantages
+  of her Excursions.--Her Father her only Teacher.--The
+  Family of Artists.--Rosa’s pet Birds and Sheep.--Her first
+  Appearance.--Rising Reputation.--Takes the gold Medal.--Proclaimed
+  the new Laureat.--Death of her Father.--Rosa Directress
+  of the School of Design.--Her Sister a Professor.--“The
+  Horse-market.”--Rosa’s Paintings.--Bestows her Fortune on others.--Her
+  Farm.--Drawings presented to Charities.--Demand for her
+  Paintings.--Her Right to the Cross of the Legion of Honor.--The
+  Emperor’s Refusal to grant it to a Woman.--Description of her
+  Residence and her Studio.--Rosa found asleep.--Her personal
+  Appearance.--Dress.--Her Character.--Her Industry.--Mademoiselle
+  Micas.--Mountain Rambles.--Rosa’s Visit to Scotland.--Her
+  Life in the Mountains.--At the Spanish Posada.--Threatened
+  Starvation.--Cooking Frogs.--The Muleteers.--Rosa’s Scotch
+  Terrier.--Her Resolution never to marry.                           246
+
+
+  CHAPTER XVIII.
+
+  THE NINETEENTH CENTURY.
+
+  The Practice of Art in America.--Number of women Artists
+  increasing.--Prospect flattering.--Imperfection of Sketches of living
+  Artists.--Rosalba Torrens.--Miss Murray.--Mrs. Lupton.--Miss
+  Denning.--Miss O’Hara.--Mrs. Darley.--Mrs. Goodrich.--Miss
+  Foley.--Miss Mackintosh and others.--Mrs. Ball Hughes.--Mrs.
+  Chapin.--Sketch of Mrs. Duncan.--The Peale Family.--Anecdote
+  of General Washington.--Mrs. Washington’s Punctuality.--Miss
+  Peale an Artist in Philadelphia.--Paints Miniatures.--Copies
+  Pictures from great Artists.--She and her Sister honorary Members
+  of the Academy.--Her prosperous Career.--Paints with her
+  Sister in Baltimore and Washington.--Marriage and Widowhood.--Return
+  to Philadelphia.--Second Marriage.--Happy Home.--Mrs.
+  Yeates.--Miss Sarah M. Peale.--Success.--Removal to St.
+  Louis.--Miss Rosalba Peale.--Miss Ann Leslie.--Early Taste in
+  Painting.--Visits to London.--Copies Pictures.--Miss Sarah Cole.--Mrs.
+  Wilson.--Intense Love of Art.--Her Sculptures.--Her
+  impromptu Modeling of Emerson’s Head.--Mrs. Cornelius Dubois.--Her
+  Taste for the Sculptor’s Art.--Groups by her.--Studies in
+  Italy.--Her Cameos.--Her Kindness to Artists.--Miss Anne Hall.--Early
+  Love of Painting.--Lessons.--Copies old Paintings in Miniature.--Her
+  original Pictures.--Her Merits of the highest Order.--Groups
+  in Miniature.--Dunlap’s Praise.--Her Productions
+  numerous.--Mary S. Legaré.--Her Ancestry.--Mrs. Legaré.--Early
+  Fondness for Art shown by the Daughter.--Her Studies.--Little
+  Beauty in the Scenery familiar to her.--Colonel Cogdell’s Sympathy
+  with her.--Success in Copying.--Visit to the Blue Ridge.--Grand
+  Views.--Paintings of mountain Scenery.--Removal to Iowa.--“Legaré
+  College.”--Her Erudition and Energy.--Her Marriage.--Herminie
+  Dassel.--Reverse of Fortune.--Painting for a
+  Living.--Visit to Vienna and Italy.--Removal to America.--Success and
+  Marriage.--Her social Virtues and Charity.--Miss Jane Stuart.--Mrs.
+  Hildreth.--Mrs. Davis.--Mrs. Badger’s Book of Flowers.--Mrs.
+  Hawthorne.--Mrs. Hill.--Mrs. Greatorex.--Mrs. Woodman.--Miss
+  Gove.--Miss May.--Miss Granbury.--Miss Oakley.                     285
+
+
+  CHAPTER XIX.
+
+  THE NINETEENTH CENTURY.
+
+  MRS. LILY SPENCER.--Early Display of Talent.--Removal to New York.--To
+  Ohio.--Out-door Life.--Chase of a Deer.--Encounter with the
+  Hog.--Lifting a Log.--Sketch on her bedroom
+  Walls.--Encouragement.--Curiosity to see her Pictures.--Her
+  Studies.--Removal to Cincinnati.--Jealousy of Artists.--Lord
+  Morpeth.--Lily’s Marriage.--Return to New York.--Studies.--Her
+  Paintings.--Kitchen Scenes.--Success and Fame.--Her Home and
+  Studio.--Louisa Lander.--Inheritance of Talent.--Passion for
+  Art.--Development of Taste for Sculpture.--Abode in Rome.--Crawford’s
+  Pupil.--Her Productions.--“Virginia Dare.”--Other
+  Sculptures.--Late Works.--Mary Weston.--Childish Love of Beauty and
+  Art.--Devices to supply the Want of Facilities.--Studies.--Departure
+  from Home.--Is taken back.--Perseverance amid Difficulties.--Journey
+  to New York.--Sees an Artist work.--Finds Friends.--Visit to
+  Hartford.--Return to New York for Lessons.--Marriage.--Her
+  Paintings.--Miss Freeman.--Variously gifted.--Miss
+  Dupré.--The Misses Withers.--Mrs. Cheves.--Mrs. Hanna.             317
+
+
+  CHAPTER XX.
+
+  THE NINETEENTH CENTURY.
+
+  EMMA STEBBINS.--Favorable Circumstances of her early Life to the Study
+  of Art.--Specimens of her Skill shown in private Circles.--Receives
+  Instruction from Henry Inman.--Correctness of her Portraits.--“A
+  Book of Prayer.”--Revives Taste for Illuminations.--Her
+  crayon Portraits.--Copies of Paintings.--Cultivates many
+  Branches of Art.--Becomes a Sculptor.--Abode in Rome.--Instruction
+  received from Gibson and Akers.--Late Work from her Chisel.--“The
+  Miner.”--HARRIET HOSMER.--Dwelling of the Sculptor Gibson in
+  Rome.--His Studio and Work-room.--“La Signorina.”--The American
+  Sculptress.--Her Childhood.--Physical
+  Training.--School-life.--Anecdotes.--Studies at Home.--At St.
+  Louis.--Her Independence.--Trip on the
+  Mississippi.--“Hesper.”--Departure for Rome.--Mr. Gibson’s
+  Decision.--Extract from Miss Hosmer’s Letter.--Original
+  Designs.--Reverse of Fortune.--Alarm.--Resolution.--Industry,
+  Economy, and Success.--Late Works.--Visit of the Prince of Wales.  346
+
+
+
+
+                            WOMEN ARTISTS.
+
+
+
+
+                              CHAPTER I.
+
+                            THE EARLY AGES.
+
+ Women in Art.--Kind of Painting most practiced by them.--Feminine
+ Employments in early Ages.--The fair Egyptians.--Women of Assyria and
+ Babylon.--Grecian Women.--Sculpture and Painting in Greece.--The
+ Daughter of Dibutades.--The Lover’s Profile.--The first Bas-relief.
+ --Timarata.--Helena.--Anaxandra.--Kallo.--Cirene.--Calypso.--Other
+ Pupils of Grecian Art.--The Roman Women.--The Paintress
+ Laya.--Lala.--Influence of Christianity on Art.--Adornment rejected by
+ the early Christians.--Art degraded for Centuries.--Female Influence
+ among the Nations that rose on the Ruins of Rome.--Wise and clever
+ Princesses.--Anna Comnena.--The first Poetess of Germany.--The
+ first Editress of a Cyclopædia.--The Art of Illuminating.--Nuns
+ employed in copying and painting Manuscripts.--Agnes, Abbess of
+ Quedlinburg.--Princesses at work.--Convent Sisters copying and
+ embellishing religious Works.--The Nuns’ Printing-press.--The first
+ Sculptress, Sabina von Steinbach.--Her Works in the Cathedral of
+ Strasburg.--Elements that pervade the Sculpture of the Middle
+ Ages.--Painting of the Archbishop crowning Sabina.
+
+
+“Men have not grudged to women,” says a modern writer, “the wreaths
+of literary fame. No history of literature shows a period when their
+influence was not apparent, when honors were not rendered to them;” and
+the social condition of woman has been generally allowed to measure
+the degree of intellectual culture in a nation. Although in the realm
+of art her success is more questionable, she may yet claim the credit
+of having materially aided its progress. Woman is the type of the
+ornamental part of our life, and lends to existence the charm which
+inspires the artist, and furnishes him with an object for effort. Her
+native unconscious grace and beauty present the models which it is his
+highest merit to copy faithfully.
+
+A New England divine says, “Woman, like man, wants to make her thought
+a thing.” “All that belongs to the purely natural,” observes Hippel,
+“lies within her sphere.” The kind of painting, thus, in which the
+_object_ is prominent has been most practiced by female artists.
+Portraits, landscapes, flowers, and pictures of animals are in favor
+among them. Historical or allegorical subjects they have comparatively
+neglected; and, perhaps, a sufficient reason for this has been that
+they could not command the years of study necessary for the attainment
+of eminence in these. More have been engaged in engraving on copper
+than in any other branch of art, and many have been miniature painters.
+
+Such occupations might be pursued in the strict seclusion of home,
+to which custom and public sentiment consigned the fair student. Nor
+were they inharmonious with the ties of friendship and love to which
+her tender nature clung. In most instances women have been led to
+the cultivation of art through the choice of parents or brothers.
+While nothing has been more common than to see young men embracing
+the profession against the wishes of their families and in the face
+of difficulties, the example of a woman thus deciding for herself is
+extremely rare.
+
+We know little of the practice of the arts by women in ancient times.
+The degraded condition of the sex in Eastern countries rendered woman
+the mere slave and toy of her master; but this very circumstance gave
+her artistic ideas capable of development into independent action.
+These first showed themselves in the love of dress and the selection of
+ornaments. From the early ages of the world, too, spinning and weaving
+were feminine employments, in which undying germs of art were hidden;
+for it belongs to human nature never to be satisfied with what merely
+ministers to necessity. The ancient sepulchres and buried palaces
+disclosed by modern discovery display the love of adornment prevailing
+among the nations of antiquity. Women rendered assistance in works upon
+wood and metal, as well as, more frequently, in the productions of the
+loom. The fair Egyptians covered their webs with the most delicate
+patterns; and the draperies of the dead and the ornamented hangings in
+their dwellings attested the skill of the women of Assyria and Babylon.
+
+The shawls and carpets of Eastern manufacture, and other articles of
+luxury that furnished the palaces of European monarchs, were often the
+work of delicate hands, though no tradition has preserved the names of
+those who excelled in such labors.
+
+Among the ancient Greeks the position of woman, though still secluded
+and slavish, gave her a nobler life. The presiding deities of the
+gentle arts were represented to popular apprehension in female form,
+and, doubtless, the gracious influence the sex has in all ages
+exercised was then in some measure recognized. Poetry had her fair
+votaries, and names are still remembered that deserve to live with
+Sappho. Schools of philosophy were presided over by the gifted and
+cultivated among women.
+
+Sculpture and architecture, the arts carried to greatest perfection,
+were then far in advance of painting; at least, we know of no relics
+that can support the pretensions of the Greeks to superiority in the
+latter. “What is left,” says a writer in the “Westminster Review,”
+“of Apelles and Zeuxis? The few relics of ancient painting which have
+survived the lapse of ages and the hand of the spoiler all date from
+the time of the Roman Empire; and neither the frescoes discovered
+beneath the baths of Titus, the decorations of Pompeii and Herculaneum,
+nor even the two or three cabinet pictures found beneath the buried
+city, can be admitted as fair specimens of Grecian painting in its
+zenith.”
+
+
+                      THE DAUGHTER OF DIBUTADES.
+
+But, though few Grecian women handled the pencil or the chisel, and
+women were systematically held in a degree of ignorance, we find here,
+on the threshold of the history of art, a woman’s name--that of Kora,
+or, as she has been called, Callirhoe, the daughter of a potter named
+Dibutades, a native of Corinth, said to have resided at Sicyonia about
+the middle of the seventh century before Christ. Pliny tells us she
+assisted her father in modeling clay. The results of his labor were
+arranged on shelves before his house, which the purchasers usually
+left vacant before evening. It was the office of his daughter, says
+a fanciful chronicler, to fill the more elaborate vases with choice
+flowers, which the young men came early to look at, hoping to catch a
+glimpse of the graceful artist maiden.
+
+As she went draped in her veil to the market-place, she often met a
+youth, who afterward became an assistant to her father in his work.
+He was skilled in much learning unknown to the secluded girl, and in
+playing on the reed; and the daily life of father, daughter, and lover
+presented an illustration of Grecian life and beauty. The youth was
+constrained at length to depart, but ere he went the vows of betrothal
+were exchanged between him and Kora.
+
+Their eve of parting was a sad one. As they sat together by the
+lamplight the maiden suddenly rose, and, taking up a piece of pointed
+charcoal from the brasier, and bidding the young man remain still,
+she traced on the wall the outline of his fine Grecian profile, as a
+memorial when he should be far away. Dibutades saw the sketch she had
+made, and recognized the likeness. Carefully he filled the outline with
+clay, and a complete medallion was formed. It was the first portrait
+in relief! Thus a new art was born into the world, the development of
+which brought fortune and fame to the inventor! The story is, at least,
+as probable as that of Saurias discovering the rules of sketching and
+contour from the shadow of his horse. It was neither the first nor the
+last time that Love became a teacher. Might not the fable of Memnon
+thus find its realization?
+
+It is related that Dibutades, who had followed up his medallions with
+busts, became so celebrated, that many Grecian states claimed the
+honor of his birth; and that his daughter’s lover, who came back to
+espouse her, modeled whole figures in Corinth. A school for modeling
+was instituted about this time in Sicyonia, of which Dibutades was the
+founder.
+
+At a later period we hear of Timarata, the daughter of a painter, and
+herself possessed of considerable skill, as Pliny testifies, he having
+seen one of her pictures at Ephesus, representing the goddess Diana.
+
+Several names of female artists have come down from the time of
+Alexander the Great and his luxurious successors. Art began to have
+a richer and more various development, and women were more free to
+follow their inclinations in its pursuit. One belonging to this age
+was Helena, who is said to have painted, for one of the Ptolomies,
+the scene of a battle in which Alexander vanquished Darius; a picture
+thought, with some probability, to have been the original of a famous
+mosaic found in Pompeii.
+
+Anaxandra, the daughter and pupil of a Greek painter, appears to have
+labored under the same royal patronage, as well as another female
+artist named Kallo, one of whose pictures, presented in the Temple of
+Venus, was celebrated by the praise of a classic poetess; the fair
+painter being declared as beautiful as her own work. Among these pupils
+of Grecian art we hear also of Cirene, the daughter of Kratinos, whose
+painting of Proserpina was preserved; of Aristarite, the author of a
+picture of Esculapius; of Calypso, known as a painter _de genre_. Her
+portraits of Theodorus, the juggler, and a dancer named Acisthenes,
+were celebrated, and she is said to have executed one that has been
+transferred from the ruins of Pompeii to Naples, and is now called “A
+Mother superintending her Daughter’s Toilet.” The name of Olympias is
+remembered, though we have no mention of her works. Beyond these few
+names, we know nothing of the female artists of Greece.
+
+
+                         THE ROMAN PAINTRESS.
+
+Among the Romans we find but one female painter, and she was of Greek
+origin and education. The life of the Roman matrons was not confined to
+a narrower sphere, and the influence conceded to them might have been
+eminently favorable to their cultivation of art. But, with the nation
+of soldiers who ruled the world, the elegant arts were not at home as
+in their Hellenic birth-place. They flourished not so grandly in the
+palmiest days of Rome, as in the decay of the Empire. The heroic women
+celebrated in the history of the Republic, and in Roman literature,
+had no rivals in the domain of sculpture and painting. The one whose
+name has descended to modern times is Laya. She exercised her skill
+in Rome about a hundred years before Christ. The little knowledge we
+have of her paintings is very interesting, inasmuch as she was the
+pioneer in a branch afterward cultivated by many of her sex--miniature
+painting. Her portraits of women were much admired, and she excelled in
+miniatures on ivory. A large picture in Naples is said to be one of her
+productions. She surpassed all others in the rapidity of her execution,
+and her works were so highly valued that her name was ranked with the
+most renowned painters of the time, such as Sopolis, Dionysius, etc.
+Pliny, who bears this testimony, adds that her life was devoted to her
+art, and that she was never married. Some others mention a Greek girl,
+_Lala_, as contemporary with Cleopatra, who was celebrated for her
+busts in ivory. The Romans caused a statue to be erected to her honor.
+
+
+                      INFLUENCE OF CHRISTIANITY.
+
+Painting was destined to higher improvements under the mild sway
+of the Christian religion than in the severer school of classical
+antiquity. Woman gradually rose above the condition of slavery, and
+began to preside over the elements that formed the poetry of life. But
+changes involving the lapse of centuries were necessary, before Art
+could be divested of her Athenian garment, and put on the pure bridal
+attire suited to her nuptials with devotion. After the destruction of
+the Roman Empire, there is a long interval during which we hear of
+no achievement beyond the Byzantine relics, and the mosaics of the
+convents and cemeteries.
+
+Even the beauty of early art, associated as it was with the forms of
+a pagan mythology, was detested by the votaries of a pure and holy
+faith. The early Christians rejected adornment, which they regarded as
+inconsistent with their simple tenets, and as an abomination in the
+sight of God. Thus, for seven hundred years art was degraded, and only
+by degrees did she lift herself from the dust.
+
+In the mean while female influence grew apace among the nations that
+rose upon the ruins of Rome. Amalasuntha, the daughter of Theodoric the
+Great, was worthy of her sire in wisdom and knowledge of statesmanship,
+while she is said to have surpassed him in general cultivation, and
+to have rendered him essential service in his building enterprises.
+Theudelinda, Queen of the Longobards, adorned her palace at Monza
+with paintings celebrating the history of her people; and, from the
+time of Charlemagne, each century boasted several women of political
+and literary celebrity. There was the famous nun Hroswitha, who, in
+her convent at Gandersheim, composed an ode in praise of Otho, and
+a religious drama after the manner of Terence; there was the Greek
+princess Anna Comnena, the ornament of the Byzantine court; there
+was the first poetess of Germany, Ava; with Hildegardis, Abbess of
+Bingen; Heloise, the beloved of Abelard; the Abbess of Hohenburg, who
+undertook the bold enterprise of a cyclopædia of general knowledge;
+and a host of others.[1]
+
+[1] Later, Angela de Foligno was celebrated as a teacher of theology.
+Christina Pisani wrote a work, “La Cité des Dames,” which was published
+in Paris in 1498. It gives account of the learned and famous Novella,
+the daughter of a professor of the law in the University of Bologna.
+She devoted herself to the same studies, and was distinguished for her
+scholarship. She conducted her father’s cases, and, having as much
+beauty as learning, was wont to appear in court veiled.
+
+
+                            ILLUMINATIONS.
+
+Noble women became patrons of art, particularly that branch cultivated
+with most success in the decline of the rest--miniature painting upon
+parchment. From being merely ornamental this became a necessity in
+manuscript books of devotion, and the brilliant coloring and delicate
+finish of the illuminations were often owing to the touch of feminine
+hands. The inmates of convents and monasteries employed much time in
+painting and ornamenting books, in copying the best works of ancient
+art, and in painting on glass; the nuns especially making a business
+of copying and illuminating manuscripts. Agnes, Abbess of Quedlinberg,
+was celebrated as a miniature painter in the twelfth century, and some
+of her works have survived the desolation of ages. “The cultivators
+of this charming art were divided into two classes--miniaturists,
+properly so called; and miniature caligraphists. It was the province
+of the first to color the histories and arabesques, and to lay on the
+gold and silver ornaments. The second wrote the book, and the initial
+letters so frequently traced in red, blue, and gold: these were called
+‘Pulchri Scriptores,’ or fair writers. Painting of this description was
+peculiarly a religious occupation. It was well suited for the peaceful
+and secluded life of the convent or the monastery. It required none of
+the intimate acquaintance with the passions of the human heart, with
+the busy scenes of life, so essential to other and higher forms of art.”
+
+The labors of nuns in ornamental work in the Middle Ages were not
+confined to illuminating and miniature painting; but it is not our
+province to enumerate the products of their industry, nor to chronicle
+the benefits they conferred on the sick and poor. The fairest
+princesses did not disdain to work altar-pieces, and to embroider
+garments for their friends and lovers.
+
+In the commencement of the fourteenth century a female painter, named
+Laodicia, lived in Pavia, and Vasari mentions the Dominican nun,
+Plautilla Nelli. “In 1476, Fra Domenico da Pistoya and Fra Pietro da
+Pisa, the spiritual directors of a Dominican convent, established a
+printing-press within its walls; the nuns served as compositors, and
+many works of considerable value issued from this press between 1476
+and 1484, when, Bartolomeo da Pistoya dying, the nuns ceased their
+labors.”
+
+
+                         THE FIRST SCULPTRESS.
+
+Germany had the honor of producing the first female sculptor of whom
+any thing is known--Sabina von Steinbach, the daughter of Erwin von
+Steinbach, who in that wonderful work, the cathedral of Strasburg, has
+reared so glorious a monument to his memory.
+
+The task of ornamenting this noble building was in great part intrusted
+to the young girl, whose genius had already exhibited itself in
+modeling. Her sculptured groups, and especially those on the portal
+of the southern aisle, are of remarkable beauty, and have been admired
+by visitors during the lapse of ages. Here are allegorical figures
+representing the Christian Church and Judaism; the first of lofty
+bearing and winning grace, with crowned heads, bearing the cross in
+their right hands, and in their left the consecrated host. The other
+figures stand with eyes downcast and drooping head; in the right
+hand a broken arrow, in the left the shattered tablets of the Mosaic
+Law. Besides many other groups are four bas-reliefs representing the
+glorification of the Virgin; her death and burial on one side, and on
+the other her entrance into heaven and triumphant coronation.
+
+It may well be said that in these works are embodied the ideal and
+supernatural elements that pervade the sculpture of the Middle Ages;
+and it seemed most appropriate that the taste and skill of woman should
+develop in such elements the purity and depth of feeling which impart a
+charm to these sculptures acknowledged by every beholder.
+
+On one of the scrolls, held by the Apostle John, the following lines
+are inscribed in Latin:
+
+  “The grace of God be with thee, O Sabina,
+  Whose hands from this hard stone have formed my image.”
+
+An old painting at Strasburg represents this youthful sculptress
+kneeling at the feet of the archbishop, to receive his blessing and
+a wreath of laurel, which he is placing on her brow. This painting
+attests the popular belief in a tradition that Sabina, after seeing her
+statues deposited in their niches, was met by a procession of priests
+who came, with the prelate at their head, for the purpose of conferring
+this honor upon her.
+
+
+
+
+                              CHAPTER II.
+
+                        THE FIFTEENTH CENTURY.
+
+ Commencement of the History of modern Art.--Causes of the Barrenness
+ of this Century in female Artists.--The Decline of Chivalry
+ unfavorable to their mental Development.--Passing away of the Ideal
+ and Supernatural Element in Art.--New Feeling for Nature.--New Life
+ and Action in Painting.--Portrayal of Feelings of the Heart.--Release
+ of Painting from her Trammels.--Severer Studies necessary for
+ Artists.--Woman excluded from the Pursuit.--Patronage sought.--One
+ female Artist representing each prominent School.--Margaretta
+ von Eyck.--Her Miniatures.--Extensive Fame.--Her Decoration
+ of Manuscripts.--Work in Aid of her Brothers.--“The gifted
+ Minerva.”--Single Blessedness.--Another Margaretta.--Copies and
+ illuminates MSS. in the Carthusian Convent.--Eight folio Volumes
+ filled.--Caterina Vigri.--Her Miniature Paintings.--Founds a
+ Convent.--“The Saint of Bologna.”--Miraculous Painting.--The warrior
+ Maiden Onorata.--Decorates the Palace at Cremona.--Insult offered
+ her.--She kills the Insulter.--Flight in male Attire.--Soldier
+ Life.--Delivers Castelleone.--The mortal Wound.
+
+
+The fifteenth century, with which the history of modern art may be
+properly commenced, is barren in female artists. This is, doubtless,
+owing in part to a change in the social condition of woman, consequent
+on the decline of chivalry, that “poetical lie,” as Rahel terms it.
+During the two centuries preceding this period, the fair sex had been
+regarded with a kind of adoration. Beauty was the minstrel’s theme and
+the soldier’s inspiration, and the courts of love, by giving power to
+the intellectual among women, stimulated them to the cultivation of
+their minds as well as the adornment of their persons. The descent from
+their poetic elevation was unfavorable to mental development; and it
+was not till the opening of the sixteenth century that there appeared
+symptoms of recovery from the reaction.
+
+Moreover, art in the fifteenth century had assumed a character unsuited
+to the peculiar gifts of woman. It had parted with the ideal and
+supernatural element which formed at once the charm and the weakness
+of the Middle Ages, and which, as in the case of Sabina von Steinbach,
+had fostered and developed female talent. A new feeling for nature
+was born; a new world of life and action was waiting to be added to
+the domain of art; while severe study and restless energy were in
+requisition for more extended conquests. More correct exhibitions of
+human individuality, action, and passion began to take the place of
+forms that had before been merely conventional or architectural; and
+the portrayal of feeling, in which the human heart could sympathize,
+superseded the calm religious creations of an earlier age. Painting
+finally threw off the rigid trammels she had worn.
+
+The difficulties in the way of elaborating these new conceptions, and
+the studies of anatomy necessary for the attainment of excellence
+in delineating the form, excluded women in a great measure from the
+pursuit. Gervinus remarks that women are fond of realizing new ideas;
+but they are those, for the most part, which are readily brought into
+use in common life, and which require no persevering study to reduce
+them to practice. Even the triumphs of literary talent in that toilsome
+age owed much to the patronage of the great. We find many ladies of
+high rank seeking the muses’ favor by the royal road to eminence.
+
+Notwithstanding the paucity of women artists, we discover at least one
+representing each prominent school of painting--Flemish, Italian, and
+German.
+
+
+                         MARGARETTA VON EYCK.
+
+First among these, Margaretta von Eyck deserves mention. She was the
+sister of Hubert and John von Eyck, who were distinguished not only for
+enlarged apprehensions of art, but for the discovery and introduction
+of oil-painting.
+
+While these men were, by their works, preparing the way for an
+important revolution in the method of painting, Margaretta occupied
+herself chiefly in painting miniatures. She worked under the patronage
+of the magnificent and liberal court of Burgundy, and her fame extended
+even to the countries of the romantic south. It is an interesting
+sight, this modest woman-work beside the more important enterprises
+of the gifted brothers, making itself appreciated so as to furnish an
+example for all time. Sometimes the sister worked with the brother
+in the decoration of costly manuscripts. One of the finest monuments
+of their united skill was the breviary--now in the imperial library
+at Paris--of that Duke of Bedford who, in 1423, married the sister
+of Philip the Good. Margaretta’s miniatures were preserved also in
+manuscript romances of the period. One of the earliest historians of
+Flemish art, Carl von Mander, calls her a “gifted Minerva,” and informs
+us that she spurned the acquaintance of “Hymen and Lucina,” and lived
+out her days in single blessedness.
+
+
+                          ANOTHER MARGARETTA.
+
+As in Margaretta von Eyck the grand efforts of Flemish art found
+expression modified by a feminine nature, so had those of the school
+in Nuremberg through the labors of another Margaretta--a nun from 1459
+to 1470 in the Carthusian Convent, where she copied and illuminated
+religious works. Eight folio volumes were filled by her indefatigable
+hands with Gothic letters and pictures in miniature, presenting a
+curious specimen of the blending of the art of the scribe with that of
+the painter, so common in the Middle Ages.
+
+
+                            CATERINA VIGRI.
+
+A third female artist of this period belonged to Italy. Caterina
+Vigri, a pupil of the Bolognese school, combined with a high degree
+of talent a quiet gentleness and dignified manner that gained her
+general esteem. She was born of a noble family in Ferrara in 1413,
+and exercised her skill chiefly in miniature painting, though several
+large works are recognized as hers. One of St. Ursula, infolding in her
+robe her kneeling companions, is exhibited among other fair martyrs
+in the Pinacothek of Bologna, and, with the pure, calm expression,
+peculiar to the productions of a preceding age, combines a delicacy,
+grace, correctness of drawing, and freedom with firmness of touch,
+not often found at that time. One of her pictures is preserved in the
+Sala Palladiana of the Venetian Academy. Educated in the most exalted
+mysticism, she was the founder of the convent of “Corpo di Cristo,”
+which is yet in existence, and shelters the grave of Caterina as
+well as many of her works. She poured into these all her religious
+enthusiasm. Her master was Maestro Vitale. She died in the odor of
+sanctity, and was spoken of as “the Saint of Bologna.” In 1712 the
+Catholic Church inscribed her name in the second category of saints,
+with the title of “Beata,” in virtue of which she is honored to this
+day as the patron saint of the fine arts. Tradition relates a story of
+one of her paintings on wood--an infant Jesus--having the power to heal
+diseases in those who touched the lips of the picture.
+
+
+                          THE WARRIOR MAIDEN.
+
+Beside this saintly personage stands one who joined the prowess of
+the soldier to the genius of the painter. Onorata Rodiana was born at
+Castelleone in Cremona, in the early part of the fifteenth century,
+and, while yet young, obtained so high a reputation as a painter, that
+the Marquis Gabrino Fondolo, the tyrant of Cremona, appointed her to
+the task of decorating his palace.
+
+The maiden, in the prime of her youth and beauty, was engaged in
+this work when an accidental occurrence changed the whole course of
+her life. A courtier of libertine character, who chanced to see her
+occupied in painting the walls of a room in the palace, entered, and
+dared to offer an insulting freedom. The young artist repulsed him;
+but, unable to escape his violence without a desperate struggle, the
+spirited girl at length drew a dagger and stabbed him to the heart. She
+then rushed from the palace, disguised herself in man’s clothes, and
+quitted the city, declaring that she would rather die in obscure exile
+than accept a luxurious home as the price of dishonor.
+
+The Marquis Gabrino was at first furious at her escape, and commanded
+a hot pursuit by his soldiers; but soon afterward relenting, he
+proclaimed her full pardon, and summoned her to return and complete her
+labors, which no one else could finish. Onorata, however, had, in the
+mean while, learned the warrior’s business in Oldrado Lampugnano’s band
+of Condottieri, and her spirit and courage soon elevated her to a post
+of command. She loved the soldier’s life, and continued in it, painting
+the while, for thirty years.
+
+When her native town, Castelleone, was besieged by the Venetians, she
+hastened with her company to its relief. Victory crowned her in the
+contest, but she fell mortally wounded. She died in 1472, perhaps the
+only example the world’s history affords of a woman who wielded at the
+same time the pencil and the sword.
+
+
+
+
+                             CHAPTER III.
+
+                        THE SIXTEENTH CENTURY.
+
+ This Century rich in great Painters.--Not poor in female
+ Artists.--Memorable Period both in Poetry and Painting.--Fruits
+ of the Labor of preceding Century now discernible.--Female
+ Disciples in all the Schools of Italian Art.--Superiority of the
+ Bolognese School.--Properzia Rossi.--Her Beauty and finished
+ Education.--Carving on Peach-stones.--Her Sculptures.--The famous
+ Bas-relief of Potiphar’s Wife.--Properzia’s unhappy Love.--Slander and
+ Persecution.--Her Works and Fame.--Visit of the Pope.--Properzia’s
+ Death.--Traditional Story.--Isabella Mazzoni a Sculptor.--A female
+ Fresco Painter.--Sister Plautilla.--Her Works for her Convent
+ Church.--Other Works.--Women Painters of the Roman School.--Teodora
+ Danti.--Female Engravers.--Diana Ghisi.--Irene di Spilimberg.--Her
+ Education in Venice.--Titian’s Portrait of her.--Tasso’s Sonnet
+ in her Praise.--Poetical Tributes on her Death.--Her Works and
+ Merits.--Vincenza Armani.--Marietta Tintoretto.--Her Beauty and
+ musical Accomplishments.--Excursions in Boy’s Attire with her
+ Father.--Her Portraits.--They become “the Rage.”--Invitation from
+ the Emperor.--From Philip of Spain.--The Father’s Refusal.--Her
+ Marriage and Death.--Portrait of her.--Women Artists of Northern
+ Italy.--Barbara Longhi and others.--The Nuns of Genoa.
+
+
+The sixteenth century, rich beyond precedent in great men, was not
+poor in female artists whose works are worthy of notice. Both in
+poetry and painting the period was memorable and glorious. The labors
+of the preceding age had promoted civilization and education in moral
+and mental acquirements, the fruits of which were discernible even
+in Germany, while in Italy the harvest was most abundant. The period
+produced Victoria Colonna, Veronica Gambara, Gaspara Stampa, and other
+women of literary eminence; while the works in art of Michael Angelo,
+Raphael, Leonardo da Vinci, Titian, etc., became monuments for the
+admiration of succeeding generations. Dr. Guhl aptly remarks, “The
+fifteenth century was the time of work; the sixteenth the season of
+harvest.”
+
+None of the numerous schools of Italian art were without female
+disciples. The Bolognese rose above all others, and at this period gave
+laws to art. Here we find
+
+
+                      PROPERZIA, THE SCULPTRESS.
+
+The first woman who gained reputation as a sculptor in Italy was
+Properzia di Rossi. She was born in Bologna in 1490, and possessed
+not only remarkable beauty of person, with all the graces a finished
+education could graft upon a refined nature, but various feminine
+accomplishments, excelling particularly, Vasari tells us, in her
+orderly disposal of household matters. She sang and played on several
+instruments “better than any woman of her day in Bologna,” while in
+many scientific studies she gained a distinction “well calculated,”
+says the Italian historian, “to awaken the envy not of women only,
+but also of men.” This maiden of rich gifts was endowed with a
+peculiar facility in realizing the creations of fancy, and took at
+first a strange way of doing so. She undertook the minute carving of
+peach-stones, and succeeded so well as to render credible what had
+been recorded of two sculptors of antiquity. Mirmecide is said to
+have carved a chariot drawn by four horses, with the charioteer, so
+small that a fly with his wings spread covered the whole. Callicrate
+sculptured ants with the minutest exactness. Properzia carved on a
+peach-stone the crucifixion of our Saviour; a work comprising a number
+of figures--executioners, disciples, women, and soldiers--wonderful
+for the delicate execution of the minutest figures, and the admirable
+distribution of all. A series of her intaglios is in the possession of
+Count Grassi of Bologna. In a double-headed eagle, in silver filagree
+(the Grassi coat of arms), are imbedded eleven peach-stones, and on
+each is carved, on one side, one of the eleven apostles, each with an
+article of the creed underneath; on the other, eleven holy virgins with
+the name of the saint on each, and a motto explanatory of her special
+virtue. In the cabinet of gems in the gallery of Florence is preserved
+a cherry-stone on which is carved a chorus of saints in which seventy
+heads may be counted.
+
+It was not long before Properzia began to think, with those who
+witnessed her success, that it was a pity to throw away so much labor
+on a nut! At that time the façade of San Petronio, in Bologna, was
+being ornamented with sculpture and bas-relief. The young girl had
+studied drawing under Antonio Raimondi, and when the three doors of
+the principal façade were to be decorated with marble figures she made
+application to the superintendents for a share in the works. She was
+required to furnish a specimen of her talent. The young sculptress
+executed a bust from life, in the finest marble, of Count Alessandro
+de’ Pepoli; this pleased the family and the whole city, and procured
+immediate orders from the superintendents.
+
+The one of her productions which has become most celebrated is a
+bas-relief, in white marble, of Potiphar’s wife seeking to detain
+Joseph by holding his garment. The perfection of the drawing, the
+grace of the action, and the emotion that breathes from the whole
+face and form, obtained high praise for this performance. Vasari
+calls it “a lovely picture, sculptured with womanly grace, and more
+than admirable.” But envy took occasion to make this monument of
+Properzia’s genius a reproach to her memory. It was reported that she
+was profoundly in love with a young nobleman, Anton Galeazzo Malvasia,
+who cared little for her; and that she depicted her own unhappy passion
+in the beautiful creation of her chisel. It was probably true that her
+life was imbittered by this unreturned love. One of her countrymen
+says the proud patrician disdained to own as his wife one who bore a
+less ancient name; and that he failed in his attempt to persuade her
+to become his on less honorable terms. Professional jealousy aided in
+the attempt to depress the pining artist. Amico Albertini, with several
+men artists, commenced a crusade against her, and slandered her to the
+superintendents with such effect that the wardens refused to pay the
+proper price for her labors on the façade. Even her alto-relief was not
+allowed to have its appointed place. Properzia had no heart to contend
+against this unmanly persecution; she never attempted any other work
+for the building, and the grief to which she was abandoned gradually
+sapped the springs of life.
+
+There are two angels in bas-relief, exquisitely sculptured by her, in
+the church of San Petronio; and another work by her hand, representing
+the Queen of Sheba in the presence of Solomon, is preserved in what
+is called “the revered chamber.” Other works of hers have been
+pronounced to be in the highest taste. She is said to have furnished
+some admirable plans in architecture. In copper-plate engraving she
+succeeded to admiration, and many of her pen-and-ink etchings from
+Raphael’s works obtained the highest praise. “With this poor loving
+girl,” Vasari says, “every thing succeeded save her unhappy passion.”
+
+The fame of her noble genius spread throughout Italy; and Pope Clement
+VII., having come to Bologna to officiate at the coronation of the
+Emperor Charles V., inquired for the fair sculptress of whom he had
+heard such marvelous things. Alas! she had died that very week--on the
+14th of February, 1530--and her remains had been buried, according to
+her last request, in the Hospital della Morte. She was lamented by
+her fellow-citizens, who held her to have been one of the greatest
+miracles of nature. But what availed posthumous praises to the victim
+of injustice and calumny?
+
+A story has been told of an interview between Properzia and the Pope;
+that, declining his offer to settle her in Rome, she knelt to take
+leave, when her veil falling disclosed a face of unearthly beauty, sad
+enough to move the pontiff’s sympathy. But it is more probable that she
+died before his coming.
+
+
+                     SISTER PLAUTILLA AND OTHERS.
+
+Isabella Mazzoni was also known at this period as a sculptor. We
+hear, too, of Maria Calavrese, who painted in fresco; and Plautilla
+Nelli--Suor Plautilla, as she is usually called--deserves more than a
+passing mention. Lanzi tells us she was of a noble Florentine family,
+and born in 1523. She had no assistance in developing her remarkable
+talent but her study of the designs of Fra Bartolomeo, one of the best
+masters of the Florentine school. She became a nun of the Dominican
+convent of St. Catherine of Sienna in Florence, and having acquired
+considerable reputation by her skill in painting, finished for the
+church a Descent from the Cross, said to be from a design by Andrea
+del Sarto; and a picture of her own composition, the Adoration of the
+Magi--a work that won great praise. In the first may be noticed the
+same purity of contour, the same harmony of light and shade, grace of
+drapery, and confident repose that characterize the works of Andrea.
+In the choir of the Convent of Santa Lucia, at Pistoja, was her large
+picture of the Madonna holding the child, surrounded by saints; and
+in the convent at Florence a large painting of the Last Supper. We
+do not attempt to enumerate the works credited to her, including her
+copies of the best masters, particularly Fra Bartolomeo, whom it was
+not easy to imitate, since he was superior to Raphael in color, and
+rivaled Vinci in chiaro-oscuro. Some pictures in Berlin, attributed to
+her, are marked by his purity and careful execution, with his depth
+and earnestness. She was also a miniature painter. She was prioress of
+the convent, and lived to the age of sixty-five. One of her successful
+pupils was Agatha Traballesi.
+
+There were no noted women painters of the Roman school, but we may
+mention Teodora Danti, who painted several pictures of interiors after
+the style of Perugino. The heads of her figures were remarkable for
+grace, and she had much ease of action and freshness of coloring, but
+there was a certain dryness in the forms and poverty in the drapery.
+
+The wife of the famous engraver, Mare Antonio Raimondi, also engraved
+on copper; and Diana Ghisi copied in her engravings works both of
+Raphael and Giulio Romano. Vasari says of her: “She engraves so
+admirably, the thing is a perfect miracle. For my own part, who have
+seen herself--and a very pleasing and graceful maiden she is--as well
+as her works, which are most exquisite, I have been utterly astonished
+thereby.”
+
+
+                         IRENE DI SPILIMBERG.
+
+A bright example, and the pride of the Venetian school in her day, was
+Irene di Spilimberg, born at Udina in 1540, of a noble and illustrious
+family, originally of German origin. She exercised her art at its most
+flourishing period. She was educated in Venice, surrounded by all
+the luxury of external and intellectual life, and she had Titian for
+her master. Her fame, however, rests rather on the testimony of her
+contemporaries than on her own works. Titian, ever alive to female
+loveliness and artistic merit, has immortalized her by a beautiful
+portrait; and Tasso has celebrated her charms in one of his sonnets.
+She died in the opening of her blossom of fame, in the flush of youth
+and beauty, having scarcely attained the age of nineteen. Her death was
+deplored in poems and orations, a collection of which was published in
+Venice twenty years after the event, to set forth the splendid promise
+which the destroyer had thus untimely nipped.
+
+Among her works still extant are the Bacchanals in Monte Albedo, and
+small pictures from religious subjects said to be in the possession of
+the Maniago family. Lanzi remarks: “The drawing is careless, but the
+coloring is worthy of the best age of art. We see the reflected rays
+of her great master’s glory, the soft yet rapid gradations of tint,
+the clear touches, the repeated applications of color, which give a
+veiled transparency to the tints; the judicious grouping, the combined
+majesty and grace in the figures, which constitute some of the merits
+of Titian.” Irene is said to have been a woman of the highest mental
+culture. Rudolphi includes her among the few women artists he mentions.
+
+The sixteenth century was not only remarkable for the production of
+talent, but for its recognition. Another artist belonging to the
+Venetian school was Vincenza Armani, who was accomplished in engraving
+and modeling in wax, and was also celebrated as a poet and musician.
+
+
+                         MARIETTA TINTORETTO.
+
+Marietta Robusti, the daughter and pupil of the great painter
+Tintoretto--him who was called “the thunder of art,” and excelled
+in the powerful and terrible--was born in 1560. She had a lively
+disposition and great enthusiasm; she was very beautiful in person, had
+a fine voice, and was an accomplished performer on the lute and other
+instruments. It is no wonder that she was the object of her father’s
+pride and affections. She accompanied him every where, dressed as a
+boy; and he developed her genius for art less by precept than by the
+living example of his own labor. His pictures nourished and fertilized
+her imagination, and, step by step, she followed him faithfully.
+Whether he labored at his models or studied the antique statues, or
+casts from Michael Angelo, the coloring of Titian or the nude figure,
+she was by his side. She noted his first sketch in the feverish moment
+of creation, and watched the progress of its execution. His marvelous
+freedom in handling the brush, his strength and precision in drawing
+and richness of coloring became hers. She learned his secret of
+giving proportion and unity to many figures, and the difficult art of
+foreshortening; then, after copying his pictures, she could say, “I,
+too, am an artist.” She chose the kind of painting suited to her sex.
+Historical pieces demanded too much study and application, and it was
+wearying to design nude figures in imitation of the antique. Portrait
+painting was easier, and promised more immediate results.
+
+Her first portrait was that of Marco dei Vescovi. It was greatly
+admired, particularly the beard, and some ventured to say she had
+equaled her father. Ere long she became famous, and it was all the rage
+among the Venetian aristocracy to be painted by Marietta. Her father
+was in raptures at her astonishing progress and success.
+
+Jacopo Strada, antiquarian to the Emperor Maximilian, had his portrait
+taken by her, and gave it as a curiosity to his imperial master. This,
+and one she painted of herself, gained her a great reputation. The
+emperor placed them in his chamber, and invited her to be the artist
+of his court. The same proposition was made to her by Philip II. of
+Spain and the Archduke Ferdinand. She was a dutiful daughter and
+obeyed the wishes of Tintoretto, who refused to part with her, even
+that she might grace a court. To secure her against the acceptance of
+such alluring offers, he bestowed her hand on Mario Augusti, a wealthy
+German jeweler, on the condition that she should remain under the
+paternal roof. She completed several original designs and painted many
+portraits. Her exquisite taste, her soft and gentle touch, and her
+skill in coloring were remarkable, both in works of her own invention
+and those due to her father’s genius.
+
+Tintoretto was not destined long to rejoice in the progress of his
+lovely daughter. In the flower of her age, in 1590, she departed this
+life, leaving her husband and father mourners for the rest of their
+days. She was buried in the church of Santa Maria dell’ Orto. Another
+artist made a picture of Tintoretto transferring to the canvas the
+features of his child, still beautiful in death. Several of her works
+are in Venice. One, at the Palais Royale, represents a man in black,
+sitting, his hand on an open book lying on a table, where is also an
+escritoir with papers, a watch, and crucifix.
+
+Decampes has published an engraving of Marietta’s portrait. The
+expression is very soft and meek; a braid of hair encircles the top of
+her head, and a rouleau is put back from the forehead. A handkerchief
+is crossed on the bosom, and around her neck is a string of large beads.
+
+Some fair artists of the schools of northern Italy deserve mention.
+Vasari speaks of Barbara, daughter of the painter Lucas Longhi, of
+Ravenna, as possessing great talent. In Genoa, Tommasa Fiesca was known
+as a painter and engraver, as well as a writer of mystical tracts. She
+and her sister Helen were Dominican nuns, and died in 1534.
+
+
+
+
+                              CHAPTER IV.
+
+                        THE SIXTEENTH CENTURY.
+
+ The six wonderful Sisters.--Sofonisba Anguisciola.--Her
+ early Sketches.--Painting of three Sisters.--Her Success in
+ Milan.--Invitation to the Court of Madrid.--Pomp of her Journey and
+ Reception.--The Diamond.--Paints the Royal Family and the Flower
+ of the Nobility.--Her Present to Pope Pius.--His Letter.--Her
+ Style.--Lucia’s Picture.--Sofonisba Governess to the Infanta.
+ Marriage to the Lord of Sicily.--His Death at Palermo.--The Widow’s
+ Voyage.--The gallant Captain.--Second Love and Marriage.--Her
+ Residence at Genoa.--Royal Visitors.--Loss of Sight.--Vandyck
+ her Guest.--Her Influence on Art in Genoa.--Her Portrait and
+ Works.--Sofonisba Gentilesca.--Her Miniatures of the Spanish
+ Royal Family.--Caterina Cantoni.--Ludovica Pellegrini.--Angela
+ Criscuolo.--Cecilia Brusasorci.--Caterina dei Pazzi.--Her Style
+ shows the Infusion of a new Element of religious Enthusiasm
+ into Art.--Tradition of her painting with eyes closed.--Her
+ Canonization.--Women in France at this period.--Isabella
+ Quatrepomme.--Women in Spain.--A female Doctor of Theology.--Change
+ wrought by Protestantism in the Condition of Woman.--Its Influence
+ on Art.--An English Paintress.--Lavinia Benic.--Catherine Schwartz
+ in Germany.--Eva von Iberg in Switzerland.--Women Painters in the
+ Netherlands.--Female Talent in Antwerp.--Albert Durer’s Mention
+ of Susannah Gerard.--Catherine Hämsen.--Anna Seghers.--Clara de
+ Keyzer.--Liewina Bennings’ and Susannah Hurembout’s Visits to
+ England.--The Engraver Barbara.--The Dutch Engraver.--Constantia, the
+ Flower Painter.
+
+
+We come now to the six wonderful sisters Anguisciola: Helena,
+Sofonisba, Minerva, Europa, Lucia, and Anna Maria, all gifted in music
+and painting. Vasari describes his visit “to the house of Amilcare
+Anguisciola, the happy father of an honorable and distinguished family;
+the very home of painting, as well as of all other accomplishments.”
+In Ariosto’s Orlando Furioso, we read:
+
+  “Le Donne son venute in eccellenza
+  Di ciascun’ arte, ov’ hanno posto cura.”
+
+The best known of these amiable and distinguished sisters was the
+second; though Lucia, who died young, acquired celebrity, and produced
+beautiful and valuable works.
+
+
+                         SOFONISBA ANGUISCIOLA
+
+was born in Cremona, some time between 1530 and 1540, being descended
+from a family of high rank. At ten years of age she knew how to draw,
+and she soon became the best pupil of Bernadino Campi, an excellent
+Cremonese painter. One of her early sketches, representing a boy with
+his hand caught in a lobster’s claw, and a little girl laughing at his
+plight, was in the possession of Vasari, and esteemed by him worthy
+of a place in a volume which he had filled with drawings by the most
+famous masters of that great age. Portraits became her favorite study.
+Vasari commends a picture he saw at her father’s, representing three
+of the sisters and an ancient housekeeper, chess-playing, as a work
+“painted with so much skill and care that the figures wanted only
+voice to be alive.” He also praises a portrait of herself, which she
+presented to Pope Julius III.
+
+Sofonisba instructed her four younger sisters in painting. While yet in
+her girlhood she attracted the notice of princes. She accompanied her
+father to Milan, at that time subject to Spanish rule. There she was
+received at court with welcome, and painted the portrait of the Duke of
+Sessa, the viceroy, who rewarded her with four pieces of brocade, and
+other rich gifts. By 1559 her name had become famous throughout Italy.
+The haughty monarch of Spain, Philip II., who aspired to the title
+of patron of the fine arts, heard the echo of her renown, and sent
+instructions to the Duke of Alba, then at Rome, to invite her to the
+Court of Madrid. The invitation was accepted. Sofonisba was conducted
+to the Spanish court with regal pomp, having a train of two patrician
+ladies as maids of honor, two chamberlains, and six livery servants.
+Philip and his queen came out to meet her, and she was sumptuously
+entertained in the palace. After a time given to repose, she painted
+the king’s portrait, which so pleased him that he rewarded her with a
+diamond worth fifteen hundred crowns, and a pension of two hundred.
+Her next sitters were the young queen, Elizabeth of Valois--known as
+Isabel of the Peace--then in the bloom of her bridal loveliness; and
+the unhappy boy Don Carlos, who was taken dressed in a lynx-skin and
+other costly raiment. One after another she painted the flower of the
+Spanish nobility. Meanwhile she received high honors and profitable
+appointments from her royal patrons.
+
+Her extended fame induced Pope Pius IV. to ask her for a portrait of
+the queen. She executed the commission with alacrity; and, having
+bestowed her best care on a second portrait of her majesty, she
+dispatched it to Rome, with a letter, to be presented to His Holiness.
+“If it were possible,” she says, “to represent to your Holiness the
+beauty of this queen’s soul, you could behold nothing more wonderful.”
+The Pope responded with precious stones and relics set in gems; gifts
+worthy of the great abilities of the artist. His letter may interest
+the reader:
+
+ “We have received the portrait of the most illustrious Queen of Spain,
+ our dear daughter, which you have sent us, and which has been most
+ acceptable, as well on account of the person represented, whom we love
+ paternally for her piety and the many pure qualities of her mind, to
+ say nothing of other considerations, as because the work has by your
+ hand been very well and diligently accomplished.
+
+ “We thank you for it, assuring you that we shall hold it among our
+ most valued possessions, commended through your skill, which, albeit
+ very wonderful, is nevertheless, as we hear, the very least among the
+ many gifts with which you are endowed.
+
+ “And with this conclusion, we send you again our benediction. May our
+ Lord have you in His keeping!
+
+  “Dat. Romæ: die 15 Ottobris, 1561.”
+
+Sofonisba’s paintings were noted for boldness and freedom; and in
+some pieces her figures almost seemed to breathe. Some are comic; and
+this branch of art, in painting as in literature, demands boldness of
+conception, spontaneity of movement, and delicacy of touch. One of
+these works represents a wrinkled old woman learning the alphabet, and
+a little child making fun of her behind her back.
+
+During her residence in Spain Sofonisba received from Cremona the
+portrait of her mother, Bianca, painted by her sister Europa. It was
+highly praised by Castilian critics, and the sister prized it as a
+faithful likeness of a beloved one whom she might never again behold.
+About this time Lucia may have sent her admirable portrait of Pietro
+Maria, a Cremonese physician--a grave and elderly personage in a
+furred robe--which now adorns the queen’s gallery in Madrid, the sole
+specimen of the powers of the gifted sisters.
+
+Sofonisba had for some time been lady-in-waiting to the Queen of Spain:
+she was now appointed by Philip, with other ladies, to undertake the
+education of the Infanta Isabella Clara Eugenia. This proves her to
+have been in Spain after 1566, the year in which that princess was
+born. Her royal patrons wished her to marry a Spanish nobleman and
+take up her permanent abode near their court; but her hand was already
+pledged to the feudal lord of Sicily, Don Fabrizio de Monçada, and he
+bore her away to his island home. The king and queen gave her a dowry
+of twelve thousand crowns and a pension of one thousand; which she had
+power to bequeath to her son; besides rich presents in tapestry and
+jewels, and a dress loaded with pearls.
+
+The newly-wedded pair went to Palermo, where after a few years the
+husband died. Sofonisba was immediately invited back to the court of
+Madrid, but expressed a desire to see Cremona and her kindred before
+her return to Spain. She embarked on board a Genoese galley, commanded
+by a patrician called Orazio Lomellini. He entertained the fair widow
+with gallant courtesy during the voyage, and she appears to have been
+not inconsolable for the loss of her husband. She loved the Genoese,
+it is said, out of sheer gratitude; although her biographer, Soprani,
+does not hesitate to say that she made him an offer of her hand, which
+he--“quel generoso signor”--very promptly accepted. The Lomellini
+family still preserve her portrait, painted by herself after the manner
+of Raphael.
+
+We now find her living at Genoa, where she pursued her art with
+indefatigable zeal. Her house became the resort of all the polished
+and intellectual society of the republic. Nor was she forgotten by
+her royal friends of the house of Austria. On hearing of her second
+nuptials, their Catholic majesties added four hundred crowns to her
+pension. The Empress of Germany paid her a visit on her way to Spain,
+and accepted a little picture, one of the most finished and beautiful
+of Sofonisba’s works. She also received the honor of a visit from
+her former charge, the Infanta, now married or about to be married
+to the Archduke Albert, and joint sovereign with him over Flanders.
+This princess spent several hours talking with her friend of old times
+and family affairs; and sat for her portrait, for which, when it was
+finished, she gave Sofonisba a gold chain enriched with jewels. This
+pretty memorial of friendship was greatly prized by the artist. Thus
+caressed by royalty, and courted in Genoese society, she lived to an
+extreme old age. A medallion was struck at Bologna in honor of her; the
+most distinguished artists listened reverentially to her opinions, and
+poets sang the praises of
+
+  “La bella e saggia dipintrice,
+  La nobil Sofonisba da Cremona.”
+
+In the latter years of her life Sofonisba was deprived of her sight;
+but retained her intellectual faculties, her love of art, and her
+relish for the society of its professors. The conferences she held in
+her own palace were attended to the last by distinguished painters from
+every quarter. Vandyck was frequently her guest, and was accustomed to
+say he had received more enlightenment from this blind old woman than
+from all his studies of the greatest masters. This was no mean praise
+from the favorite scholar of Rubens; and who shall say it was not
+deserved? By precept and by example she helped to raise art in Genoa
+from the decay into which it had fallen in the middle of the sixteenth
+century. Her pictures have something of the grace and cheerfulness of
+Raphael, in whose style her first master painted, and something of the
+relief of the followers of Correggio. “More than any other woman of
+her time,” writes Vasari, “with more study and greater grace, she has
+labored on every thing connected with drawing; not only has she drawn,
+colored, and painted from life, and made excellent copies, but she has
+also drawn many beautiful original pictures.”
+
+One of Sofonisba’s works, seen at Cremona in 1824, was a beautiful
+picture of the Virgin giving suck to the Divine infant. In portraits
+her skill is said to have been little inferior to Titian. Her charming
+portrait of herself is no mean gem among the treasures of the
+galleries and libraries at Althorp. She has drawn herself in what the
+Germans term a “knee-piece;” rather under life-size. The small and
+finely-formed head is well set on a graceful neck; the dark hair is
+smoothly and simply dressed; the features are Italian and regular; the
+complexion is a clear olive; and the eyes are large, black, and liquid.
+The dark, close-fitting dress is relieved by white frills at the throat
+and wrists, and two white tassels hanging over the breast. Her delicate
+and exquisitely painted hands are seen over the chords of a spinet.
+On the right, in deep shadow, stands an old woman, wearing a kerchief
+twisted turbanwise around her head, and resembling a St. Elizabeth or
+a St. Anne in a religious composition of the Caracci. The whole is
+painted in the clear, firm manner of the best pencils of Florence.
+Sofonisba died in 1620.
+
+Palomino mentions Sofonisba Gentilesca among the foreign painters of
+the reign of Philip II.: “a lady illustrious in the art,” who came
+from France to Spain in the train of Isabel of the Peace. She painted
+miniatures with great skill, and had for sitters their majesties, the
+Infant Don Carlos, and many ladies of the court. She died at Madrid in
+1587.
+
+Another noble lady, Caterina Cantoni, known as an excellent engraver,
+was invited into Spain with Sofonisba, to pursue there the calling she
+seems to have practiced with success in Italy. Ludovica Pellegrini was
+complimented with the title of the “second Minerva” for her excellence
+in this branch of art. She also devoted herself to needle-work, and
+embroidered sacred furniture, and the great pallium (vestment),
+exhibited to strangers as a curious specimen of art and learning.
+Boschini mentions “the unrivaled Dorothea Aromatari” as having produced
+with her needle those beauties the finest artists executed with the
+pencil. Other women were celebrated embroiderers. Naples boasted of
+one who surpassed her contemporaries both in painting and music--Maria
+Angela Criscuolo. Cecilia Brusasorci, the daughter of the great fresco
+painter, became celebrated for her portraits toward the close of this
+century.
+
+Passing over a number of minor names, we may close the review of
+this period by a notice of Caterina de’ Pazzi. She was born in 1566,
+and retired early to a convent, where she assumed the name of Maria
+Maddalena. The energy with which she cultivated art, and the peculiar
+character of her works and those of others produced at this time,
+show the infusion of a new element of religious enthusiasm into art.
+Tradition preserves the story of this nun painting sacred pictures with
+her eyes closed. In the cloisters of the Carmelites at Parma, and in
+the church of Santa Maria in Cosmedin, at Rome, works of hers may be
+found. Dying in 1607, she was canonized by Clement IX. in 1669; and at
+this day a picture in one of the richest churches of Florence bears the
+name of the saintly artist, whose body reposes in a magnificent chapel
+under the same roof.
+
+No other nation, during the sixteenth century, can compete with Italy
+in female artists. In France women enjoyed great influence in public
+affairs, and several ladies of the highest rank were distinguished for
+their literary productions and accomplishments. Isabella Quatrepomme is
+mentioned by Papillon as an excellent engraver on wood. She was born in
+Rouen, and flourished about 1521. A frontispiece in an old calendar,
+executed in neat style, representing a figure of Janus, is supposed to
+be by her, as it is marked with an apple on which there is a figure 4.
+
+In Spain the flowers of art began to bloom at a later period; although
+in the liberal studies women were not behindhand. Isabella Losa, of
+Cordova, was appointed a doctor of theology, and there were ladies in
+Valencia, who, familiar with the works of Italian masters of art, made
+it their study to imitate them.
+
+In the north the advance of Protestantism wrought a change in
+the condition of women, which had its influence on art. Domestic
+employments, and the domestic virtues, became more universally the
+delight and study of the fair sex. While the light of religious truth
+was penetrating their homes with its softened radiance, the growth of
+a deep moral feeling was preparing the way for farther triumphs in
+the imitative arts. England, where flourished many poetesses, had one
+female painter--Lewina Tirlinks--during the reign of Elizabeth. Germany
+boasted of Catherine Schwartz, the wife, probably, of that Christopher
+Schwartz whom his contemporaries called the German Raphael; while in
+Switzerland Eva von Iberg transferred to canvas the beauties of her
+country’s scenery.
+
+In the Netherlands, on the other hand, the number of women painters
+at this period was large, and many were the diligent successors of
+Margaretta von Eyck in her native place. Her brothers, at the head of
+the old Flemish school, showed the combination of traditional types
+and ancient habits with the results of the struggles of the human mind
+for emancipation in this century. Antwerp seems to have been a rich
+soil for the production of female talent. Here, in 1521, Albrecht Durer
+became acquainted with the fair painter so honorably mentioned in his
+journal. “Master Gerard, illuminist,” he says, “has a daughter eighteen
+years of age, named Susannah, who illuminated a little book which I
+purchased for a few guilders. It is wonderful that a woman can do so
+much!” Among noted miniature painters we hear of Catherine Hämsen, who
+went into Spain, and entered the service of the Queen of Hungary on a
+good salary; also of Anna Seghers; Anna Smyters, and Margaret de Heere.
+Clara de Keyzer, or Clara Skeysers, of Ghent, died unmarried at the age
+of eighty. She enjoyed a celebrity that extended to Germany, France,
+Italy, and Spain, all which countries were visited by her.
+
+Susannah Hurembout and Liewina Bennings, or Benic, should not be passed
+over. The latter, the daughter of “Maestro Simon,” was born in Bruges;
+was invited to London by Henry VIII., and was treated with great favor
+by both queens Mary and Elizabeth. King Henry gave her in marriage to
+an English nobleman. It has been thought she is the same person with
+Lewina Tirlinks. Susannah also received an invitation from “bluff King
+Harry” to visit his court, and lived in England, where she was treated
+with great distinction, for the remainder of her life. Both these
+women were miniature painters. Barbara Van den Broeck, the daughter
+of Crispin, was born in Antwerp, 1560, and engraved from her father’s
+designs. She handled the graver with consummate skill. In some pieces,
+she imitated successfully the style of Martin Rota.
+
+In Holland, Magdalen de Passe was known as an engraver in copper, and
+Constantia von Utrecht as a flower-painter; one who first acquired
+distinction in this delicate and feminine branch of study, and directed
+to it the attention of her country-women. In later times the city where
+she lived and wrought became the capital of the world in this species
+of painting.
+
+
+
+
+                              CHAPTER V.
+
+                       THE SEVENTEENTH CENTURY.
+
+ New Ground presented for Progress.--Greater Diversity of
+ Style.--Naturalism.--The Caracci instrumental in giving to
+ Painting the Impetus of Reform.--Their Academy.--One opened
+ by a Milanese Lady.--The learned Poetess and her hundredth
+ Birthday.--Female Painters and Engravers.--Lavinia Fontana.--The
+ hasty Judgment.--Lavinia a Pupil of Caracci.--Character of her
+ Pictures.--Honors paid to her.--Courted by Royalty.--Her Beauty and
+ Suitors.--A romantic Lover.--Lavinia’s Paintings.--Close of the
+ Period of the Christian Ideal in Art.--Lavinia’s _Chef-d’Œuvre_.--Her
+ Children.--Professional Honors.--Her Death.--Female Disciples
+ of the Caracci School.--Pupils of Domenichino, Lanfranco, and
+ Guido Reni.--The churlish Guercino a Despiser of Women.--The
+ Cardinal’s Niece and Heiress.--Her great Paintings.--Founds
+ a Cloister.--Artemisia Gentileschi, a Pupil of Guido.--Her
+ Portraits.--Visit to England.--Favor with Charles I.--Luxurious Abode
+ in Naples.--Her Correspondence.--Judgment of her Pictures.--Elisabetta
+ Sirani.--Her artistic Character.--Her household Life.--Industry
+ and Modesty.--Her Virtues and Graces.--Envious Artists.--Defeat of
+ Calumny.--Her mysterious Fate.--Conjectures respecting it.--Funeral
+ Obsequies.--Her principal Works.--Her Influence on female
+ Artists.--Her Pupils.--Other Women Artists of Bologna.
+
+
+In the seventeenth century the elements of disturbance had in part
+subsided, and new ground was presented for the progress of human
+intellect. A certain uniformity in art, which was the consequence of a
+close academical imitation of the old masters, gave place to a greater
+diversity of style, and, in some instances, to a vigorous and somewhat
+rude naturalism. The Naturalisti were so called on account of their
+predilection for the direct imitation of the common forms and aspects
+of nature. Passion was their inspiration, and their imitation was too
+often carried to excess, presenting what might be termed the poetry of
+the repulsive.
+
+A new spirit of inquiry and a feeling of self-reliance had entered
+the popular mind that did not fail to influence the progress both of
+literature and art. The masters who were most strikingly instrumental
+in giving to painting the impetus of reform were Ludovico, Augustin,
+and Annibal Caracci. Amid many difficulties they opened an academy in
+their native city, Bologna, where art was taught on the principles then
+esteemed essential. In its theoretical and practical departments a
+goodly number of students were there permitted to profit by the works
+of the early masters. The good example was soon followed, and we hear
+of a Milanese lady opening her house for an academy.
+
+Arcangela Palladini excelled in painting, poetry, music, and
+embroidery. A piece of her needle-work hung in the ducal gallery at
+Pisa, where none but great works were preserved. Beatrice Pappafava, a
+paintress, was also a learned lady, and is said to have celebrated her
+own hundredth birthday in an original sonnet of much merit. Caterina
+Rusca obtained some repute as an engraver on copper; and Augusta
+Tarabotti, who studied painting under the direction of Clara Varotari,
+was also a poet and the author of “An Apology for the Female Sex,”
+which was received with considerable attention. Fede Galizia, the
+daughter of a celebrated miniaturist, lived in Milan. In figures and
+landscapes she evinced taste, accuracy, and finish. She was devoted to
+the ideal, and this tendency appeared in her design and coloring.
+
+
+                           LAVINIA FONTANA.
+
+One among the female artists who adopted the style of the Caracci and
+helped to introduce a change in art was Lavinia Fontana, one of the
+most celebrated women of the century. She was the daughter of that
+Prospero Fontana who gave lessons in painting to Ludovico Caracci,
+and was wont much to disparage him. He once remarked that his scholar
+would do better at mixing colors than as a painter! But Caracci had
+his revenge in after years, when Fontana was heard to lament that
+he was too old to become the pupil of the great artist who had once
+been his own despised scholar! The instruction he could not receive
+was the privilege of his daughter Lavinia, who was born in Bologna in
+1552. She adopted her father’s manner, and gained great celebrity in
+portrait painting; but, in later years, became the disciple of Caracci,
+after which she succeeded in giving her pictures so much softness,
+sweetness, and tenderness, that some of them have even been compared
+to those of Guido Reni. To delicacy of touch she united rare skill
+in taking likenesses. Her talents met with appreciation and honors
+not often accorded to female merit. The first ladies in Rome sought
+to become her sitters, and the greatest cardinals deemed themselves
+fortunate in having their portraits executed by her skillful hand. Her
+portraits were so highly esteemed that they commanded enormous prices,
+and were displayed with pride in the galleries of the nobility and
+the most cultivated persons in the land. Her services were engaged
+by Pope Gregory XIII. as his painter in ordinary; and she worked for
+the Buoncompagni family. Other crowned heads sought her society, and
+the most wondrous grace of all was that these honors did not create
+in her vanity or self-conceit. To her accomplishments she added such
+personal attractions that her hand was sought by many distinguished
+and titled suitors; but she preferred to them all a young man unknown
+to fame, Giovanni Paolo Zappi, of Imola. Some authorities speak of him
+as a wealthy nobleman. He had painted in her father’s studio for love
+of the charming daughter, and had been accustomed to paint the clothes
+in her portraits so well that she had made concerning him the not very
+flattering observation, that “he was worth more as a tailor than a
+painter.” He was rewarded by marrying her, the condition being exacted
+that Lavinia should remain free to follow her professional career.
+
+Besides portraits, she produced several compositions on sacred
+subjects; some church pictures now in Bologna, and some on worldly
+themes, as the picture of Venus in the Berlin Museum. In her later
+works, after her lessons with Caracci, she acquired a softness and
+warmth of coloring that remind one of the masters of the Venetian
+school. One of her productions--Saint Francis de Paula raising a dead
+person--preserved in the Pinacothek of Bologna--has been noticed for
+this. Of her pictures besides are the Crucifixion, the Miracle of the
+Loaves, and the Annunciation. These were for churches of Bologna.
+
+Lavinia lived at the close of what was peculiarly the period of
+Christian art, and it seems just to place her among the artists who
+labored while the Christian ideal, in all its splendor, was yet above
+the horizon. On this period Raphael and Michael Angelo had set their
+seal, and the Christian ideal was exhausted in the Transfiguration,
+and the frescoes of the Sistine chapel; they could not be surpassed.
+One of Lavinia’s works--the Nativity of the Virgin, at nighttime--is
+still exhibited in her native city. The infant Mary is surrounded by
+a cloud of angels, and a saint is pointing to two children below. A
+figure in magnificent bishop’s robes, on the other side, is in the act
+of sprinkling holy water on two beautiful kneeling girls. This picture,
+Bolognini asserts, alone justifies the artist’s fame. In the Escurial
+at Madrid is a piece by her, representing a Madonna uplifting a veil to
+view her sleeping child, who reposes on richly-embroidered cushions;
+St. Joseph and St. John stand near. “A picture,” says Mazzolari, “so
+vivid, so gay and graceful, and of such glorious coloring, so full
+of beauty, that one is never weary of admiring it.” A picture which
+has especially contributed to her artistic fame represents the Queen
+of Sheba in the presence of Solomon; but it has also an allegorical
+reference to the Duke and Duchess of Mantua, and various personages of
+their court. Lanzi considers this production worthy of the Venetian
+school. Another represents a royal infant, playing on a bed, wrapped
+in blankets, and adorned with a splendid necklace. A “Judith, seen by
+torch-light,” is in the possession of the Della Casa family. A Virgin
+and Child, which she painted for Cardinal Ascoli, and sent to Rome,
+has been thought her best production, and brought her so much fame,
+that, a large painting being required for a church, the commission was
+intrusted to Lavinia, in preference to many first-class artists, who
+sought it. She painted a stoning of Stephen, with a number of figures,
+and a halo above representing heaven opening. The figures were larger
+than life, and the work was not as successful as Lavinia had hoped.
+But after she confined herself to portrait painting, she had no reason
+to be dissatisfied with her success. Her _chef d’œuvre_ is said to be
+her own portrait, taken when she was young and surpassingly beautiful.
+It is now in the possession of Count Zappi, at Imola, and has been
+engraved by Rossini, for his history of Italian painting. The portrait
+is painted in an oval; in the background, ranged on a shelf, are models
+in clay of busts, heads, trunks, hands, and feet. The artist is seated
+at a table, on which are two casts of Greek statues; she is in the act
+of commencing a drawing, and is dressed with elegant simplicity, her
+mantle flowing in clear and ample folds. Under the ruff encircling her
+neck hangs a pearl necklace, to which is attached a golden crucifix.
+She wears a Mary Stuart headdress, and the head is colored with
+wonderful delicacy and transparency. The work unites correctness of
+drawing with incomparable grace. England possesses three paintings by
+Lavinia Fontana.
+
+This famous artist had three children, and was unhappy in them. Her
+only daughter lost the sight of one eye, by running a pin into it; and
+one of her boys was half-witted, and served to amuse loungers in the
+Pope’s antechamber. Malvasia remarks, “The story ran that he inherited
+his simplicity from his father; assuredly it came not from his mother,
+who was as full of talent and sagacity as she was good and virtuous.”
+
+Lavinia was elected a member of the Roman Academy. Her merits were
+celebrated by contemporaries; Marini, among other poets, wrote in her
+praise; and in such estimation was she held, that, when she passed near
+the seat of the Lord of Sora and Vignola, the proud patrician came out
+to meet her at the head of his retainers, according to the fashion then
+in vogue for the reception of royal personages.
+
+Among the Lettere Pittoriche is a letter dated 1609, signed Lavinia
+Fontana Zappi. This proves her to have been living then. One authority
+states that she died at Rome, in 1614, aged sixty-two.
+
+While Lavinia Fontana availed herself of the system of Caracci,
+another, who enjoyed in early life the advantage of being Ludovico’s
+pupil, emulated his excellences so successfully that she produced a
+fine picture, full of figures, from one of his compositions, in 1614,
+for the church of the Annunziata, in Bologna. This was Antonia Pinelli.
+For skill in drawing and purity of tone she was held in high estimation.
+
+Numerous were the young women who learned painting in the atelier of
+the Caracci; while other masters had their share of fair students.
+Domenichino is said to have been the teacher of Flavia Durand, Teresa
+del Po, and Artemisia Gentileschi; Lanfranco brought to light the
+talent of Caterina Ginnassi; Guido Reni gave instruction to Madalena
+Natali, and formed the genius of Elisabetta Sirani, the pride of
+the Bolognese school. Albano, however, was an exception, and, with
+the churlish Guercino, who despised every thing like female talent,
+had no pupils of the fair sex. A sister of one of his pupils,
+nevertheless--Flaminia Triva, of Reggio--became a painter much esteemed
+by the connoisseurs of her time.
+
+Of these artists, only the three most distinguished need be noticed
+here. Caterina Ginnassi, of noble family and the niece of a cardinal,
+was born in Rome, 1590. She was well instructed from early youth in
+all feminine employments, useful as well as brilliant. She often said,
+afterward, “The needle and distaff are sad enemies to the brush and the
+pencil.” Her first master was Clelio, and after his death she threw
+herself into the bold and brilliant manner of Lanfranco. She produced
+the great paintings that adorned the church founded by her uncle, of
+St. Lucia, in Rome. Becoming the inheritor of the cardinal’s large
+possessions, she founded, according to his directions, a cloister, with
+a seminary attached for students from Romagna; as abbess of which, she
+continued to practice her favorite art, dying in 1680, in the enjoyment
+of the fame and popularity her industry and piety had deservedly won.
+
+
+                        ARTEMISIA GENTILESCHI.
+
+The life of Artemisia Gentileschi was more in the world and more
+brilliant. She was the daughter of the painter Orazio Gentileschi, was
+married to Pier Antonio Schiattesi, and lived long in Naples. Receiving
+her earliest lessons from Guido Reni, at a later period she studied
+the works of Domenichino, one of the best masters of expression in
+the Bolognese school. Her great reputation was acquired by numerous
+portraits, and her skill in this species of painting obtained for
+her the honor of a call to the English court, whither her father
+accompanied her. There the art-appreciating monarch Charles I. gave her
+abundant employment. She was esteemed not inferior to her father in
+historical pieces. King Charles placed several of her works among his
+treasures. “David with Goliath’s head” was considered her best. Some of
+the royal family sat to her for their portraits, as did several of the
+nobility. A female figure, representing Fame, of great merit, was in
+the royal collection. Her own portrait is in Hampton Court, painted in
+the powerful and vivid style of Michael Angelo. Wägen says she excelled
+her father in portraits.
+
+Having reaped a rich, reward for her labors in England, she returned to
+Naples, where she seems to have established herself in much splendor.
+She died in 1642, at the age of fifty-two. Several letters addressed
+to the Cavalier del Pozzo were found among her papers. In one, dated
+1637, she inquires coolly after her husband. “Sia servita darmi nuova
+della vita o morte di mio marito.” Some of her letters contain orders
+for gloves; now her request to the Pope was permission for a priestly
+friend to bear arms; now she appealed to the Cardinal Barberini,
+then, all powerful in Rome, for assistance in disposing of some large
+picture, to furnish means to provide for the wedding of a daughter with
+suitable magnificence; after the granting of which favor, she would
+add, in the Italian fashion, that, “free from this burden,” she would
+return contented to her home. A fine specimen of her skill in painting
+is a picture of “Judith,” in the Palazzo Pitti, which shows, in its
+ground-work, the principles of the school of Bologna; while its finish,
+on the other hand, exhibits the startling effects of the Neapolitan
+school. Lanzi says, “It is a picture of strong coloring, of a tone and
+intensity that inspires awe.” Mrs. Jameson remarks, “This dreadful
+picture is a proof of her genius, and, let me add, of its atrocious
+misdirection.” But the artist should not be censured for her treatment
+of a subject which may not have been her own choice. “Susannah and
+the Elders” pleases by the scene and the drapery of the figures. The
+“Birth of John the Baptist,” in the Museum of Madrid, painted by this
+lady as a family piece, displays the same combination, but has more of
+the freedom of nature, and a certain boldness that betokens familiar
+acquaintance with life and the best models.
+
+
+                          ELISABETTA SIRANI.
+
+A place among the most gifted and the most illustrious women who, in
+any country or in any age, have devoted themselves to the fine arts,
+must be accorded to Elisabetta Sirani. She has been pronounced a
+complete artist; unrivaled by any of her sex in fertility of invention,
+in the power of combining parts in a noble whole, in knowledge of
+drawing and foreshortening, and in the minute details that contribute
+to the perfection of a painting. Had she lived longer, she would have
+equaled any painter of her time.
+
+She was born in Bologna, about 1640, and was the daughter of a painter
+of no inconsiderable merit. She was enrolled among the pupils of Guido
+Reni, and her artistic character was formed after the model of this
+most gifted and most versatile master of the Bolognese school. She
+imbibed from him an exquisite sense of the beautiful, and a peculiar
+gift of reproducing it. To this she added a vigor and energy rare in
+a woman. She made herself acquainted early with the works of the most
+distinguished painters, and manifested so much talent in youth, that
+she became the admiration of her acquaintances, particularly as she
+excelled also in music; while, to the gift of genius, she added that
+of rare personal loveliness. Lanzi speaks of her with enthusiastic
+admiration. It is not often that an artist of celebrity so generally
+wins the affections of those who know her. This popularity perhaps
+added to her renown; or the tragical fate of the blooming girl may
+have contributed to invest her name with a halo of romantic glory.
+Malvasia, who tells us she was persuaded by her father to adopt the
+profession of a painter, calls her “the heroine among artists”--and
+himself “the trumpeter of her fame.” Another eulogist, in the glowing
+style of Picinardi, praises her unwearied industry, her moderation in
+eating, and simplicity in dress; and the exquisite modesty with which
+she was always ready for household employments. She would rise at dawn
+to perform those lowly domestic tasks for which her occupations during
+the day left her little leisure, and never permitted her passion for
+art to interfere with the fulfillment of homely duties. Thus she was
+admirable in the circle of daily life, as in her loftiest aspirations.
+She obtained time in this manner for her exercises in poetry and music.
+All praised her gracious and cheerful spirit, her prompt judgment, and
+deep feeling for the art she loved. Besides being a painter, she was an
+adept in sculpture and engraving on copper, thus meriting the praise
+lavished on her as “a miracle of art.”
+
+Her devoted filial affection, her feminine grace, and the artless
+benignity of her manners, completed a character regarded by her friends
+as an ideal of perfection. Malvasia mentions the rapidity with which
+she worked, often throwing off sketches and executing oil pictures
+in the presence of strange spectators. The envious artists of her
+time took occasion, from the number of her paintings, to insinuate
+that her father gave out his own works for his daughter’s to obtain
+a higher price for them; but the stupid calumny soon fell to the
+ground, for every one had free access to the studio of Elisabetta, and
+one day, in the presence of the Duchess of Brunswick, the Duchess of
+Mirandola, Cosimo, Duke of Tuscany, and others, she drew and shaded
+subjects chosen by each with such promptitude that the incredulous
+were confounded. She had hardly received the commission of her large
+picture--“The Baptism of Jesus”--before she had sketched on the canvas
+the entire conception of that memorable incident, including many and
+various figures; and the work was completed with equal rapidity. She
+was then only twenty years of age.
+
+Her method has been compared to that of Guido Reni, whose versatility
+she combined with rare force and decision, and peculiar delicacy
+and tenderness; the most opposite qualities being harmonized in her
+productions.
+
+This fascinating artist, in the height of her fame, in the flush
+of early womanhood, was snatched from her friends by a cruel and
+mysterious doom. Her fate is involved in a darkness which has not been
+penetrated to this day. Some do not hesitate to aver that her sudden
+death was a base and cruel murder; that she was poisoned by the same
+hands that administered the deadly draught to Domenichino--those of
+Ribiera or his disciples, jealous of her rising fame. The general
+impression is that she was the victim of professional envy. Some
+averred that her death was caused by the revenge of a princely lover,
+whose dishonorable advances were repelled, or some great personage
+who was incensed at her refusal to engage in his service, or of a
+distinguished individual who felt aggrieved by a caricature, and
+secretly employed a servant to put poison in her food. Each story was
+believed among her contemporaries, and the record of the examination
+is yet extant; but it was conducted without regularity, and throws no
+light upon the mysterious assassination.
+
+Great was the excitement on the 14th November, 1665, in Bologna, on the
+day of her funeral, when the whole population crowded, weeping, to see
+the once beautiful features distorted by the hateful poison. The victim
+of revenge or jealousy was honored with solemn and splendid funeral
+ceremonies in the church of St. Domenico.
+
+Shortly after her death a work was published, in which was included a
+number of poetical eulogies and tributes, from the most eminent poets
+of the day, to the memory and virtues of the deceased. One line runs
+thus:
+
+  “I was a woman, yet I knew not love.”
+
+Picinardi adds the information that the pure calm of her soul was
+never disturbed by the grand passion. On the other hand, Gualandi
+intimates that the highly gifted maiden cherished for a young artist
+of her acquaintance an ardent affection, but that her father would not
+consent to the marriage. The romantic may please themselves with the
+supposition that the seed of genius sown in the nature of this richly
+endowed girl was quickened in the glow of an unhappy passion into the
+gorgeous bloom that attracted the eye of the world.
+
+Elisabetta lies at rest in the chapel of the Madonna del Rosario in
+the church of St. Domenico, which also incloses the dust of her great
+master, Guido Reni. The works enumerated as hers by Malvasia, from
+her own register, were one hundred and fifty pictures and portraits,
+some of them large and carefully finished. Her first public work
+was executed in 1655. Her composition was elegant and tasteful; her
+designing correct and firm; and the freshness and suavity of her
+color, especially in demi-tints, reminded one of Guido. The air of her
+heads was graceful and noble, and she was peculiarly successful in the
+expressive character of her Madonnas and Magdalens. Among her finest
+pictures are mentioned a Francesco di Padoua kneeling before the infant
+Christ, a Virgin and St. Anna contemplating the sleeping Saviour,
+and others, preserved in several palaces in Bologna. Her portrait of
+herself was taken in the act of painting her father. Another portrait
+of her is in the person of a saint looking up to heaven. Among her
+paintings on copper, which are exquisitely delicate, is a Lot with his
+children, now in the possession of a family in Bologna. She produced
+etchings of the Beheading of John the Baptist, the Death of Lucretia,
+and several master-pieces; all distinguished by delicacy of touch and
+by ease and spirit in the execution. Her painting, “Amor Divino,”
+represents a lovely child, nude, seated on a red cloth, holding in its
+left hand a laurel crown and sceptre, while with the right it points
+to a quiver and some books lying at its feet. Bolognini says: “It
+is impossible to conceive any thing more beautiful in form or more
+exquisite in finish than this lovely child.”
+
+Like Guido’s, the influence of Elisabetta Sirani on the progress of
+art in Bologna was exhibited in the number of scholars who sought
+instruction from her, or studied her paintings to ground themselves in
+her system. So illustrious an example as she presented must naturally
+have contributed greatly to the encouragement and development of female
+talent, and many were the women whom her success, in a greater or less
+degree, stimulated to exertion. One of Elisabetta Sirani’s pupils
+was Ginevra Cantofoli of Bologna. She painted history pieces with
+some reputation. In a church of Bologna is a picture by her--The Last
+Supper. Her best was San Tommaso di Villanuovo.
+
+Sirani’s sisters, Anna Maria and Barbara, are also mentioned among
+her scholars, with Lucrezia Scarafaglia, Maria Teresa Coriolani, and
+Veronica Fontana, who carved excellently well in wood, and executed
+portraits in this manner which were highly praised. Many other names of
+women are recorded who derived their impressions of art, directly or
+indirectly, from Sirani.
+
+Teresa Muratori was the daughter of an eminent physician, and born at
+Bologna in 1662. At an early age she showed a genius for painting and
+music. She was instructed in designing by Emilio Taruffi, and afterward
+took lessons from Lorenzo Parmello and Giovanni Gioseffo dal Sole. She
+painted historical pieces, and several religious ones for churches in
+Bologna. She died at the age of forty-six.
+
+Orlandi speaks highly of Maria Helena Panzacchi. She was born at
+Bologna in 1668, was taught designing by Taruffi, and became a
+reputable painter of landscapes, which she embellished with figures.
+Her works were correct in design, and the disposition was marked by
+elegance and taste. Several of them are in private collections at
+Bologna.
+
+Bologna boasted also of Ersilia Creti, a pupil of her father Donato,
+and of Maria Viani, of whose workmanship a reclining Venus, in the
+Dresden gallery, exquisitely done, remains to her praise.
+
+Among others of the school of Bologna, we may mention Maria Dolce, the
+daughter and pupil of Carlo Dolce, so noted and so admired for the
+calm dignity of his productions. She copied several of her father’s
+pictures. The name of another painter, Agnes Dolce, may be added;
+but we must pass over a host, observing only that the Bolognese was
+throughout the seventeenth century the richest in female talent of all
+the schools of Italy.
+
+
+
+
+                              CHAPTER VI.
+
+                       THE SEVENTEENTH CENTURY.
+
+ School of the Academicians after Caravaggio.--Unidealized
+ Nature.--Rude and violent Passions delineated.--Dark and stormy
+ Side of Humanity.--Dark Coloring and Shadows.--The gloomy and
+ passionate expressed in Pictures appeared in the Lives of
+ Artists.--The Dagger and Poison-cup common.--Aniella di Rosa.--The
+ Pupil of Stanzioni.--Character of her Painting.--Romantic Love
+ and Marriage.--The happy Home destroyed.--The hearth-stone
+ Serpent.--Jealousy.--The pretended Proof.--Phrensy and Murder.--Other
+ fair Neapolitans.--The Paintress of Messina.--The Schools of Bologna
+ and Naples embrace the most prominent Italian Paintings.--Commencement
+ of Crayon-drawing.--Tuscan Ladies of Rank cultivating Art.--The
+ Rosalba of the Florentine School.--Art in the City of the Cæsars.--The
+ Roman Flower-painter.--Engravers.--Medallion-cutters.--A female
+ Architect.--A Roman Sculptress.--Women Artists of the Venetian
+ School.--At Pavia.--The Painter’s four Daughters.--Chiara
+ Varotari.--Shares her Brother’s Labors.--A skillful Nurse.--Her
+ Pupils.--Other female Artists of this time.--The Schools of Northern
+ Italy.--Their Paintresses.--Giovanna Fratellini.
+
+
+In contrast to the school established as before mentioned, certain
+academicians had set up one grounded on principles promulgated by
+Michael Angelo da Caravaggio, wherein the old idealism and conventional
+forms of beauty were neglected, and the models furnished by the works
+of the early masters were entirely slighted, to make room for a simple
+copying of nature, whether beautiful or repulsive, full of grace or
+rugged and barren of all charms. This new school had been planted in
+Naples by Caravaggio; and beneath that glowing sky arose a number
+of masters who devoted themselves not only to the reproduction of
+unidealized nature, but the delineation of human passions in their
+sternest and most violent demonstrations; preferring, in fact, to
+depict the darkest and stormiest side of humanity. For this purpose,
+depth of coloring and dark shadows were employed. These masters were
+not wanting in talent, nor were their creations without effect and
+influence; but they had nothing of the pure and holy element which
+seems like a genuine inspiration in art. The gloomy and passionate,
+expressed in their pictures, too often appeared also in their
+characters and actions.
+
+The relations of these Neapolitan artists with those of the Bolognese
+school were by no means friendly, and rivals settled their disputes
+as frequently with the dagger and the poison-cup as with the pencil
+and the palette. Such a state of things was hardly favorable to the
+development of woman’s talent.
+
+
+                           ANIELLA DI ROSA.
+
+Yet we find one artist of surpassing merit, who, on account of her
+genius and her tragical fate, was called the Sirani of the school of
+Naples. This was Aniella di Rosa, niece of the painter Pacecco di Rosa,
+and pupil of that Massimo Stanzioni who, in common with Caravaggio,
+exercised a species of tyranny over the struggles of Neapolitan art,
+and was one of the leaders of the opposition set up against the
+artists from Bologna. Aniella painted in his atelier, and he directed
+her studies with paternal solicitude. She succeeded in giving to her
+pictures the grace, the soft and transparent coloring of Pacecco, and
+united in her heads the elegance of her uncle’s style with the correct
+drawing and able grouping of Stanzioni. Her master set her to color his
+sketches, and she succeeded so well that he often sold their joint
+productions as his own. When her education was sufficiently advanced,
+she desired that her talents should be put to a public test; and her
+master induced the governors of the church of the Pietà dei Turchini to
+give her a commission for two paintings which were to adorn the ceiling.
+
+Aniella produced two paintings so excellent that many declared they
+were completed by Stanzioni. But Domenici says he has seen several of
+her original pictures, and that they are “most beautiful productions.”
+“Her master himself,” he continues, “avows in his writings that she
+equals the best masters of our time.” One of the pictures represented
+the Birth of the Virgin; the other, her Death. The figures are larger
+than life; and the boldness of design, the effects of light and shade,
+and the management of the drapery, drew praise from two eminent
+artists, who said she was an honor to her country, and that many
+artists might learn from her. She also did several heads of the Madonna
+in red chalk, pronounced equal in drawing to the works of the most
+renowned artists.
+
+During the earliest days when Aniella frequented Stanzioni’s studio,
+she became acquainted with Agostino Beltramo, a high-spirited
+Neapolitan youth. He soon became enamored of the beautiful girl, and
+his frank manners and noble bearing, with the promise his early efforts
+gave of his becoming a good artist, were a passport to her heart.
+His love was accepted, and they were betrothed. Stanzioni exerted
+himself in their behalf, and through his good offices the consent of
+the parents for the marriage of the young people was obtained. A rare
+similarity of tastes, and their mutual labors in art, caused all to
+admire and many to envy the happiness of their union. The serenity of
+Aniella’s disposition tended to insure the peace of their daily life;
+and during sixteen years which they passed together both acquired no
+insignificant artistic fame. The husband excelled in frescoes; the lady
+in oil-paintings. The superb painting of San Biagio, in the church of
+the Sanità, in Naples, is the result of their mutual labors.
+
+But the cloud was brooding over the happy home which was to burst in
+a fatal storm. An evil-minded woman, young and beautiful, entered the
+house of Aniella as a servant. She was in love with Agostino; and,
+finding all her charms and artifices ineffectual to move him from his
+fidelity to his noble wife, or even to win his attention, she set
+herself to work to accomplish the ruin of this domestic happiness.
+
+She contrived to insinuate herself into the confidence of the man she
+could not tempt; and then, drop by drop, with the perfidy and subtle
+cunning of Iago, she succeeded in instilling into his heart the poison
+of jealousy. By degrees she undermined his faith in the spotless virtue
+of Aniella.
+
+The husband grew morose and irritable, and at times manifested the
+change that had come over him by sudden outbursts of ill-humor. Vainly
+Aniella strove by unremitting patience and redoubled affection to
+soothe his wayward moods. She soon perceived that all her happiness
+must be derived from her art, and from the approbation of her old
+master, who frequently visited her. She painted in her best manner a
+Holy Family, and presented it to him. “On seeing,” writes Domenici,
+“with what mastery of drawing and perfection of coloring Aniella had
+completed the painting, and because she had so toiled for him, he was
+overcome with feeling, and, in a transport of affection, clasped her
+in his arms, exclaiming that she was his best pupil, and that, had he
+been asked to retouch the painting, he should not know where to begin,
+for fear of destroying the beautiful coloring.”
+
+The infamous servant was playing the spy throughout this scene, and
+had called up a servant-lad to support her testimony. On Stanzioni’s
+departure Agostino returned.
+
+“Now,” cried this hearth-stone serpent, “now I have proofs to set all
+doubts at rest--proofs I will furnish you with in the presence of
+your wife.” Confronted with her mistress, the vile hireling charged
+her with guilty embraces, and called the servant-lad to confirm the
+charge. Aniella, astounded and indignant, disdained to defend herself,
+but stood before her husband mute and motionless, while a flush of pain
+and indignation mantled on her brow. Her silence confirmed Agostino’s
+suspicions; in his phrensy he drew his sword, and the next moment
+Aniella lay dead at his feet. Thus closed the career of this noble
+artist, in 1649, in the thirty-sixth year of her age. She was not the
+only victim to the taste for the horrible and for wild extremes of
+passion then prevailing in the works of artists, and too common in
+their personal experience.
+
+Another fair Neapolitan, who also worked in Rome at portrait-painting,
+was Angela Beinaschi. The nun, Luisa Copomazza, a landscape-painter and
+poetess, and the flower-painter, Clena Ricchi, were of Naples; with the
+painter and modeler in wax, Catarina Juliani, called the “_ornamento
+della patria_.”
+
+Teresa del Po--daughter of a painter, the disciple of Domenichino,
+and distinguished for oil and miniature painting, and copper
+engraving--came from a family of Palermo. She etched plates in her
+father’s style; some after Caracci.
+
+Messina boasted of Anna Maria Ardoino, the daughter of the Princess
+de Polizzi, accomplished in every branch, including music and poetry,
+who won great celebrity on account of her splendid attainments in art
+and literature, and was admitted a member of the Academy of Arcadia in
+Rome. She died in 1700, at Naples, in the bloom of her life and fame,
+and it is said her death was occasioned by grief for the loss of a son.
+
+The two schools of Bologna and Naples may be said to embrace the
+greater number of the prominent productions of the pencil in Italy
+during the period of which we have spoken. Other cities enjoyed their
+peculiar distinctions as the seats of different schools of art, but
+they exhibited more or less the influence of these chief ones. In
+Florence--the ancient home of Italian painting--artists of distinction
+exercised their skill; and the superior cultivation and taste diffused
+under the auspices of distinguished Tuscan ladies, contributed, in no
+small measure, to the encouragement of female enterprise. While Maria
+Borghini--elevated, by the judgment of her contemporaries, to a seat
+beside Victoria Colonna, and Mary dei Medici, who not only patronized
+art, but gave it her own personal efforts--won the meed of admiration,
+others were not backward in the race for the golden apple of renown.
+
+Arcangela Paladini, of Pisa, born 1599, already mentioned as a painter,
+was also an engraver. Her portrait, by herself, is in the gallery
+of artists in Florence. She died at the age of twenty-three. As
+flower-painters, we hear of Anna Maria Vajani and Isabella Piccini;
+Giovanna Redi was a successful pupil of the skillful Gabbiani; and
+Giovanna Marmochini was no less favorably known in art than as a wit
+and a learned lady. She has been called, for the excellence of her
+miniatures, the Rosalba of the Florentine school. Niccola Grassi, of
+Genoa, is also called by Lanzi “the rival of Rosalba.” She painted
+original compositions and church pictures.
+
+Rome, meanwhile, maintained her ancient fame. The city of the Cæsars
+had often been the arena where the striving masters of the Bolognese
+and the opposing schools contended for the establishment of the
+supremacy they coveted. Nor was she wanting in women artists of
+her own, able to do credit to their birthplace. We may mention the
+excellent flower-painter, Laura Bernasconi, and the engravers, Isabella
+and Hieronima Parasole, whose name became so celebrated that the
+husband of the first adopted it, dropping his own. Isabella executed
+several cuts of plants for an herbal published under the direction of
+Prince Cesi, of Aquasparta. She also published a book on the methods of
+working lace and embroidery, illustrated with cuts engraved from her
+own designs. Hieronima engraved on wood, among other pictures, “The
+Battle of the Centaurs.”
+
+Beatrice Hamerani worked at medallions, and in 1700 elaborated a
+large medallion of Pope Innocent XII., highly praised by Goethe as
+“undoubtedly one of the most skillful, expressive, and powerful
+productions of art which ever came from the hands of a woman.”
+
+Add to these the name of the only woman who was ever known to have
+been a practical architect. This was Plautilla Brizio, who has left
+monuments of her excellence in that species of art in a small palace
+before Porta San Pancrazio, and in the chapel of St. Benedict, in San
+Luigi dei Francesi. In the latter is a picture painted by her hand.
+The villa Giraldi, near Rome, is the joint work of this lady and her
+brother.
+
+The female sculptor Maria Domenici, who pursued her profession in Rome,
+was a native of Naples.
+
+Passing over many of the Italian cities, and attempting no sketch of
+the peculiarities of the school of Venice, we find there several not
+insignificant women artists. Paolina Grandi, Elisabetta Lazzarini, and
+Damina Damini were known as painters, and Domenia Luisa Rialto as an
+engraver on copper. The sisters Carlotta and Gabriella Patin enjoyed
+celebrity for both learning and artistic skill. They lived at Pavia,
+and were members of the Academy dei Ricovrati.
+
+The four daughters of the Venetian painter Niccolo Renieri, who
+practiced the same art, should be mentioned. Anna, the eldest, became
+the wife of Antoine Vandyck.
+
+Chiara Varotari was so highly esteemed by those who knew her, that a
+niche was assigned her by contemporaries equal to that of Maria Robusti
+in the sixteenth century. She was daughter and pupil of Dario Varotari,
+and the sister of that Alessandro Varotari who became so noted as a
+painter, under the name Padovanino. Chiara frequently shared in the
+execution of his works. She was not less praised for her beauty,
+and her skill as a tender nurse of the sick. Her triumphs over the
+discomfort of disease were signal, in that field where female prowess
+so often achieves its deeds of heroism. Such conquests are seldom
+recorded by the historian’s pen; but it is pleasant for once to rescue
+them from oblivion. Honors were conferred on her by the Grand-Duke
+of Tuscany, who placed her portrait in his collection. This artist
+numbered among her pupils Lucia Scaligeri and Caterina Taraboti.
+Boschini thinks she gave public instruction, like Sirani. She died,
+full of years, in 1660, ten years after the brother whose labors she
+had aided.
+
+Anna Maria Vajani, who engraved in Rome in the middle of this century,
+executed a part of the plates for the Justinian Gallery.
+
+Laura Bernasconi imitated the famous flower-painter Mario Mizzi, called
+“Mario dai fiori.” With his coloring she had also his defects.
+
+Maria Vittoria Cassana was the sister of two painters, and painted
+chiefly devotional pieces, in little. She died 1711. Lucia Casalina, a
+disciple of Giuseppe dal Sole, turned her attention to portraits.
+
+Angelica Veronica Airola, a Genoese, studied painting under Domenico
+Fiasella. She painted religious pictures for the convents and churches
+of Genoa, and became a nun of the order of St. Bartholomew della
+Fiavella. Soprani and others mention her.
+
+Giovanna Garzoni painted flowers and miniature portraits about 1630. At
+Florence she painted some of the Medici and the nobles. Dying at Rome
+in 1673, she bequeathed her property to the academy of St. Luke, in
+which there is a marble monument to her memory.
+
+Two daughters of Caccia--called “the Fontane of Monferrato”--painted
+altar and cabinet pieces. One, Francesca, adopted for her symbol
+a small bird; Ursula, a flower. Ursula founded the convent of the
+Ursulines, in Moncalvo. Some of her landscapes are decorated with
+flowers.
+
+Lanzi and Tiraboschi mention Margerita Gabassi as admirable in
+humorous pieces. She died in 1734, aged seventy-one.
+
+In the Nuova Guida di Torino, Isabella dal Pozzo is mentioned as the
+painter of a picture in the church of San Francesco, at Turin, dated
+1666, and representing the Virgin and Babe surrounded with saints.
+Lanzi bestows high praise on her. In 1676 she became court painter to
+the Electress Adelaide of Bavaria.
+
+The schools of Northern Italy recorded the names, too, of Chiara
+Salmeggia, the painter of Bergamo, and of Maria la Caffa, of Cremona,
+who worked at the Court of Tyrol; of Camilla Triumfi; and Maria
+Domenici, a native of Naples, who worked at sculpture in Rome, and died
+a nun in 1703.
+
+Lucia Scaligeri, a pupil of Chiara Varotari, had a daughter Agnes,
+also a painter, spoken of by Boschini. Caterina Rusca was a native of
+Ferrara, and known as an engraver and poetess.
+
+Crayon-drawing seems to have been much in vogue at this time. Giovanna
+Fratellini, called by Lanzi “an illustrious female artist, from the
+school of Gabbiani,” painted in crayons as well as in oil, miniature
+and enamel. So famous did she become that, after executing the
+portraits of Cosmo III. and family--a drawing consisting of fourteen
+figures in a superb apartment, of the richest architecture, remarkable
+for its judicious disposition and lovely coloring--her patron sent her
+throughout Italy to paint the other princes. “Her pencil is light,
+delicate, and free,” writes Pilkington; “her carnations are natural,
+and full of warmth and life, and as she understood perspective and
+architecture thoroughly, she made an elegant use of that knowledge,
+enriching her pictures with magnificent ornaments. Her draperies are
+generally well chosen, full of variety, and remarkable for a noble
+simplicity. Her works rendered her famous, not only in Italy, but
+in Europe.” Her portrait is in the gallery at Florence; she painted
+herself in the act of drawing her son and pupil, Lorenzo, in whom were
+centred all her hopes. Under her tuition he made rapid progress in art,
+but died suddenly, at an early age. His mother never recovered from
+the blow; life and art had alike lost their charms for her, and she
+speedily followed him to the grave.
+
+
+
+
+                             CHAPTER VII.
+
+                       THE SEVENTEENTH CENTURY.
+
+ Contrast between the Academicians and Naturalists, and between
+ the French and Spanish Schools of Painting.--Peculiarities of
+ each.--Ladies of Rank in Madrid Pupils of Velasquez.--Instruction
+ of the royal Children in Art.--The Engraver of Madrid.--Every
+ City in the South of Spain boasts a female Artist.--Isabella
+ Coello.--Others in Granada.--In Cordova.--The Sculptress of
+ Seville.--Luisa Roldan; her Carvings in Wood.--The Canons
+ “sold.”--Invitation to Madrid.--Sculptress to the King.--Other Women
+ Artists in Spain.--In France Woman’s Position more prominent than
+ in preceding Age.--Corruption of court Manners.--Unworthy Women in
+ Power.--Women in every Department of Literature.--Mademoiselle de
+ Scudery.--Madame de la Fayette.--Madame Dacier.--Women in theological
+ Pursuits.--Their Ascendency in Art not so great.--Miniature and
+ Flower Painters.--Engravers.--Elizabeth Sophie Chéron.--A Leader
+ in Enamel-painting.--Her Portraits and History-pieces.--Her
+ Merits and Success.--Her Translations of the Psalms.--Musical and
+ Poetical Talents.--Honors lavished on her.--Love and Marriage
+ at three-score.--Her Generosity to the needy.--Verses in her
+ Praise.--Historical Tableaux.--Madelaine Masson.--The Marchioness de
+ Pompadour.
+
+
+Striking contrasts belong to the history of art in the seventeenth
+century. A moral, religious, and artistic contrast existed between
+the academicians and the naturalists; and one as remarkable may
+be noticed between the French and Spanish schools of painting,
+corresponding, in fact, to the civil struggle between the two nations
+for European supremacy. In Spain the enthusiasm for art harmonized
+with the passionate character of the people; in France, discretion and
+intellectual taste predominated. The sensuous and rudely natural in
+Spanish art was combined with the warmest glow of religious feeling.
+
+Velasquez, a son of Andalusia, had a number of scholars in Madrid among
+ladies of high rank. Donna Maria de Abarca and the Countess of Vill’
+Ambrosa were celebrated for their skill in taking likenesses, and were
+highly praised by the poets. The Duchess of Bejar, Teresa Sarmiento,
+and Maria de Guadalupe, Duchess of Aveiro--also an accomplished
+linguist and lover of letters--had considerable celebrity as painters.
+The admiration of Philip IV. for art rendered the instruction therein
+of the royal children and those of the nobility a necessary branch
+of education. The Duchess of Alba, celebrated for her beauty and
+intrigues, gave one of Raphael’s master-pieces as a fee to the family
+physician, who had cured her of a dangerous illness.
+
+Maria Eugenia de Beer was an engraver in Madrid, and we may find in
+the choir-books of the cathedral at Tarragona creditable specimens of
+the talent of the painter Angelica, who painted the illuminations with
+great neatness and skill.
+
+Every city in the south of Spain seemed to be able to boast of a female
+artist. In Valencia lived Doña Isabella Sanchez Coello, the daughter
+and pupil of “the Spanish Prothogenes”--Alonzo Sanchez Coello--the
+first of the great Spanish portrait painters, and the Velasquez of the
+court of Philip II. Born in 1564, she was the playmate of Infants and
+Infantas, and she acquired distinction both in music and painting. She
+married Don Francisco de Herrera, Knight of Santiago. Dying in Madrid
+in 1612, she was buried with her husband’s family in the church of San
+Juan.
+
+Magdalena Gilarte was a noted painter, and worked in her father’s
+style with spirit and skill. Jesualda Sanchez carried on her husband’s
+business after his death, and painted small pictures of the saints for
+sale.
+
+In Granada we find Doña Maria Cueva Benavides y Barrados an admired
+painter, and Anna Heylan an engraver in copper. In Cordova, Doña
+Francisca Palomino y Velasco, the sister of the painter and art
+historian of the same name. She flourished about the close of the
+century.
+
+
+                      THE SCULPTRESS OF SEVILLE.
+
+To the school of Seville, in which Spanish art reached its highest
+development, belongs a fair artist of repute. Luisa Roldan was known
+as an excellent sculptor in wood. She was born in 1656, and profited
+by her father’s instructions in art, acquiring great skill. After her
+mother’s death, she kept both her household and the studio in orderly
+operation, attending with successful management to the affairs of both,
+and keeping busy at work both her servants and her father’s pupils.
+
+Roldan was indebted to her for valuable hints. He had carved a statue
+of St. Ferdinand for the Cathedral, which the canons rejected. Luisa
+suggested certain anatomical operations with the saw, which were
+perfectly successful. The canons took the work for a new one, and were
+satisfied; and the saint was peacefully installed in his chapel. Her
+chief productions were small figures of the Virgin, or groups of the
+Adoration of the shepherds, etc., and all were designed and executed
+with delicacy and grace. She sculptured a Magdalen supported by an
+angel, the statue giving an exquisite idea of an angel’s sweetness and
+protecting love. It is placed in the hospital at Cadiz. Her small
+pieces are full of expression.
+
+She married Don Luis de los Arcos, and was invited to Madrid in 1692,
+through Don Cristobal Ontañon, who had presented several of her works
+to Charles II. The king was pleased, and ordered a statue of St.
+Michael, life size, for the church of the Escurial. This Luisa executed
+with great success, and to the admiration of the connoisseurs. The work
+elicited complimentary verses from a distinguished poet, and the artist
+was rewarded by the post of sculptress in ordinary to the king, with a
+salary of a hundred ducats, paid from the day she arrived at court.
+
+When Charles II. died she had just completed a statue of our Saviour
+which he had ordered for a convent; its destination was then changed to
+a nunnery at Sisanto. She died at Madrid in 1704, leaving in the palace
+treasure a small group, modeled in clay, representing St. Anna teaching
+the Virgin to read, and attended by angels. Some of her works were
+placed in the Recolete Convent, and some in the Chartreuse of Paulan.
+
+Doña Isabella Carasquilla was a painter, and married a miniaturist,
+Juan de Valdes Leal of Cordova. Their daughters Luisa and Maria were
+highly educated, and painted miniatures. The latter died in 1730, a nun
+in the Sistercian Convent at Seville.
+
+Rosalba Salvioni, a painter of celebrity, was the pupil of Mesquida.
+Doña Inez Zarcillo evinced no small taste in drawing and modeling. She
+was the sister of a sculptor.
+
+Maria de Loreto Prieto, an artist’s daughter, possessed extraordinary
+talent for painting and engraving. Her father was highly esteemed by
+Charles III., and had the oversight of all the coins for the purpose
+of improving the stamps.
+
+Caterina Querubini, the wife of Preciado, a miniature-painter, enjoyed
+a pension from the Spanish court, and an honored place in the Academy
+de San Fernando.
+
+Doña Isabella Farnese, the wife of Philip V., and Angela Perez
+Caballero, drew exceedingly well, and were members of the Academy in
+Madrid.
+
+
+                       WOMEN ARTISTS IN FRANCE.
+
+In France women had taken a position more prominent than in the
+preceding century. Even the gallantry prevailing in society, and the
+corruption of court manners, were promoted by feminine influence.
+Unworthy women were raised to power, and the history of court favorites
+from the reign of the knightly Henry IV. to that of the great monarch
+Louis XIV. forms the most important part of the annals of the empire.
+
+Women took eminent places in every department of literature; in the
+drama Catherine Bernard was the disciple of Racine, and Mademoiselle de
+Scudery had many imitators in her poetical romances; while Madame de la
+Fayette took the lead in a more modern style of fiction. Madame Dacier
+became celebrated as “the most learned and eloquent of women,” and her
+example helped to spread a love of knowledge and classical attainment
+among the French ladies. Even theological pursuits had a Jeanne de la
+Mothe-Guyon to represent mysticism in conflict with the orthodoxy of
+the court and the state.
+
+In art the ascendency of woman was by no means so great. We may,
+however, name, as prominent in portrait and miniature painting,
+Antoinette and Madelaine Herault; the latter, in 1660, married Noel
+Coypel. She joined noble virtues to her extraordinary talents.
+Henriette Stresor and Catherine Perrot may also be mentioned. Catherine
+Duchemin, a flower-painter, married the famous sculptor Girardon.
+
+Several women were noted as engravers on copper; among them Claudine
+Bonzonnet Stella has been called the first in France, and practiced the
+art with her two sisters. Jane Frances and Mary Ann Ozanne, the sisters
+of a French engraver, worked chiefly in engraving sea-side scenes.
+
+
+                       ELIZABETH SOPHIE CHÉRON.
+
+But she who occupies the highest place among all the artists of this
+period is Elizabeth Sophie Chéron. Born in Paris in 1648, she received
+instruction from her father in miniature and enamel painting, in which
+she attained such perfection that she may be regarded as the leader
+of the host of French artists who devoted themselves especially to
+this branch. At the age of twenty-six she was admitted a member of the
+Academy, at the proposal of Charles Le Brun. She was received with
+distinction; his portrait by her being her reception picture.
+
+Her merits were a fine tone, exquisite taste and harmony in design,
+and finely-disposed draperies. She often made portraits from memory.
+Her portraits were so frequently treated in an allegorical manner they
+might be called historical; and her history-pieces were much admired.
+She designed much after the antique.
+
+Her father had educated Elizabeth in the strictest principles of
+Calvinism; but her mother, Marie Lefevre, a Catholic, persuaded her
+to become a member of that church, after a year’s seclusion in the
+community of Madame de Miramion. The difference in faith did not impair
+her affection to her family. She supported her brother Louis for some
+time in Italy, whither he went to study painting.
+
+This accomplished artist passed the maturity of life without any of the
+experiences, with which almost every young girl is familiar, of the
+tender passion. Her emotions seem to have been altogether spiritual.
+She translated many of the Psalms into French verse; and they were
+published with illustrations by Louis. She played admirably on the
+lute, and was accustomed to practice in the parlor with her nieces and
+pupils, who performed on different instruments. Louis XIV. gave her a
+pension of five hundred livres.
+
+The most eminent scholars of the day were her friends and visitors;
+and in conversation she evinced the highest mental cultivation. Her
+portraits were chiefly painted as presents to her friends, or as
+ornaments to her own cabinet. “I have the pleasure,” she would say, “of
+seeing them in their absence.”
+
+In spiritual lyrics she was the precursor of J. B. Rousseau, with whom
+in warmth of feeling she may be compared; and in narrative poetry she
+acquired much reputation. The Academy dei Ricovrati, in Padua, received
+her as a member in 1699, under the name of Erato. She possessed beauty
+and engaging manners, and to all the honors lavished on her she joined
+the crowning grace of modesty.
+
+The attractions of this gifted being did not depart with the beauty of
+fleeting youth. At the age of sixty she fascinated the affections of
+the Sieur Le Hay, a gentleman about her own age, on whom she bestowed
+her hand, simply with the generous motive, it was said, of promoting
+his good fortune. Tradition reports that, when they came out of the
+church after the ceremony had been performed, the bride made a speech
+to her husband, implying that esteem, not romantic love, had influenced
+her choice. She is said to have alluded to him, under the name of
+Damon, in one of her poems.
+
+As of Madame Dacier, it might be said of this artist--the traits of a
+great and manly nature might be discerned in her face. Her features
+wore an expression of decision and firmness. Her hair, in her portrait,
+curls from the top and floats in ringlets. She was remarkable for
+the modesty and simplicity of her dress. Her large and sympathizing
+heart made her the protector and benefactor of needy artists, while
+her social qualities drew around her the brilliant circles that
+habitually were found at her house, including many of the most gifted
+and illustrious of that day. Her death took place in 1711, at the age
+of sixty-three, and she was buried at St. Sulpice. She was lamented
+by Fermelhuis in a canto of praise. The Abbé Bosquillon wrote the
+following lines to be inscribed under her portrait:
+
+  “De deux talens exquis l’assemblage nouveau
+  Rendra toujours Chéron l’ornement de la France;
+  Rien ne peut de sa plume égaler l’excellence
+    Que les graces de son pinceau.”
+
+  For different gifts renowned, fair Chéron see,
+    Ever of France the ornament and pride;
+  Equaled by none her pen’s great works shall be,
+    Save when her pencil triumphs at their side.
+
+Mademoiselle Chéron made many studies from Raphael and the Caracci.
+Among her historical tableaux are enumerated, “The Flight into
+Egypt”--the Virgin represented in a wearied sleep, with angels
+guarding the babe; “Cassandra inquiring of a god the doom of Troy;”
+“The Annunciation;” “Christ at the Sepulchre”--after Zumbo; with “The
+Demoiselles de la Croix”--her nieces and pupils; and a grand portrait
+of the Archbishop of Paris, placed in the Jacobin school of the Rue St.
+Jacques.
+
+Madelaine Masson was the daughter of Anthony Masson, a celebrated
+engraver, and was born in Paris, 1660. She received instruction from
+her father, and engraved portraits in his fine style. Among these is
+the picture of Maria Teresa, Queen of France, and of the Infanta of
+Spain.
+
+The Marchioness de Pompadour engraved and executed small plates after
+Boucher and others. She engraved one set of sixty-three prints, after
+gems by Gay.
+
+
+
+
+                             CHAPTER VIII.
+
+                       THE SEVENTEENTH CENTURY.
+
+ Two different Systems of Painting in the North.--The Flemish School
+ represented by Rubens.--The Dutch by Rembrandt.--Characteristics
+ of Rubens’ Style.--No female Disciples.--Unsuited to feminine
+ Study.--Some Women Artists of the first Part of the Century.--Features
+ of the Dutch School.--A wide Field for female Energy and
+ Industry.--Painting _de genre_.--Its Peculiarities.--State of Things
+ favorable to female Enterprise.--Early Efforts in Genre-painting.--Few
+ Women among Rembrandt’s immediate Disciples.--Genre-painting
+ becomes adapted to female Talent.--“The Dutch Muses.”--Another
+ Woman Architect.--Dutch Women Painters and Engravers.--Maria
+ Schalken and others.--“The second Schurmann.”--Margaretta
+ Godewyck.--The Painter-poet.--Anna Maria Schurmann.--Wonderful
+ Genius for Languages.--Early Acquirements.--Her Scholarship
+ and Position among the learned.--A Painter, Sculptor, and
+ Engraver.--Called “the Wonder of Creation.”--Royal and princely
+ Visitors.--Journey to Germany.--Embraces the religious Tenets of
+ Labadie.--His Doctrines.--Joins his Band.--Collects his Followers,
+ and leads them into Friesland.--Poverty and Death.--Visit of
+ William Penn to her.--Her Portrait.--Her female Contemporaries in
+ Art.--Flower-painting in the Netherlands.--Its Pioneers.--Maria Van
+ Oosterwyck.--Her Birth and Education.--Early Productions.--Celebrated
+ at foreign Courts.--Presents from imperial Friends.--Enormous
+ Prices for her Pictures.--Royal Purchasers.--The quiet Artist at
+ work.--The Lover’s Visit.--The Lover’s Trial and Failure.--Style of
+ her Painting.--Rachel Ruysch.--The greatest Flower-painter.--Early
+ Instruction.--Spread of her Fame.--Domestic Cares.--Professional
+ Honors.--Invitations to Courts.--Her Patron, the Elector.--Her Works
+ in old Age.--Her Character.--Rarity of her Paintings.--Personal
+ Appearance.
+
+
+While the academicians and naturalists of the Italian schools contended
+through the seventeenth century, and while in France and Spain the
+works of art exhibited as great contrasts, modified in each country by
+national peculiarities, two different systems in the North came into
+notice. These, as in the time of Von Eyck, had great influence upon the
+development of art in other lands besides that where they originated.
+One was the Flemish school, represented by Rubens; the other the Dutch,
+in which Rembrandt was regarded as the mighty master.
+
+The style of Rubens, brilliant, luxuriant, and full of vigorous life,
+it may be thought would commend itself peculiarly to the attention of
+women. This school, however, in which the healthy and florid naturalism
+of Flemish art reached its highest development, seems to have been
+without any female disciples of note. The passionate and often
+intensely dramatic character of the works of Rubens and his scholars,
+and the physical development of his nude figures, were, indeed,
+scarcely suited to feminine study, though their fullness of life and
+warmth of coloring afterward won to imitation an artist like Madame
+O’Connell. We may also mention Micheline Wontiers, a portrait painter
+in the first half of the seventeenth century. An engraving was made
+from one of her productions by Pontius, who busied himself with the
+works of Rubens. The name of Catherine Pepyn, too, is found inscribed
+as a portrait painter in the St. Luke’s Society of Artists at Antwerp,
+about 1655.
+
+In Holland, on the other hand, the new school of painting owed its
+marked features to the political and religious revolution that had
+been the fruit of the reformed doctrines. This change offered a wide
+field for the exercise of female energy and genius. With the progress
+of the new faith kept pace the rapid advance of literature; the great
+questions at issue and the more earnest domestic life of the Hollanders
+furnishing ample materials for thought and description. Painting came
+under the same influence, and this was evident when the depth and power
+of feeling in his works marked Rembrandt as one of the greatest masters
+of all time.
+
+A novel species of the art was called painting _de genre_. Herein life
+was represented in all its rich and varied forms, and the world and
+real humanity became objects of attention where hitherto only idealized
+representations had been tolerated. A new arena was thus opened, in
+which there was promise of noble achievement, and the rudest and
+meanest aspects of common life soon appeared capable of being invested
+with an ideal fascination. The painter _de genre_, armed with the wand
+of humor, often succeeded in such attempts, and success led to the
+adoption of that wonderfully poetical chiar’ oscuro in coloring, which,
+till this period, had never attained the same degree of favor either in
+the North or the South.
+
+This state of things was eminently favorable to female enterprise,
+and we find, accordingly, in a number of fair artists, evidences of
+the energetic industry and careful minuteness for which the women of
+Holland have been particularly noted. However, in the earliest efforts
+at painting _de genre_, wherein the Flemish artists stood opposed
+to the schools of Italy, women took no share. These trial specimens
+usually consisted of some rough piece after nature, such as the drunken
+boors and rustic women of the elder Breughel, and for a long time the
+prevailing taste ran on the low, coarse, and fantastic in the models
+selected. There was more to disgust than to attract cultivated women
+in such a fashion, and, notwithstanding their alleged fancy to run into
+extremes, this will account for the fact that they did not choose to
+be numbered among those who delighted in such a copying of nature. One
+we hear of, Anna Breughel, seems to have been a kinswoman of a younger
+painter of that name.
+
+The earnestness, depth, and intensity given to this species of art by
+Rembrandt seemed to lie as little within the compass of female fancy,
+which rather delighted in pleasing delineations of more superficial
+emotion, than in the concentration of the deepest feelings of nature.
+Thus few women were found among the immediate disciples of Rembrandt.
+
+But as painting _de genre_ accommodated itself more pleasingly to
+representations of ordinary life and circumstances, and the delicacy
+of detail that formed the peculiar charm of this species of art was
+lavished on attractive phases of character, the school became more and
+more the nursery of female talent.
+
+Literature, at this period, experienced a similar change; and it is
+interesting to see the same persons pursuing both branches of study.
+This was the case with the two painters, Tesselschade-Visscher--called
+the “Dutch Muses,” on account of their poetry--with Elizabeth Hoffmann,
+and the dramatic poet, Catharina Lescaille; also with one of whom we
+shall presently speak, whose fame traveled far beyond the boundaries of
+her native land.
+
+Among the older artists of the Dutch school we may mention, in passing,
+the fruit and flower painter, Angelica Agnes Pakman; Madame Steenwyk,
+a designer in architecture; and the portrait-painter, Anna de Bruyn.
+Anna Tessala was eminent as a skillful carver in wood. Concerning
+Maria Grebber, a pupil of Savary, Van Mander remarks that she was
+well skilled both in perspective and in building plans. Maria and
+Gezina Terburg were sisters of Gerard, and, like him, skillful in
+genre-painting.
+
+Gottfried Schalken, who introduced a simpler method, and surprising
+effects of light, was not more celebrated than his sister and pupil,
+Maria, for productions remarkable for delicacy of execution and tender
+expression. Eglon van der Neer shared his fame with his wife, Adriana
+Spilberg. She was born in Amsterdam, in 1646, and was taught by her
+father, an eminent painter. She excelled in crayons or pastels, though
+she often painted in oil. Her portraits were said to be accurate
+likenesses. They were delicately colored, and executed with neatness
+and care. She was much patronized at the court of Düsseldorf.
+
+Caspar Netscher, one of the best and most pleasing masters in this
+peculiar style, had a disciple in Margaretta Wulfraat, whose historical
+paintings--a Cleopatra and a Semiramis--are to be seen in Amsterdam,
+and who died at a great age early in the eighteenth century.
+
+A still greater interest attaches to artists who also took an
+active part in the elevation of Dutch literature. Anna and Maria
+Tesselschade--the daughters of Visscher, already mentioned--belonged to
+this class; they were also celebrated for their fine etchings on glass.
+Their literary culture brought them into association with the most
+eminent scholars of that day.
+
+With them may be ranked Margaretta Godewyck--born at Dort, in 1627,
+and a pupil of Maas--who attained celebrity both in painting and in
+her knowledge of the ancient and modern languages. She was called “the
+second Schurmann,” and many praised her as “the lovely flower of art
+and literature of the Merwestrom;” that is, of Dortrecht. She painted
+landscapes and flowers, and embroidered them with great skill. She died
+at fifty.
+
+Catharina Questier, who resided at Amsterdam, was distinguished for
+painting, copper-engraving, and modeling in wax, besides having no
+small consideration accorded to her poetry. Two of her comedies, that
+appeared in 1655, evince her skill in at least three branches; for the
+drawings and engravings that illustrated the dramas were entirely her
+own design and execution.
+
+
+                         ANNA MARIA SCHURMANN.
+
+A higher and more enduring fame than all these could command must be
+accorded to Anna Maria Schurmann, called by the Dutch poets their
+Sappho and their Corneille. She was born in November, 1607, in Cologne
+(Descampes says, at Utrecht), of Flemish parents. Her family, like that
+of Rubens, was Protestant, and her parents fled to Cologne from the
+persecutions of Alba, remaining till 1615, when they removed to Utrecht.
+
+Even in early childhood the genius of the young girl displayed its
+bent. At three years of age she began to read, and at seven could
+speak Latin. Her mother tried to keep her at the needle, but she loved
+to amuse herself by cutting out paper pictures; she also painted
+flowers and birds--untaught. A few years later, her taste for poetry
+and learning languages developed itself. Learning was her passion;
+the arts her recreation. Being allowed to be present at her brothers’
+Latin lessons, she soon gained surprising proficiency in that tongue.
+When she was ten years old, she translated passages from Seneca into
+French and Flemish. Her love of study soon led to the acquisition of
+the Greek. To the classics she added, before long, a knowledge of the
+Oriental languages. She spoke and wrote the Hebrew, Samaritan, Arabic,
+Chaldaic, Syriac, Ethiopian, Turkish, and Persian; besides being
+perfectly well acquainted with the Italian, Spanish, French, English,
+and German, and speaking every European tongue with elegance.
+
+At the age of eleven this Flemish lassie had read the Bible, Seneca,
+Virgil, Homer, and Æschylus in the original tongues; at fourteen she
+composed a Latin ode to the famous Dutch poet Jacob Cats, who became
+afterward an unsuccessful suitor for her hand. She wrote verses,
+indeed, in many languages. The knowledge of different tongues greatly
+aided her theological studies, in which she took the deepest interest
+from early life. It is said that it was by reading the History of the
+Martyrs she became imbued with the tendency to religious enthusiasm
+that so strongly influenced her through life, and led to so strange a
+career in her latter years.
+
+The astonishing learning of this remarkable woman and her mastery in
+the languages, caused her opinions to be often consulted by the most
+erudite scholars of her time. Her judgment was always received with
+respect; an honorable place was reserved for her in the lecture-rooms
+of the University at Utrecht; and not unfrequently she took part
+openly in the learned discussions there carried on. The professors
+of the University of Leyden had a tribune made, where she could hear
+without mixing with the audience. With this wonderful erudition Anna
+Maria combined a rare degree of cultivation in art. The genius that
+had shown itself in paper-cutting still gave evidence of strong and
+resolute activity. She was skilled both in drawing and painting, had
+a “happy taste in sculpture,” and exercised her talents in carving in
+wood and ivory, as well as in modeling in wax. She carved the busts of
+her mother and brothers in wood. The painter Honthorst valued a single
+portrait executed by her, at a thousand Dutch florins. In addition, she
+has left evidence of her no slight accomplishments in copper-engraving;
+and she engraved with the diamond on crystal. Taste in music, and skill
+in playing on several instruments, fill up the list of the amazing
+variety of endowments bestowed on one of the most gifted of her sex.
+
+We can not marvel that she was called by her contemporaries “the wonder
+of creation.” Not only was she, on account of such varied gifts,
+regarded with admiration, but she was idolized by her acquaintance for
+personal qualities. She was in the most intimate literary association
+with men of distinguished learning like Salmatius, Heinsius,
+Vossius--who is said to have taught her Hebrew--and others. Princes
+and princesses came to visit and converse with her, and entered into
+correspondence with her.
+
+Gonzagues, Queen of Poland, taking a journey to Utrecht in 1645, went
+to visit Anna Maria, having heard such wonderful things of her. After a
+long conversation she gave her flattering tokens of her esteem.
+
+The Queen of Bohemia, and the Princess Louise, her daughter, often
+wrote to her. With a modesty that was as rare as her singular
+endowments, Anna Maria declined all proffered honors, and it was long
+before she could be persuaded to publish her literary productions. When
+the distinguished physician, Johann van Beverwyk wished to dedicate
+to her his treatise on the “Advantages of the Female Sex,” she sought
+to withdraw from the intended compliment. In 1636 she was induced to
+publish a Latin poem, celebrating the foundation of the University of
+Utrecht. Her “Apology for the Female Sex,” and other works followed
+this.
+
+Anna Maria Schurmann resided many years in her native city of
+Cologne. According to one authority, part of her time was passed in
+a country house, where she lived in the utmost simplicity, shunning
+the attentions of the persons of celebrity who wished to visit her,
+and dividing her time between her art and her pen. In 1664 she made a
+journey to Germany in company with her brother; and there first became
+acquainted with Labadie, the celebrated French enthusiast and preacher
+of new doctrines. He believed that the Supreme Being would deceive
+man for the purpose of doing good. He taught that new revelations
+were continually made by the Holy Spirit to the human soul; that the
+Bible was not a necessary guide; that observance of the Sabbath was
+not imperative; that a contemplative life tended to perfection in the
+character; and that such a state could be attained by self-denial,
+self-mortification, and prayer. This man was possessed of singular
+intellectual powers, and fascinating eloquence. He succeeded in
+gaining many followers, and the mind of Anna Maria, deep and serious
+to melancholy, and now clouded by grief for the loss of her father and
+brothers, too readily gave credence to his pretensions.
+
+Abandoning both pen and pencil, she joined the disciples of Labadie,
+devoting herself to the studies that favored his theological doctrines.
+To promote his success, she published her last work, entitled
+“Eucleria,” in 1673, the year before the death of the fanatic. She
+attended him, and it is said he died in her arms.
+
+In this book she deplores her early devotion to literature and art.
+Other accounts add that she collected the followers of Labadie--called
+Labadists--and, continuing to disseminate his tenets, assumed the
+leadership of the band, and conducted them to Vivert in Friesland. She
+brought over Elizabeth--Princess Palatine--to these doctrines, and
+together they opened an asylum for the wandering disciples. True to the
+doctrines she professed, Anna Maria bestowed all her goods to feed the
+poor, and sank to the grave in poverty, dying in May, 1678, at the age
+of seventy-one.
+
+William Penn mentions, in his “Journey in Germany,” a conversation he
+had at Vivert with this wonderful woman in 1677, noticing especially
+the gravity and solemnity of her tones in discourse.
+
+Anna Maria Schurmann has left behind her not only the renown of her
+great learning and artistic culture, truly remarkable in one of either
+sex, but also a reputation for purity of heart and fervor of religious
+feeling, which can not be disturbed by her mistaken though sincere
+belief, and the fanatical enthusiasm with which she clung to absurd
+dogmas. In her portrait her hair is combed back from her forehead, with
+flowing side locks. The back knot is wreathed with ornaments. A large
+pointed collar closely encircles her throat. Her features are marked;
+her eyes keen and expressive; her Roman nose is large.
+
+Among the contemporaries of Anna Maria Schurmann were the painters
+Clara Peters, Alida Withoos, Susanna von Steen, and Catharine
+Oostfries; with the copper-engravers Susanna Verbruggen, Anna de Koher,
+and Maria de Wilde, who etched a series of fifty pieces--gems in her
+father’s collection--and published them in 1700 at Amsterdam.
+
+It was in the seventeenth century that flower-painting was carried
+to such perfection among the women of the Netherlands. Constantia of
+Utrecht and Angelica Pakman may be classed with the pioneers of this
+beautiful art--this truly feminine accomplishment.
+
+
+                         MARIA VAN OOSTERWYCK
+
+was the first eminent artist in this branch, and the precursor of one
+superior to her--Rachel Ruysch--who, esteemed in her day as the pride
+and honor of the Dutch school, was, indeed, worthy of being reckoned
+among those of whom the whole world is proud. Though not so great,
+Maria is justly numbered among the illustrious women of Holland. She
+was born at Nootdorp, near Delft, about 1630. She received her early
+instruction from the distinguished flower-painter, David Heem. Her
+father was a preacher of the Reformed religion, and took pains in
+cultivating his daughter’s intellectual powers. He did not fail to
+notice her remarkable inclination to painting, and her dissatisfaction,
+and even disgust, at the trifles that served to amuse other girls of
+her age. She always had the crayon in her hand.
+
+Her early productions gained much praise, and it was not long before
+she obtained such exceeding skill as to become the rival of her
+teacher. Admiring connoisseurs carried her fame abroad, and she became
+celebrated at foreign courts. Her works were eagerly sought by the
+first princes of the time, after Louis XIV. of France had placed one
+of them in his magnificent collection. The Emperor Leopold and the
+empress sent for specimens of her powers, for which she received the
+portraits of their imperial majesties, set in diamonds, in token of
+their esteem. Her pieces commanded enormous prices. William III. of
+England paid her nine hundred florins for a picture, and the sovereigns
+of Europe seemed to vie with one another in heaping honors and fame on
+this gifted woman. The King of Poland purchased three of her pictures
+for two thousand four hundred florins. These sums were paid her with
+every mark of respect, as presents from her friends rather than
+professional remuneration.
+
+In the midst of all these honors Maria led a quiet and peaceful life,
+undisturbed by excitement or change. She was surrounded by a pleasant
+circle of friends; she worked indefatigably, and was always found in
+her cabinet. To obtain more time to herself, she went to pay a visit
+to her grandfather at Delft. One day she received a visit from a young
+man, who announced himself as William van Aelst, and appeared anxious
+to see some of her works. His admiration of them, was blended with an
+ardent love for the artist. He at last summoned courage to declare
+his passion, but Maria replied that she was firmly resolved against
+matrimony. Her lively suitor, she thought, too, was unsuited to her
+grave and quiet nature.
+
+Unwilling, however, to crush his hopes too suddenly and treat him
+with unkindness, she annexed a condition to her acceptance of her
+wooer, which she imagined would effectually deter him from prosecuting
+his suit, or at least wear out his constancy. She required that he
+should work ten hours of every day for a year. The young man promised
+readily; but, as she supposed, he had not perseverance enough to keep
+his word. His studio was opposite Maria’s; she watched him from her
+window, and failed not to mark on the sash the days he was absent from
+his labors.
+
+At the end of the year William came to claim her promise. “You have
+yourself absolved me from it,” was her reply; and, going to the window,
+she pointed out to him the record of his idle days. The lover was
+confounded, and retired disappointed.
+
+Maria painted flowers with an admirable finish and accuracy, and
+displayed exquisite taste and art in their selection and grouping;
+she had also wonderful skill in copying their fresh tints, and in the
+harmonious adjustment of different colors. She took a long while and
+bestowed much labor in finishing her works, and they are consequently
+rare.
+
+She died at the age of sixty-three, at the house of her nephew, Jacques
+von Assendelft, a preacher at Eutdam in Holland.
+
+
+                            RACHEL RUYSCH.
+
+Rachel Ruysch (spelled also Ruisch or Reutch) trod in the footsteps
+of Maria van Oosterwyck, and carried flower-painting to a perfection
+never before attained. Descampes says her flowers and fruit “surpassed
+nature herself.” It is certain that she succeeded in producing the
+most perfect illusion; and the tasteful selection of her subject and
+manner of grouping, disposition, and contrast, rendered the effect more
+exquisite.
+
+This illustrious artist was the daughter of a famous anatomist, and
+was born in Amsterdam, 1664. She received lessons in painting from
+Wilhelm van Aelst, an artist who ranked with De Heem and Huysum among
+Dutch flower-painters. He and his rivals were soon equaled by the fair
+scholar, and thenceforward she took nature for her teacher.
+
+While her fame went abroad with her pictures, Rachel sat and worked
+in her secluded room; but she could not hide herself from the arrows
+of the boy-god. She married--Descampes and others say, at the age of
+thirty--a portrait-painter named Julian van Pool, who fell in love, and
+introduced himself to her.
+
+She became the mother of ten children. In the midst of domestic
+cares, and the duties of attending to her offspring, she managed not
+to neglect the art she loved so much; yet we are informed that her
+children were admirably brought up. The toil and study must have been
+immense which, in spite of the interruptions of household employments
+and the depression of a narrow income, enabled her to attain such
+excellence that her praises were sung by poets and poetesses, and her
+fame traveled to every court in Europe. In 1701 the Academical Society
+of Haye admitted her into membership; her reception picture was a
+beautiful piece of roses and other flowers. Her celebrity became so
+great that, in 1708, the Elector John of the Pfalz sent her a diploma,
+naming her painter in ordinary to his court, and inviting her to take
+up her residence in his capital. This prince wrote her another letter,
+accompanying the gift of a complete toilet set in silver, twenty-eight
+pieces, to which he added six flambeaux of the same metal. He promised
+to stand godfather to one of her children. When she took her son to
+Düsseldorf, the elector decorated the babe’s neck with a red ribbon, to
+which was attached a magnificent gold medal.
+
+In the elector’s service she produced a number of pictures, most of
+them for her Mæcenas, who after paying for them always added honorable
+presents. In 1713, on a second visit to Düsseldorf, she was received
+with the distinction her great talents merited. The elector sent some
+of her pictures to the Grand-Duke of Tuscany, who admired and placed
+them among his rich collection of master-pieces. Several of her works
+were presented to royal personages; some were treasured in the gallery
+of Düsseldorf, and some excellent pictures were preserved in Munich.
+
+After the death of her friend and patron, the elector, she returned to
+Holland, and prosecuted her art with unwearied industry. She mourned
+his loss as her friend and the generous protector of art; but her works
+met with as great success, and Flanders and Holland even murmured at
+their being taken to Germany.
+
+The advance of old age could not obscure her rare gifts; the pictures
+she executed at eighty were as highly finished as at thirty. To genius
+of the highest order she united all the virtues that dignify and adorn
+the female character. Respected by the great--beloved even by her
+rivals--praised by all who knew her--her path in life was strewn with
+flowers, till at its peaceful close she laid her honors down. She died
+in 1750, at the age of eighty-six, having been married fifty years and
+five years a widow.
+
+Her works are rarely seen, from the difficulty of inducing possessors
+in Holland to part with them. At Amsterdam there are four beautiful
+pieces. Their chief merits are surprising vigor and a delicate finish,
+with coloring true to nature. Flowers, fruits, and insects seem full of
+fresh life.
+
+Rachel’s style combined a softness, lightness, and delicacy of touch
+with a certain grandeur of disposition and powerful effect, which
+caused the universal recognition of a manly spirit and nobility
+of feeling in her works. In her portrait her hair is short, with
+low-necked dress and beads round the throat. The features of the
+artist, large and strongly marked, bear the same brave, open character
+that spoke in the grouping and arrangement of her flowers--in the
+freedom that marked her compositions and was blended with their
+surprising lightness and grace. In the depth of coloring a delicate
+poetic fragrance seemed to be infused.
+
+
+
+
+                              CHAPTER IX.
+
+                       THE SEVENTEENTH CENTURY.
+
+ Unfavorable Circumstances for Painting in Germany.--Effects of the
+ Thirty Years’ War.--The national Love of Art shown by the Signs of
+ Life manifested.--Influence of the Reformation.--Inferiority of
+ German Art in this Century.--Ladies of Rank in Literature.--A female
+ Astronomer.--The Fame of Schurmann awakens Emulation.--Distinguished
+ Women.--Commencement of poetic Orders.--Zesen, the Patron of the
+ Sex.--Women who cultivated Art.--Paintresses of Nuremberg.--Barbara
+ Helena Lange.--Flower-painters and Engravers.--Modeling in Wax.--Women
+ Artists in Augsburg.--In Munich.--In Hamburg.--The Princess
+ Hollandina.--Her Paintings.--Maria Sibylla Merian.--Early Fondness
+ for Insects.--Maternal Opposition.--Her Marriage.--Publication
+ of her first Work.--Joins the Labadists.--Returns to the
+ Butterflies.--Curiosity to see American Insects.--Voyage to
+ Surinam.--Story of the Lantern-flies.--Return to Holland.--Her Works
+ published.--Republication in Paris afterward.--Her Daughters.--Her
+ personal Appearance.--The Danish Women Artists.--Anna Crabbe.--King’s
+ Daughters.--The Taste in Art in Denmark and England governed by
+ that of foreign Nations.--Female Artists in England.--The Poetesses
+ most prominent.--Miniaturists.--Portrait-painters.--Etchers.--Lady
+ Connoisseurs.--The Dwarf’s Daughter.--Anna Carlisle.--Mary
+ Beale.--Pupil of Sir Peter Lely.--Character of her Works.--Rumor
+ of Lely’s Attachment to her.--Poems in her Praise.--Mr.
+ Beale’s Note-books.--Anne Killegrew.--Her Portraits of the
+ Royal Family.--History and still-life Pieces.--Her Portrait by
+ Lely.--Her Character.--Dryden’s Ode to her Memory.--Her Poems
+ published.--Mademoiselle Rosée.--The Artist in Silk.--Wonderful
+ Effects.--Her Works Curiosities.--The Artist of the Scissors.--Her
+ singular imitative Powers.--A Copyist of old Paintings.--Her
+ Cuttings.--Views of all kinds done with the Scissors.--Royal and
+ imperial Visitors.--Her Trophy for the Emperor Leopold.--Poems in
+ her Praise.--The Swiss Paintress Anna Wasser.--Her Education and
+ Works.--Commissions from Courts.--Her Father’s Avarice.--Sojourn at a
+ Court.--Return home.--Fatal Accident.--Her literary Accomplishments.
+
+
+While in the Netherlands, under the influence of the national
+elevation, art grew into a school of peculiar nationality, much less
+favorable circumstances existed in Germany. It may be said, indeed,
+that none less favorable could be found in any country. It was not
+merely that the land had been wasted by the Thirty Years’ War, for art
+and knowledge have been known to bud and bloom amid a severe national
+struggle. This contest, however, was one hostile to every generous
+impulse and lofty aspiration, and tended to crush the noble energies
+that are called forth in other conflicts. It was an internecine and
+sordid strife; Germans were arrayed against Germans, and hordes of
+foreign robbers were encouraged to plunder the country desolated by her
+own children. In the reign of mean and base passions, there was no soil
+where such flowers might bloom as then made beautiful the Netherlands.
+
+There was wanting, also, such a central point as was afforded in France
+and Spain by the courts of Versailles and Madrid. All things revolved
+in a narrow and sordid sphere of individual interest. That Germany, in
+spite of this disastrous and gloomy condition, should have produced
+artists, and that even women, with self-sacrificing zeal should have
+manifested their predilection for the calling, is a proof of the deep
+love for art implanted in the heart of the nation, showing itself in
+brilliant flashes during the sixteenth century, and in the midst of
+troubles not entirely extinguished. The Reformation, while it had
+inspired Germany with the spirit of a new epoch, at first assumed a
+position hostile to the arts that had contributed to embellish the old
+faith. For three hundred years, by open force, blind fury, and cold
+contempt, this misapprehension of the true scope of art threatened
+to destroy what preceding ages had left of excellence; nor did the
+struggle terminate till the nineteenth century.
+
+Signs of life in art had been first perceived in Germany toward the
+beginning of the thirteenth century; and there had been progressive
+stages of improvement. The stiffness and seriousness prescribed by
+tradition were replaced by softer execution and an easier flow of
+outline. Flowing drapery and grace marked the earliest attempts to
+express the artist’s own feelings in his works, and a subjective
+principle was allowed in paintings.
+
+In the revival of art toward the end of the fifteenth century the
+sacred subjects of earlier ages had been much chosen. Afterward, the
+artist’s own mind and emotions came forth in self-productive energy;
+and, at a later period, rose into favor the accurate delineations of
+nature’s forms.
+
+The inferiority of Germany in an artistic view, in the seventeenth
+century, is undeniable; but many were found who longed after the
+excellence of which other lands could boast. Women there were in
+abundance who cultivated ornamental literature; noble ladies and
+princesses patronized poets and courted the muses. Henrietta of Orange,
+the consort of the great Elector, was one of several royal dames yet
+remembered in their sacred songs. The lower orders could boast their
+cultivated women; and the name of Maria Cunitz deserves mention as
+learned in the science of astronomy.
+
+The fame of Anna Memorata, Fulvia Morata, and Anna Maria Schurmann
+meanwhile filled the German women with emulative desire to inscribe
+their names beside those accomplished persons. Gertrude Möller was
+learned in the languages, and Sibylla Schwarz in poetry. Even Rist, who
+excluded women from his literary society, corresponded with the poetess
+Maria Commer.
+
+This was the beginning of honorary poetic orders, and women were not
+excluded from these, especially from those established by Zesen. He was
+the patron and encourager of female genius and enterprise; his pen was
+dedicated to the service of the sex, and his praises were reciprocated
+by the grateful fair. In his “Lustinne” he sings of the lady poets of
+his day.
+
+The female artists of that time seemed, indeed, to lack such generous
+appreciation; and it may be that the enthusiastic eulogies lavished by
+poets on each other had a selfish aim. Yet the period was not without
+a goodly number of women who cultivated art, and it is not improbable
+that the success of the poetesses had some effect in stimulating their
+zeal. The example of the illustrious Schurmann, who wore the double
+wreath of both branches of study, was before their eyes; and the Dutch
+school had much influence in forming tastes in Germany.
+
+The love of exercising creative power naturally developed itself in
+various ways. Nuremberg, the seat of the Pegnitzschäfer order of
+bards; Hamburg, the residence of the chivalrous Zesen; Saxony, where
+flourished many fair devotees to literature--were not abandoned by the
+spirit of art. In the first-mentioned city we hear of two paintresses
+descended from families celebrated for artistic excellence: Susannah
+Maria von Sandrart, who also did etching in copper; and Esther Juvenel,
+who drew plans for architecture. To these may be added the name of
+Barbara Helena Lange, who earned celebrity by engraving on copper, and
+carving figures in ivory and alabaster. She was admitted to the Pegnitz
+order, on account of her poetical talent, in 1679, her poetical name
+being entered as Erone. In 1686 she married one Kopsch, and with him
+removed to Berlin, and afterward to Amsterdam.
+
+The names of Maria Clara Eimart and Magdalena Fürst may here be
+mentioned as flower-painters; that of Helen Preisler as an engraver on
+copper; and Joanna Sabina Preu as both an engraver and modeler in wax.
+All these obtained no insignificant reputation.
+
+In Nuremberg also lived, in 1684, Anna Maria Pfründt, born in Lyons.
+She modeled portraits in wax, some of which were those of persons of
+high rank, and, adorned with costly drapery and precious stones, gained
+a wide-spread reputation for the artist.
+
+Augsburgh was also rich in evidences of woman’s artistic taste.
+Susannah Fischer and Johanna Sibylla Küsel excelled in painting,
+while her younger sisters, Christina and Magdalena Küsel, with Maria
+Wieslatin, engraved in copper. Others surpassed the Nurembergers in
+fine carving.
+
+In Regensburgh lived Anna Catharina Fischer, a flower and portrait
+painter; in Munich, Isabella del Pozzo was appointed court painter
+by the Electress Adelaide, and the miniature-painter Maria Rieger
+was employed very frequently by princely personages. Placida Lamme
+distinguished herself about the same time by painting miniatures and
+carving pictures, with which she occupied her time in the Bavarian
+cloister of Hohenwart.
+
+In Hamburg, Mariana Van der Stoop and Diana Glauber were painters
+by profession, and in Saxony we find a skillful portrait-painter in
+Margaretta Rastrum, who pursued her art in Leipzig. The above-mentioned
+Anna Catharina Fischer lived a long time in Halle, with her husband, a
+painter named Block. Toward the end of this century we hear of Madame
+Ravemann, who executed a beautiful medal--an exquisite specimen of
+cutting--for Augustus the Second.
+
+
+                       THE PRINCESS HOLLANDINA.
+
+Casting a glance over western Germany, we find the artistic poverty
+of the land redeemed by a princess who loved the liberal arts--Louise
+Hollandina, of the Pfalz. She was the daughter of the unhappy Friedrich
+V., and the sister of the Princess Elizabeth, whose chief celebrity
+arose from her veneration for the philosopher Descartes; also of
+the Prince Ruprecht, noted in art history for his drawings and his
+leaves in the black art. Hollandina, with her sister Sophia, received
+instruction in painting from the famous Gerard Honthorst, and painted
+large historical pictures in the style of that master, of which at the
+present time very little is known. Two of Hollandina’s paintings were
+added to the collection of her uncle, King Charles--one representing
+Tobias and the Angel; the other, a falconer. An altar-piece by her hand
+adorns a church in Paris. Lovelace, in his poetry, speaks highly of the
+abilities of this princess.
+
+Her family originated from the same place that gave birth to Anna Maria
+Schurmann--the city of Cologne--where that famed artist obtained her
+early education.
+
+We must not omit to mention Frankfort-on-the-Main, where, in the
+middle of the seventeenth century, lived one of the most celebrated
+women of whom Germany then could boast. This was
+
+
+                         MARIA SIBYLLA MERIAN.
+
+She was the daughter of Matthew Merian, the well-known geographer
+and engraver, and born at Frankfort-on-the-Main in 1647. Her father
+published a topographical work in Germany, in thirty-one folio volumes.
+Her mother was the daughter of Theodore de Bry, an engraver of repute.
+
+A remarkable circumstance, and one contrary to the usual experience
+of extraordinary persons, was, that Sibylla devoted herself to the
+vocation of the artist in opposition to her mother’s wishes and in the
+face of great difficulties. In this respect she differed from most
+other women artists; for they, as a rule, were led to the study by
+parental example or domestic training.
+
+From the early childhood of this singular girl she manifested a
+persevering spirit of research in natural history, with a fondness for
+examining specimens of vegetable and animal life. It is possible that
+this natural predilection was owing to one of those accidents that so
+often determine the course and bent of human intellect. Her mother,
+shortly before her birth, it is said, took a fancy to make a collection
+of curious stones, mussels, and different sorts of caterpillars.
+However this may be, it is certain that the child, at a very early age,
+showed the same taste, and no maternal reproaches or punishment could
+keep her from indulging the strange fancy. She would, however, conceal
+her treasures. At last her step-father, the painter Jacob Marrel,
+having persuaded the mother to consent, arranged it so that the girl
+took lessons of the famous flower-painter, Abraham Mignon.
+
+In the year 1665, at eighteen, she married John Andrew Graf, a painter
+and designer in architecture. The marriage was not a happy one, but
+she lived with Graf nearly twenty years in Nuremberg, in a lonely and
+secluded manner, devoted solely to her art, as she herself says in
+the preface to one of her published works, giving up intercourse with
+society, and beguiling her time by the examination of the various
+species of insects, of which she made drawings, and by the study of
+their transformations.
+
+She painted her specimens first on parchment, and many of those
+pictures were distributed among amateurs. Encouraged by them, she
+published, in 1679, a work entitled “The Wonderful Transformations of
+Caterpillars,” a quarto volume, with copper engravings, executed by
+herself after her own drawings. Another volume appeared in 1684.
+
+The affairs of Graf having become embarrassed, and his conduct being
+much censured, he was compelled to leave his family and go out of the
+country. After this separation, Sibylla never assumed her husband’s
+name in any of her publications, but issued them under her maiden name.
+About 1684 she went to Frankfort, and prepared for a journey to West
+Friesland with her mother and daughters. There she became possessed
+with the religious enthusiasm which had driven so many women into
+strange doings, and joined the sect of the Labadists, taking up her
+abode at the Castle Bosch.
+
+Sibylla did not yield her energies, however, entirely to the dominion
+of this kind of phrensy; her old habits of study and research followed
+her. Butterflies and worms again occupied her attention, and she soon
+took a deep interest in all the collections of animals from the East
+and West Indies which she discovered were within her reach.
+
+Among those persons whose collections were most admired by her was
+Fridericus Ruysch, a doctor of medicine and professor of botany, and
+the father of the Rachel Ruysch already noticed. It is not difficult
+to believe that the example and conversation of a woman so gifted and
+so devoted to study as Madame Merian had a decisive influence upon the
+character of the youthful Rachel.
+
+Our heroic and industrious heroine was delighted at the opportunity
+of examining such interesting collections; for, besides the pleasure
+her investigations in natural history afforded her, she was stimulated
+by an inextinguishable desire to know all that could be learned about
+that department of the animal kingdom. At length, anxious to see the
+metamorphoses and food of American insects, she determined to undertake
+that laborious and expensive journey to Surinam which she accomplished
+in June, 1699. The States of Holland assisted her with the means of
+travel. Her journey gave occasion to the following lines by a French
+poet:
+
+  “Sibylla à Surinam va chercher la nature,
+  Avec l’esprit d’un Sage, et le cœur d’un Heros.”
+
+The place of her destination was Dutch Guiana, often called Surinam,
+from a river of that name, on which the capital, Paramaribo, is
+situated. It is said that, one day during her residence there, the
+Indians brought Madame Merian a number of living lantern-flies, which
+she put into a box; but they made so much noise at night, that she rose
+from her bed and opened their prison. The multitude of fiery flames
+issuing from the box so terrified her that she immediately dropped it
+on the ground. Hence came marvelous stories of the strong light emitted
+by that insect.
+
+She remained in America nearly two years, till the summer of 1701,
+notwithstanding the unfavorable effect of the climate on her health,
+and the difficulties thus encountered in the prosecution of her
+studies. Though strong of will, she could not long bear up against
+such an enemy, and was obliged to return much sooner than suited her
+inclinations.
+
+In September she was again in Holland, where her splendid paintings, on
+parchment, of American insects, excited the greatest admiration among
+the connoisseurs. They pressed her to publish a work that would open a
+world of vegetables and animals hitherto unknown; and, in spite of the
+great expense, she resolved at last, without expectation of a return
+for her outlay, to engrave her pictures for publication. The reward of
+her labors was to be in the sale of successive editions. This work was
+entitled “Metamorphosis Insectorum Surinamensium, etc. The text drawn
+up by Gaspar Commelin, from the MSS. of the author.”
+
+In 1771 a collection of Madame Merian’s works was published in Paris,
+translated into French; and to this day are to be seen engravings,
+nearly of the size of the original, of the various paintings made by
+this enthusiastic woman of objects that struck her fancy--caterpillars,
+butterflies, spiders, snakes, and various kinds of animals and
+plants--executed with all the luxury of brilliant coloring, and
+illustrated by choice poetry.
+
+Her great work was entitled “History of the Insects of Europe, drawn
+from Nature, and explained, by Maria Sibylla Merian.” It included a
+treatise on the generation and metamorphoses of insects, and the
+plants on which they feed. Her pictures were not only executed with
+fidelity, but each insect appeared in its first state with the most
+pleasing accompaniments. With those metamorphosed from the chrysalis or
+nymph to the fly or butterfly, were presented the plants and flowers
+they loved, all correctly and tastefully delineated.
+
+Even after the appearance of her work, in 1705, the persevering artist
+continued her studies in natural history, in which she was joined by
+both her daughters, whom she had educated to pursuits of art. Dorothea,
+the youngest, had accompanied her to Surinam, while the eldest, Joanna
+Maria Helena, came afterward with her husband, a merchant of Amsterdam,
+to assist her mother in collecting and painting specimens. It was the
+mother’s intention to publish the pictures made by her daughters in an
+appendix to her own collected works; but her death, which occurred in
+January, 1717, prevented this, and the daughters afterward published
+the results of their labors in a separate volume.
+
+This extraordinary woman, whose labors contributed so much to the
+improvement and embellishment of the natural history of insects, was
+little favored by gifts of beauty or personal grace. Her portrait shows
+hard and heavy-lined features. A curious headdress, made of folds of
+black stuff, rises high above the head, and inclines a little to the
+left. Short, light curls appear above a cambric ruffle, finishing a
+half-low corsage. She is undoubtedly entitled to a place among great
+artists.
+
+The history of Madame Merian rounds off that of German female artists
+belonging to the seventeenth century with an exhibition of more than
+ordinary interest.
+
+
+                       THE DANISH WOMEN ARTISTS.
+
+A glimpse may here be had of the artists of Denmark and England.
+Anna Crabbe was a painter by profession in Copenhagen before the
+year 1618. She painted a series of portraits of Danish princes, to
+which she added a poetical description of each. The daughter of King
+Christian IV., Eleonora Christina, who married the minister Ulefeld,
+was not only celebrated for her beauty and intellectual gifts, but
+for skill in various branches of art--engraving, modeling in wax,
+and miniature-painting. Her daughter Helena Christina possessed like
+talents.
+
+Toward the close of the century, Sophie Hedwig, the daughter of King
+Christian V., became noted as an artist, gaining much reputation by her
+performances in portrait, landscape, and flower painting.
+
+Neither in Denmark nor in England was any special direction given
+to art by the national character; on the contrary, in both these
+countries, the prevailing taste was governed by that of foreign
+nations--as the Dutch and German.
+
+
+                        ENGLISH FEMALE ARTISTS.
+
+In England there were not many women artists, although in literature
+the sex was not without its share of laurels, and in dramatic poetry
+and prose romance women contended for appreciation with masculine
+writers. The poetess Joanna Weston was a great admirer of Anna Maria
+Schurmann, and took her for a model; but there were no painters who
+could be compared in merit to the women who cultivated poetry.
+
+As miniature-painters, Susannah Penelope Gibson may be mentioned;
+also Penelope Cleyn. The latter was the daughter of a German painter,
+and her sisters Magdalen and Sarah were also devoted to the art. They
+painted the portrait of Richard Cromwell’s daughter.
+
+Mary More obtained some distinction as a portrait-painter. It was in
+England that the Princess Hollandina, before mentioned, took lessons in
+painting, with her sister Sophie, from Gerard Honthorst.
+
+In the noble art of etching Anna and Susannah Lister were regarded as
+having much skill; they illustrated a work on natural history by their
+father, in the manner of Madame Merian, by their artistic efforts.
+
+A lady connoisseur and engraver of much taste was the Countess of
+Carlisle. She perhaps set the fashion afterward followed by so many
+fair dilettanti, who exercised so much influence in England during the
+succeeding century.
+
+Susan Penelope Rose, according to Lord Orford, was the daughter of
+Richard Gibson the Dwarf. She married a jeweler, and became noted for
+painting portraits in water colors with great freedom. Her miniatures
+were larger than usual. She died at forty-eight in 1700.
+
+A contemporary of Vandyck was Mrs. Anna Carlisle, who died about 1680.
+She was celebrated for her copies of the Italian masters. Charles I.
+esteemed her highly. She once shared with Vandyck a present from their
+royal patron, of ultramarine; it is said to have cost the king five
+hundred pounds. This renders it probable that she painted in oil; for
+the quantity was too large for use in miniatures.
+
+One of her works represents herself teaching a lady to paint. This
+artist must not be confounded with the Countess of Carlisle, who was
+distinguished for her beautiful engravings of the works of Salvator
+Rosa, Guido, etc.
+
+
+                              MARY BEALE,
+
+the daughter of Mr. Craddock, a clergyman, was born at Suffolk about
+1632. She received some instruction from Walker, but was a favorite
+pupil of Sir Peter Lely. She painted in oil, water-colors, and crayons.
+She acquired much of the Italian style by copying old pictures from
+Lely’s and the royal collection. She copied some of the portraits of
+Vandyck. Her works were remarkable for vigor of drawing and fresh
+coloring, with great purity and sweetness. The artist was an estimable
+and amiable woman; was highly respected, and mingled in the society of
+the noble and the learned. Her pencil was employed by many personages
+of distinction. Her husband was an inferior painter.
+
+It was rumored that Sir Peter Lely was romantically attached to his
+fair pupil; but his love could not have met with return, for he is
+known to have been reserved in communicating to her the resources of
+his pencil. He refused to intrust to her one of the important secrets
+of his art.
+
+Several poems in praise of Mrs. Beale were published; one in particular
+is remembered, by Dr. Woodfall, in which she is celebrated under the
+name of “Belasia.” Her husband, Charles Beale, had the curious practice
+of noting in small almanac pocket-books almost daily accounts of
+whatever related to his wife, her pictures, or himself. He practiced
+chemistry for the preparation of colors. He bequeathed thirty of the
+almanacs, filled with his notes, and records of the praises lavished on
+his wife’s pictures, to a colorman named Carter.
+
+Walpole says Mrs. Beale’s portraits were numerous. She painted one of
+Otway, the poet. The Archbishop Tillotson was her patron, and many of
+the clergy sat to her. The archbishop’s portrait is the first of an
+ecclesiastic who, quitting the coif of silk, is delineated in a brown
+wig.
+
+Some have said that she persuaded her friends to sit to Lely, that she
+might learn his method of coloring. There is no doubt that she rose to
+the first rank in her profession. One of her sons became a painter. She
+died at Pall Mall in 1697, aged sixty-five.
+
+
+                           ANNE KILLEGREW--
+
+“A grace for beauty, and a muse for wit,” as writes one of her
+admirers--was the daughter of Henry Killegrew, descended of a family
+remarkable for loyalty, accomplishments, and talent. She proved one
+of its brightest ornaments. She was born in London, and at a very
+early age discovered a remarkable genius. She became celebrated both
+in painting and poetry. One of her portraits was of the Duke of York,
+afterward James II.; others, of Mary of Modena and the Duchess of
+York, to whom she was maid of honor. These pieces were highly praised
+by Dryden. She produced, also, several history-pieces, and pictures
+of still life. Becket did her miniature in mezzotint, after her own
+painting; it was prefixed to the published edition of her poems. The
+painting was in the style of Sir Peter Lely, which she imitated with
+great success. Her portrait, taken by Lely, has a pleasing expression,
+though the air is slightly prim. The dress is low-necked, with beads,
+and a mantle is fastened at the breast with a brooch. Curls cluster
+round the face; the back hair is loose and flowing.
+
+Though called “mistress,” after the fashion of the time, Anne was never
+married. She was a woman of unblemished character and exemplary piety.
+Death cut short her promising career, by small-pox, in 1685--as Wood
+says, “to the unspeakable reluctancy of her relations”--when she was
+but twenty-five years of age. She was buried in Savoy Chapel, where
+a monument is fixed in the wall, bearing a Latin inscription by her
+father, setting forth her accomplishments, virtue, and piety.
+
+Dryden’s ode to her memory was called by Dr. Johnson “the noblest
+our language has produced.” Another critic terms it “a harmonious
+hyperbole, composed of the fall of Adam, Arethusa, Vestal virgins,
+Diana, Cupid, Noah’s ark, the Pleiades, the fall of Jehoshaphat, and
+the last assizes.” After lauding her poetic excellence, Dryden says:
+
+  “Her pencil drew whate’er her soul designed;
+  And oft the happy draft surpassed the image of her mind.”
+
+And of her portrait of James II.:
+
+  “For, not content to express his outward part,
+  Her hand called out the image of his heart;
+  His warlike mind--his soul devoid of fear--
+  His high-designing thoughts were figured there.”
+
+Notwithstanding such flattery, Anthony Wood says, “There is nothing
+spoken of her which she was not equal to, if not superior;” and
+adds, “If there had not been more true history in her praises than
+compliment, her father never would have suffered them to pass the
+press.”
+
+Her poems appeared after her death in a thin quarto volume, prefaced
+by the ode and the Latin epitaph. Among her history-pieces were “St.
+John in the Wilderness,” “Herodias with the Head of John the Baptist,”
+and “Two of Diana’s Nymphs.” The melodious eulogizer of her graces and
+gifts remarks of the queen’s portrait:
+
+  “Our phœnix queen was portrayed too, so bright,
+  Beauty alone could beauty take so right;
+  Before, a train of heroines was seen,
+  In beauty foremost, as in rank a queen.”
+
+
+                          THE ARTIST IN SILK.
+
+Mademoiselle Rosée, born in Leyden in 1632, deserves a place among
+eminent artists for the singularity of her talents. Instead of using
+colors, with oil or gum, she used silk for the delicate shading. It
+can hardly be understood how she managed to apply the fibres, and to
+imitate the flesh-tints, blending and mellowing them so admirably.
+She thus painted portraits, as well as landscapes and architecture.
+Michel Carré, who saw one of her portraits, says, “It can scarcely be
+believed it is not done by the pencil.” One of her pieces brought five
+hundred florins. It represented the decayed trunk of a tree, covered
+with moss and leaves. On the top a bird has made her nest. The shading
+and the sky in the distance left nothing to be desired for coloring and
+truthful effect. The Grand-Duke of Tuscany purchased one of her finest
+pieces, which is yet preserved among the curiosities of his collection.
+She was never married, and died at the age of fifty, in 1682.
+
+
+                      THE ARTIST OF THE SCISSORS.
+
+Joanna Koerten Block is regarded by the Dutch as one of their most
+remarkable female artists. She was born in Amsterdam in 1650, and
+manifested a taste for the fine arts in her childhood. She learned
+music and embroidery, and how to model fruits and figures; she also
+understood coloring, and engraved with a diamond on crystal and glass
+with surprising delicacy. She also painted in oil and water colors
+in a novel manner. Possessing a rare art in blending colors, she
+copied pictures so wonderfully that they could hardly be distinguished
+from the originals. This faculty of imitation she carried to such
+perfection, that it was believed among her contemporaries that, had
+she devoted herself exclusively to this kind of work, she would have
+equaled the great masters. She gave up, however, after a while, the
+cultivation of this singular talent for the development of another
+still more extraordinary, for which she has obtained a place among the
+great artists of her country.
+
+All that the engraver accomplishes with the burin, she was able to
+do with the scissors. Her cuttings were indeed astonishing. Country
+scenes, marine views, animals, flowers, with portraits of perfect
+resemblance, she executed in a marvelous manner. This novel style of
+making pictures out of white paper created not a little sensation,
+and ere long the matter became spread abroad widely, and excited the
+curiosity of all the courts of Europe. Even artists could not help
+admiring her skill in this strange art, and not one came to Amsterdam
+without paying her a visit.
+
+The Czar Peter the Great, princes of royal blood, and nobles of the
+highest rank paid their respects to the simple Dutch maiden, and
+examined her works with pleased curiosity. The Elector Palatine offered
+a thousand florins for three small pieces cut by her, but the offer was
+declined as not liberal enough.
+
+The Empress of Germany ordered a piece executed as a trophy of the arms
+of the Emperor Leopold I. The design showed the crown and imperial
+arms upheld by eagles, and surrounded by laurel wreaths, garlands of
+flowers, and appropriate ornaments. This was executed in a wonderful
+manner, and for it the fair artist received four thousand florins.
+
+The portrait of the emperor, cut by Joanna, is preserved in his
+imperial majesty’s cabinet at Vienna. Queen Mary of England, and other
+royal personages, wished to decorate their cabinets with the works
+of this artist. She cut many portraits, with which the sitters were
+pleased and astonished. The Latin, German, and Dutch verses composed
+in her honor would fill a volume. She had in her working-room a volume
+in which were registered the names of her illustrious visitors, the
+princes and princesses and other great personages writing their
+own. It is the same curious register in which Nicholas Verkslie saw
+the portraits of illustrious persons, appended each to the proper
+signature. This interesting addition is said to have been made by
+Adrien Block, the artist’s husband. He published a series of vignettes
+from her pieces.
+
+Joanna died in 1715, at the age of sixty-five. Her taste and design
+were marked by correctness and delicacy, and she was original and
+unique in the style of work to which she devoted herself. When her
+pieces were put over black paper, the effect was that of an engraving
+or pen-drawing. Neatness, clearness, and decision were her prominent
+characteristics.
+
+Her portrait, coarsely engraved, is published by Descampes. She had a
+noble style of face, with strongly marked features. The hair is dressed
+in a point in front; the neckerchief and dress are worn in antiquated
+style.
+
+Among the distinguished artists of the seventeenth century we must not
+omit
+
+
+                             ANNA WASSER.
+
+She was born in Zurich, Switzerland, in 1676, and is esteemed by the
+Swiss as one of their most eminent painters. Her father was Rudolph
+Wasser, a member of the Grand Council of Zurich, and artist of the
+foundation of the Cathedral. She very early evinced a remarkable
+faculty for learning languages, and at the age of twelve was familiar
+with Latin and French, and acquainted with the general literature of
+those tongues. Her rapid progress in belles-lettres astonished every
+body, and gave the promise of wonderful attainments; but the bent of
+her genius was for art. She took lessons of the painter Joseph Werner,
+and had no sooner learned to handle a pencil, than she could think
+of nothing else. When thirteen years old she made a copy of Werner’s
+“Flora” in Bern, which convinced all her friends that she was destined
+by nature for an artist. The painter himself praised her correct design
+and perfect imitation of his coloring, and advised her father to send
+her to Bern to study. She spent three years in the school; at first
+employing herself in oil painting, but finally abandoning that for
+miniatures. By the time her education was completed she had reached a
+perfection little short of that of her teacher.
+
+Returning to Zurich, she devoted herself to art as a profession. Her
+productions were taken to England, Holland, and Germany, where they
+were greatly admired, and her contemporaries extolled her as a second
+Schurmann. There was scarcely a court in the German empire from which
+she had not commissions. Those of Baden-Durlach and Stuttgard disputed
+which should possess the greatest number of her works. The Duke of
+Wurtemberg, Eberhard Louis, and his sister, the Margravine von Durlach,
+sent her large portraits to be painted in miniature.
+
+While Anna’s fame spread throughout Germany, her very success tended
+to throw difficulties in the way of her artistic progress. Her
+father was pressed with the care of a large family, and thought his
+interests would be favored more by multiplying the number of his
+daughter’s works, than by allowing her time to finish them. He urged
+her continually to new enterprises. Thus depressed and tied to sordid
+cares, Anna lost her spirits and fell into a melancholy that threatened
+to destroy her health. Happily, at this time, the court of Solms
+Braunfels made her favorable proposals of employment. She accepted the
+invitation, went there with one of her brothers, and soon found she
+would be enabled to indulge her taste for elaborating and perfecting
+her paintings. She rapidly regained her cheerfulness, and became the
+delight and admiration of the circles in which she moved. Again her
+father’s avarice disturbed this agreeable state of things. He sent her
+an abrupt summons to return home, where he expected her to do more work
+for his benefit. She obeyed the command, but on the journey, made in
+such haste, she got a severe fall, the effects of which terminated her
+life in 1713, at the age of thirty-four.
+
+Fuseli possessed a painting in oil done by Anna Wasser at the age of
+thirteen. He gave her praise for correctness of outline, and for spirit
+of coloring. She appears to have excelled most in pastoral and rural
+pieces, which it was her delight to paint. Her compositions were
+marked by great ingenuity, and were finished with exquisite delicacy.
+
+Her literary accomplishments procured her the friendship of the most
+eminent scholars of her day in Germany; such as Werner, Meyer, Hubert,
+Steller, etc., and she corresponded with many celebrated persons. Among
+her female friends was Clara Eimart, already mentioned among German
+artists. Her manners were gentle and dignified, and her character was
+pure and blameless. To filial obedience she would at any time sacrifice
+her own inclinations; indeed she often carried her devotion to excess.
+
+The portrait given of her shows delicate and sharply defined features.
+The hair is worn in Grecian style, with ringlets at the side, and
+braids falling on her neck. She appears surrounded with flowers, with
+baskets of fruit beside her.
+
+Maria Theresa van Thielen, and her two sisters, the daughters of an
+artist of noble family, were instructed by him in flower-painting, the
+first excelling also in portraits.
+
+
+
+
+                              CHAPTER X.
+
+                        THE EIGHTEENTH CENTURY.
+
+ General Expansion and Extension of Art-culture.--More Scope given to
+ the Tendencies originated in preceding Age.--Reminiscences of past
+ Glories of Art active during the first half of the Century.--The
+ Flemish and Italian Schools in vogue.--Eclecticism.--Influences of
+ the French School mingled with those of the great Masters.--The
+ Rococo Style.--The Aggregate of Woman’s Labor greater than ever
+ before.--Not accompanied by greater Depth.--Less Individuality
+ discernible.--The greatest artistic Activity among Women in
+ Germany.--In France next.--In Italy next.--In other Countries
+ less.--Rapid Growth of Art in Berlin.--In Dresden.--Scholarship
+ and literary Position of Women during the first half of the
+ Century.--Poets and their Inspirations.--Princesses the Patrons
+ of Letters.--Nothing new or striking in Art.--A Revolution in
+ the latter half of the Century.--Instruction in Art a Branch of
+ Education.--Dilettanti of high Rank.--Female Pupils of Painters
+ of Note.--Mengs and Carstens.--Carstens the Founder of modern
+ German Art.--His Style not adapted to female Talent.--A lovely
+ Form standing between him and Mengs.--A female Stamp-cutter.--An
+ Artist in Wax-work.--In Stucco-work.--In cutting precious
+ Stones.--Barbara Preisler.--Other female Artists.--Fashionable Taste
+ in Painting.--Marianna Hayd.--Miniaturists.--Anna Maria Mengs.--Her
+ Works.--Miniature and Pastel-painting.--Flowers and Landscapes a
+ Passion.--Imitators of Rachel Ruysch and Madame Merian.--Celebrities
+ in Flower-painting.--Copper-engraving. Lady Artists of high
+ Rank.--Other Devotees to Art.
+
+
+During the greater part of the eighteenth century we find rather a
+general expansion and extension of taste and cultivation in the arts,
+than a concentration of effort or a more rich and earnest development
+of talent. The period gave more scope to the tendencies that had been
+originated and determined in a preceding age. Connoisseurs fed upon
+reminiscences of the past glories of art, and no new ideas were brought
+to the world’s notice till the first half of the century had rolled
+away.
+
+The Flemish and Italian schools were in vogue, slightly modified,
+but, on the whole, scarcely changed in any essential particular; or a
+blending of diverse styles produced some artists who hardly deserve
+notice for their individual merits. A spirit of eclecticism may,
+indeed, be traced in the productions of the best masters of this time.
+The sovereigns in the domain of art had then passed away, and with the
+influence they still exercised was mingled that of the French school.
+The brilliancy and glow of Titian and Paul Veronese, the deep poetic
+feeling of Giorgione, the purity and tenderness of Raphael and Leonardo
+da Vinci, the rugged grandeur of Michael Angelo, the soft, transparent
+loveliness of Correggio, the bright beauty of Guido and Albano, and the
+power and passion of the Caravaggio school, disputed the consideration
+of amateurs with the light and lively style, the graceful mannerism of
+a Watteau and a Bouché, and something of the reflective character of
+the German Raphael Mengs, or that of Carstens and of Dietrich.
+
+The finished and ornate manner of France especially became popular
+over all the countries of Europe, exercising the same influence, in a
+measure, upon art that it had upon literature. Hence originated the
+style that has been aptly termed the Rococo--wanting in depth and
+warmth, indeed, but having a certain completeness of technical detail
+productive of happy effects.
+
+The fresh life and earnest vigor that had marked the earlier schools
+were paralyzed in this, and we do not wonder that a better condition
+followed the reawakening of artistic feeling.
+
+It is not to be denied that the aggregate amount of woman’s labor in
+the domain of art was greater during the eighteenth century than in
+any preceding one; indeed, the number of female artists far surpassed
+the collected number of those known from earliest history. So vast an
+increase was not according to the proportion of other vocations. It
+is also true that, in their efforts, as in those of the men of this
+period, the extension was not accompanied by greater depth, and less
+individuality was discernible in the talent and skill which became more
+generally diffused; hence the well-grounded complaint that the time was
+deficient in great men. Nevertheless, the sum of ability and knowledge
+had not diminished, though, in its manifold branchings and divisions,
+such might appear to be the case.
+
+We find, therefore, a certain uniformity and mediocrity among numerous
+women artists of the eighteenth century, rather than eminent talent in
+special instances. Yet this was not wholly wanting, while the standard
+of excellence was elevated, and a more general spirit of emulation
+prevailed.
+
+Contrary to the experience of preceding ages, we discover the greatest
+evidence of artistic activity among women in Germany; next to that,
+in France; then in Italy. The Netherlands and England may be classed
+together, while Spain and the Scandinavian countries are at the minimum
+in this respect. These proportions are not owing to chance, but
+correspond with the general development of art among the nations at
+this time.
+
+The aspect of female culture also corresponded with national
+characteristics. The decorative was of rapid growth and early bloom in
+Prussia; Berlin, hardly mentioned heretofore, became suddenly alive
+with energetic talent superior to that which displayed itself in any
+other German city. Art sprang into luxuriance, too, at the Electoral
+court, and Dresden claimed no insignificant rank in the scale. France
+meanwhile sustained her old renown; while Nuremberg and Munich should
+not be slighted. But the Austrian and Rhine countries had less reason
+to boast; and many cities of northern Germany were in like poverty of
+women artists.
+
+During the first half of the eighteenth century, the order of things
+differed not essentially from the close of the seventeenth; in fact,
+the same influences predominated, both in literature and art. The
+Pegnitzschäfer and other poetical orders were still in existence; the
+sacred poems composed by noble ladies had their imitations; female
+authors wrote after the established fashion, while they entered on
+a wider field, and partook of the new spirit breathed into German
+poetry. Women then became not only creators in the realm of fancy and
+imagination, but exercised a controlling influence, by their relations
+of friendship and intimacy with distinguished literary characters. Meta
+arose beside her Klopstock; Herder sought inspiration from his bride;
+by Wieland stood Sophie Delaroche; Schiller was aided by Caroline
+Wolzogen and Madame von Kalb; Goëthe by Madame von Stein. Princesses
+and the noble ladies of the land gave their patronage and protection to
+letters, and sought to gather round them the choice spirits of their
+day. This, in the beginning of the century, did Sophie Charlotte, the
+great Queen of Prussia; and Amalia von Weimar thus aided the richest
+development of German mind.
+
+Though nothing new or striking can be said to have been accomplished
+in art by women during the first half of this century, the latter part
+witnessed a revolution in which they greatly aided to spread and deepen
+the growth of new ideas. It became necessary to the complete education
+of ladies of the higher classes, that they should possess some
+knowledge of art. Hagedorn mentions the fact that a teacher who could
+give instruction in drawing and painting could much more readily obtain
+a situation than one ignorant of those branches. Fashion and custom
+enjoined not only a degree of knowledge, but also of skill, on those
+who wished to be thought accomplished. There were many aristocratic
+dilettanti, and a few royal ladies emulated the fame of the princely
+dames of an older time in the pictorial crafts.
+
+Among these may be mentioned, Anna Amalia, of Brunswick; the
+Archduchesses Charlotte and Maria Anna, of Austria; Duchess Sophia,
+of Coburg-Saalfeld; the Margravine of Baden-Durlach; the Princess
+Victoria, of Anhalt-Bernburg, and Elizabeth Ernestine Antonia,
+of Saxe-Meiningen; besides the excellent Elizabeth Christina, of
+Brunswick, who sought to promote the restoration of art and the advance
+of knowledge, for the love of Frederick, her royal husband, and who
+will ever be honored as the ornament of a house that henceforward
+showed itself ready to foster and appreciate the liberal arts.
+
+We observe here, as before, that many painters of note had female
+pupils or assistants, who endeavored to carry out the ideas they
+originated. Dietrich, esteemed one of the best masters of the eclectic
+school of the eighteenth century, had his enthusiasm shared by his
+two sisters; Tischbein, who cultivated the French style, as Dietrich
+did the Dutch, found appreciative companions and co-laborers in his
+wife and daughter; and there were other women who strove to ennoble the
+eclectic system by greater purity of tone and a more ardent study of
+the antique. Oeser had several female pupils; and two sisters worked
+in modest retirement beside the greatest artist of this style--Antoine
+Raphael Mengs--having been taken through the same course of severe
+study and exercise by their pedantic father.
+
+Carstens obtained and brought to perfection what Mengs toiled to reach
+and realize. The grand and comprehensive ideas of Winkelmann found in
+him a harmonious development. Averse to the reflective, which formed
+the chief characteristic of Mengs and Oeser, he was steeped in the
+inspiration caught from the antique ideal, and, without becoming a
+copyist of any style, was able to reproduce the seed from the fruitful
+soil of his own endowments. He may be called the founder of modern
+German art. His grand, bold, and ingenious style did not particularly
+commend itself to female talent; we do not find, therefore, that he had
+any disciples of the softer sex.
+
+Between Carstens and Mengs, however, stands a lovely female form,
+in age midway betwixt them, as in the peculiar bent of her genius;
+less minute and reflective than Mengs, less grand and impressive than
+Carstens. It is Angelica Kauffman, the gem of all the women artists of
+this period; preserving the forms of the antique in her own delicate,
+elegant, and charming style; wielding her power with such gracious
+sweetness that all who behold are attracted to render the homage of
+heartfelt admiration.
+
+It was now that fresh vitality was infused into German art by a
+contemplation of the antique, while the forms of humanity and nature
+were observed with greater freedom. Chodowiecki pursued this system,
+and was one of the most successful artists _de genre_; while his
+daughter, his pupil, Mademoiselle Bohren, and Kobell’s scholar,
+Crescentia Schott, were instrumental in preparing the way for the
+advance of painting in the style lately introduced.
+
+If we turn now from a general and hasty survey to the notice of
+particular branches, it becomes a duty to record the names of some
+women who practiced the most difficult and laborious of the plastic
+arts. One of these was stamp-cutting. One who first evinced skill in
+this kind of work was Rosa Elizabeth Schwindel of Leipzig, who plied
+her art in Berlin at the commencement of the eighteenth century.
+A beautiful medal of Queen Sophia Charlotte, executed by her, is
+preserved. She was accomplished also in the cutting of gems and in
+modeling in wax. In wax-work, Elizabeth Ross of Salzburg, Dorothea Menn
+of Cologne, and Madame Weis, probably of Strasburg, were noted. As a
+stone-cutter, Charlotte Rebecca Schild of Hanau worked in Paris. Rosina
+Pflauder, in Salzburg, assisted her husband in stucco-work.
+
+In the same kind of work, as well as in painting, Maria Juliana Wermuth
+of Gotha displayed both industry and skill. In cutting precious stones
+Susanna Maria Dorsch gained some celebrity. She was born at Nuremberg
+in 1701, and married the painter Solomon Graf, taking the noted painter
+and engraver, J. J. Preisler, for her second husband. The kind of work
+in which she excelled had been practiced by her father and grandfather,
+and her application was remarkable. A vast number of gems were cut by
+her hand, and her industry was not without its reward in the gaining of
+great reputation. Medals were stamped in honor of her.
+
+Her daughters, Anna Felicitas and Maria Anna Preisler, employed
+themselves in the same kind of work, without possessing, however, the
+variety of talent or achieving the brilliant success of Barbara Julia,
+the daughter of Johann Daniel Preisler of Nuremberg. She was skilled
+in various branches of art; she could model in wax, and work in ivory
+and alabaster, and added painting and copper-engraving to the list
+of her accomplishments. She married a painter named Oeding, and died
+in Brunswick before 1764. Several women, who were well known at the
+time as modelers in wax, and who occupied themselves in engraving and
+stone-cutting, might be named. Amid a number of names, necessarily
+passed over, may be added those of the beautiful and variously-gifted
+Mary Anna Treu of Bamberg, and her relative, Rosalie Treu, the wife of
+the painter Dom, who afterward went to take the veil in a convent at
+Mentz, giving up her resolution four days before the completion of her
+novitiate, to return to the world and her native Bamberg.
+
+Henriette Felicitas Tassaert, the daughter of the famous painter,
+painted in pastel, and engraved in copper admirably. Mademoiselle
+Nohren, a pupil of Chodowiecki in Berlin, became a member of the
+academy.
+
+It was natural that the greater number of artists of this period should
+betake themselves to painting. We will glance first at some branches
+of this, cultivated especially by women who did not achieve any thing
+noteworthy in historical and genre painting. The fashionable taste of
+the day ran much upon miniatures and pastel portraits, and many women
+made themselves accomplished in this species of work, as well as in
+enamel-painting, as far less study and application were required than
+in the higher branches of the art.
+
+Marianna Hayd, a somewhat celebrated miniature-painter, was born in
+Dantzic in 1688. She pursued her profession in Berlin, and, after
+her marriage in 1705 to the painter Werner, in Augsburg, her talents
+procured for her the honor of a call to the electoral court of Saxony
+in Dresden, where she received an appointment, and died in 1753.
+
+Another fair artist in miniatures was Anna Rosina Liscewska, who also
+worked in Berlin, where she was born in 1716. She achieved no mean
+success, and in 1769 was admitted a member of the academy in Dresden.
+
+The same city was adorned by the elegant labors of Anna Maria Mengs,
+whom Dr. Guhl calls “the most gifted of the three sisters,” and who
+is styled by Fiorillo “the daughter of the Raphael of his age.” She
+received early instruction from her father; came to Dresden in 1751,
+and devoted herself to painting--chiefly portraits. She made her first
+journey to Rome in 1777, and there married a copper-engraver, Manuel
+Salvador Carmona. She had many children, but continued to exercise
+her art while taking care of them. She produced several pastel and
+miniature paintings. Her chief works, done for the King of Spain and
+the Infant Don Luis, are in Madrid, in the Academy of San Fernando, of
+which she was chosen a member. She died in Madrid, 1793.
+
+As miniature and pastel painting are peculiarly adapted to female
+hands by the delicate and cleanly handling required, so flowers and
+landscapes seem to present objects and scenes of beauty congenial to
+the taste of the sex. It can not be wondered at, therefore, that these
+branches found several cultivators. Flower and landscape painting
+became a passion among the German women who could be classed as
+amateurs or connoisseurs. Hagedorn mentions, in his work on painting,
+as a distinguished patroness of these, a Countess von Oppendorf. With
+her may be named the Countess von Truchsetz-Waldburg, the Princess
+Anna Paar, and others of no special note. Maria Dorothea Dietrich,
+the sister of the Dresden painter, and Crescentia Schott, already
+mentioned, labored professionally in the art.
+
+Many were the fair painters who imitated the famous Rachel Ruysch.
+The representation of animals and objects in natural history became a
+favorite style, and the celebrity of Madame Merian stirred up many of
+her sex to emulate her success. The influence of example wrought as
+powerfully here as in every other matter.
+
+In the early part of this century lived at Lubeck Catharina Elizabeth
+Heinecke, born in 1685, an enthusiastic patroness of flower-painting,
+and the mother of “the famous Lubeck child.” We may mention also, amid
+a cloud of artists to be passed unnoticed, a family at Nuremberg, named
+Dietsch, that included three sisters of talent and accomplishment.
+Catharina Treu, born at Bamberg in 1742, obtained celebrity in the same
+line. She studied in Düsseldorf, attracted thither, doubtless, by the
+works of Rachel Ruysch, and received the appointment of cabinet-painter
+from Karl Theodore at Mannheim. Thence she returned to Düsseldorf to
+take the place of professor in the academy of art in that place.
+
+To the same period belongs Caroline Frederika Friedrich, the first
+female pensionnaire who exercised her art as member of the academy in
+Dresden. Gertrude Metz of Cologne was also a disciple of Rachel Ruysch
+in Düsseldorf. Of a remaining host we name only the sisters Anna and
+Elizabeth Fuessli (Fuseli), who painted in the style of their father,
+and copied from nature the flowers and insects of Switzerland.
+
+Copper-engraving was at this period practiced by a great number
+of women, and patronized by many fair and princely dilettanti.
+The Princess of Saxe-Meiningen, already named, possessed skill in
+this branch. We may now leave all these, to look at the women who
+distinguished themselves in the more commanding and elevated styles
+of historical and genre painting. Here appears more evidence of
+individuality in the treatment of particular subjects.
+
+Place must be accorded first to ladies of the highest rank. Anna Amalia
+of Brunswick was a noted painter. Maria Anna, Archduchess of Austria,
+and daughter of the Empress Maria Theresa, occupied her leisure hours
+in genre-painting and etching, and by her skill obtained considerable
+repute. Charlotte, Archduchess of Austria, was a member of the academy
+at Vienna, and as Queen of the Two Sicilies received instruction in
+Naples from Mura. The Duchess Sophia of Coburg-Saalfeld, besides her
+paintings, left some proofs of her skill in engraving toward the close
+of the century.
+
+To these illustrious names may be added others who, like those royal
+dames, devoted themselves to art, and gained high appreciation from
+connoisseurs. Maria Elizabeth Wildorfer of Innspruck was busied in the
+same profession a long time in Rome, where she painted portraits and
+church pictures under the patronage of a cardinal. Maria Theresa Riedel
+of Dresden, made pensionnaire of the academy there in 1764, occupied
+herself in copying Dutch genre-paintings. Rosina, another sister of the
+painter Dietrich, copied a number of old paintings. She married the
+painter Boehme, and lived in Berlin till 1770.
+
+Anna Dorothea, one of the sisters Liszeuska, born in 1722, was elected,
+on account of her portraits and historical works, a member of the
+Parisian Academy. She died in Berlin as Madame Therbusch, in 1782.
+Jacoba Werbronk worked in the latter part of the century, and died in
+1801 in the Cloister Iseghen. But none of the women artists of this
+time can be compared in point of genius or celebrity to the one of
+whom we are now to speak--one of the loveliest, most gifted, and most
+estimable of all the women who have secured immortal fame by the labors
+of the pencil.
+
+
+
+
+                              CHAPTER XI.
+
+                        THE EIGHTEENTH CENTURY.
+
+ Angelica Kauffman.--Parentage and Birth.--Beautiful Scenery
+ of her native Land.--Early Impulse to Painting.--Adopts the
+ Style of Mengs.--Her Residence in Como.--Instruction.--Music or
+ Painting?--Beauty of Nature around her.--Angelica’s Letter about
+ Como.--Escape from Cupid.--Removal to Milan.--Introduction to great
+ Works of Art.--Studies of the Lombard Masters.--The Duke of Modena
+ her Patron.--Portrait of the Duchess of Carrara.--Success.--Return to
+ Schwarzenberg.--Painting in Fresco.--Homely Life of the Artist.--Milan
+ and Florence.--Rome.--Acquaintance with Winkelmann.--Angelica
+ paints his Portrait.--Goes to Naples.--Studies in Rome.--In
+ Venice.--Acquaintance with noble English Families.--In London.--A
+ brilliant Career.--Fuseli’s Attachment to her.--Appointed Professor
+ in the Academy of Arts.--Romantic Incident of her Travel in
+ Switzerland.--The weary Travelers.--The libertine Lord.--The Maiden’s
+ Indignation.--Unexpected Meeting in the aristocratic Circles of
+ London.--The Lord’s Suit renewed.--Rejected with Scorn.--His Rank
+ and Title spurned.--Revenge.--The Impostor in Society.--Angelica
+ deceived into Marriage.--She informs the Queen.--Her Father’s
+ Suspicions.--Discovery of the Cheat.--The Wife’s Despair.--The
+ false Marriage annulled.--The Queen’s Sympathy.--Stories of
+ Angelica’s Coquetry.--Marriage with Zucchi.--Return to Italy.--Her
+ Father’s Death.--Residence in Rome.--Circle of literary
+ Celebrities.--Angelica’s Works.--Criticisms.--Opinions of Mengs
+ and Fuseli.--The Portraits in the Pitti Gallery.--Death of
+ Zucchi.--Invasion of Italy.--Angelica’s Melancholy.--Journey and
+ Return.--Her Death and Funeral.
+
+
+                          ANGELICA KAUFFMAN.
+
+Maria Anna Angelica Kauffman was born in Coire, the capital of the
+Grisons, in 1741. Her father, the painter Johann Joseph Kauffman, had
+been called to that place from Schwartzenberg on the Boden-See, by the
+bishop’s appointment, to paint church pictures. He married there, and
+remained till 1742, before removing to Morbegno in Lombardy.
+
+An only child, Angelica’s early years were tended by the care of
+loving parents; and the grandeur and beauty of nature around her home,
+the vine-clad hills and wild forests of her native land, the blue
+waters and bright scenery she was accustomed to contemplate in Italy,
+impressed her susceptible imagination, and awakened in her youthful
+breast a quick and joyous sympathy with nature. Though not specially
+intended by her father for the artist’s calling, the early impulse of
+genius led her to painting, and she was permitted to follow the bent of
+her inclination with such direction only as made the work appointed her
+seem like a pleasant recreation. She preferred her lessons, in fact,
+to any amusement. Very different was the early training of this gentle
+spirit to that of Raphael Mengs, compelled to labor under strict rules;
+and though Angelica afterward adopted the style of this celebrated
+German master, hers differed in the possession of a light and charming
+grace, which could only have been derived from her native endowments
+and the free indulgence of her tastes.
+
+At the age of nine this child of genius was much noticed on account of
+her wonderful pastel pictures. When her father left Morbegno, in 1752,
+to reside in Como, she found greater scope for her ingenious talent,
+and better instruction in that city; and, in addition to her practice
+with the brush and pencil, she devoted herself to studies in general
+literature and in music. Her proficiency in the latter was so rapid,
+and the talent evinced so decided, besides the possession of a voice
+unusually fine, that her friends, a few years afterward, urged that
+her life should be devoted to music. She was herself undecided for some
+time to which vocation she should consecrate her powers. In one of her
+pictures she represents herself standing, in an attitude of hesitation,
+between the allegorical figures of Music and Painting. Her love for the
+latter gained the ascendency; and so great was her success, while yet
+of tender age, that her portrait of a steward of the Bishop of Como
+gained her a number of profitable orders.
+
+The exquisite natural scenery by which Angelica was at this time
+surrounded, in a home on the borders of the loveliest lake in the
+world, had a genial influence on her feelings, and the time passed
+there was the happiest of her life. She is said to have painted the
+portrait of the Archbishop of Como, at a very early age. At a later
+period she recurs with pleasure to the years passed in this charming
+abode.
+
+“You ask, my friend,” she says, in one of her letters, “why Como is
+ever in my thoughts? It was at Como that, in my most happy youth,
+I tasted the first real enjoyment of life. I saw stately palaces,
+beautiful villas, elegant pleasure-boats, a splendid theatre. I thought
+myself in the midst of the luxuries of fairyland. I saw the urchin,
+too, young Love, in the act of letting fly an arrow pointed at my
+breast; but I, a maiden fancy free, avoided the shaft, and it fell
+harmless. After the lapse of years,” she proceeds, “the genius that
+presides over my destiny led me again into this delicious region,
+where I tasted the delights of friendship with the charms of nature,
+and listened with deeper joy than ever to the murmur of waves on that
+unrivaled shore. One day I was walking with agreeable company around
+one of the most beautiful villas near the lake. In the shadow of a
+wood I again saw the youthful god slumbering. I approached him. He
+awakened, looked at me, and, recognizing her who had contemned his
+power, sprang up suddenly, intent on swift revenge. He pursued me, the
+arrow sped once more, and but by a hair’s breadth failed to reach my
+heart.”
+
+All too quickly, indeed, passed the two years of her first residence in
+Como; and it was with poignant regret that she left her beloved home,
+when, in 1754, her father went to settle his family in Milan.
+
+Even this dreaded change, however, was a fortunate one; for it seemed
+to be appointed that Angelica’s youth should glide away like a stream
+in the sunshine of happiness. A new world of wonders opened to her view
+in this city, where she saw works of art surpassing in merit those
+she had yet beheld. She had copied antique models in her drawing, and
+the engravings of pictures by the early masters which were among her
+father’s treasures. Here she was first introduced to an acquaintance
+with works of great beauty and importance in the history of art. Here
+Leonardo da Vinci had labored, and founded a school in which are still
+conspicuous the gentle dignity, purity, and elevation that live in
+his creations. The impressions received from her contemplation of the
+productions of the most famous of the Lombard masters, and the care
+with which she studied them till her own style became imbued with their
+spirit, decisively influenced the professional career of the young
+artist.
+
+The change had a not less favorable effect upon her worldly
+circumstances. Her copies of some pictures found in the palace of
+Robert d’Este, Duke of Modena and Governor of Milan, induced him to
+declare himself her patron, and led to her introduction to the Duchess
+of Carrara. After she had painted by command the portrait of that
+princess, she received orders for a number of pictures for other ladies
+of rank.
+
+The associations to which this success gave rise contributed to give
+the youthful painter that self-possession and dignity of manner,
+combined with a quiet modesty most becoming her age and sex, which
+afterward marked her deportment in elevated circles of society.
+
+Thus the few years of Kauffman’s residence in this favored Italian city
+were productive of manifold advantages to his daughter. The death of
+his wife determined him to another removal, and he went to undertake
+a great work in his native city of Schwarzenberg. In this enterprise
+Angelica was of essential service, having for the first time an
+opportunity of engaging in an enterprise of magnitude, and of a kind
+not often practiced by women. She painted in fresco the figures of the
+Twelve Apostles after copper engravings from Piazetta.
+
+It has been said that the time spent in this country at this period
+by the young artist was in the home of her father’s brother, an
+honest “farmer, in comfortable though narrow circumstances. At first,
+Angelica, accustomed to the wonders of art and the splendor of Italian
+cities, could scarcely bring herself to endure this homely mode of
+existence. The rude manners of those by whom she was surrounded--the
+utter want of elegance or taste--displeased and disgusted her.
+Gradually, however, as habit softened down these first impressions,
+the poetic side of the picture dawned upon her mind. She learned to
+love the homely simplicity of that hospitable dwelling, with its gabled
+front and narrow windows--the gloom and solitude of those dark pine
+forests, through which the sunbeams could scarcely penetrate, and
+ceased to long for the marble palaces of Milan and the orange-groves
+of Como. Besides, she had little time for idle regrets, the interior
+decoration of a church in the neighborhood being intrusted to her
+father and herself. Her success in an undertaking so difficult excited
+considerable attention.”
+
+After the completion of this work, which won the enthusiastic
+appreciation of the Bishop of Constance, a season of disquiet followed,
+with frequent changes of residence and a crowding of commissions,
+while the artist in vain longed for an opportunity to revisit the
+depository of art treasures--Italy. To fulfill this wish, and complete
+her artistic education, Angelica first returned with her father to
+Milan, and thence went to Florence, where she threw herself with
+restless zeal into the study of the great master-pieces in which that
+city is so rich. Her performances already met with the appreciation
+that was afterward testified by the admission of her portraits into the
+collection there made of original paintings by artists of celebrity.
+Cardinal de Roth called her to Constance for his portrait.
+
+Yet even Florence was regarded by her only as a place of preparatory
+study; the great goal of her ambition was Rome. Thither she went in
+1763, and her usual good fortune followed her. She went through a
+course of perspective the following year. The immortal Winkelmann was
+then in the midst of his great work of breathing new life into ancient
+art, and it was his delight to interpret the inspiration for others,
+and to promote social intercourse and a good understanding among
+artists.
+
+It was not long ere the youthful votary became acquainted with this
+great man. It was beautiful to see the friendship that subsisted
+between this girl of eighteen, in the fresh bloom of life, and the
+experienced man of sixty, who had spent so many years of labor in his
+profession: she brilliant and ardent, full of hope and enthusiasm--his
+brow furrowed with study and reflection; both inspired by the same
+spirit; both having felt the same ardent desire to visit the Eternal
+City.
+
+Angelica found both pleasure and profit in Winkelmann’s society, always
+in the company of her friend, the wife of Raphael Mengs. A portrait of
+him, painted by her at this time, and afterward engraved by her, amply
+proved, by its excellent likeness, vivid coloring, and vigorous touch,
+and, above all, by its spiritual expression, how thoroughly she had
+comprehended the spirit of the greatest disciples of art. Winkelmann
+announced to his friends, not without evident satisfaction, that his
+portrait had been painted “by a young and beautiful woman.”
+
+Ere long, a command to copy some paintings in the royal gallery at
+Naples called her to that city, so favored by the beauty of its
+situation and the charm of its climate. Here she gained new ideas in
+the contemplation of numerous master-pieces of old time, as well as a
+rich reward for her labors in executing orders from many persons of
+rank. Her abode in that soft, luxurious clime, surrounded by nature’s
+loveliness, did not, however, enervate her character, nor impair the
+freshness and naiveté of her style.
+
+In 1764 we find her again in Rome. Here she passed a year in the
+prosecution of her studies, including architecture and perspective,
+continuing her friendship with Winkelmann. Her observations of
+Italian art were completed by studies of the works of the Caracci
+in Bologna, and Titian, Tintoretto, and Paul Veronese in Venice.
+In the last-mentioned city Angelica made the acquaintance of an
+English lady--the accomplished Lady Wentworth, wife of the British
+resident--who afterward took her to London.
+
+During her stay in Naples she had been received into relations
+of intimacy with several noble English families, and had taken
+their orders for paintings. It was thought that in London a more
+distinguished and more lucrative success would be commanded than she
+could hope for in a country so rich in artistic achievements as Italy.
+This was in truth the case; and after Angelica had passed through
+Paris, availing herself of its advantages, to London, she found open
+to her a career of brilliant success, productive of much pecuniary
+gain. Her talents and winning manners raised her up patrons and
+friends among the aristocracy. Persons attached to the court engaged
+her professional services; and the most renowned painter in England,
+Sir Joshua Reynolds, was of the circle of her friends. It is said he
+offered her his hand, and I have been told by Mr. Robert Balmanno,
+who knew Fuseli personally, that he was one of her suitors. She was
+numbered among the painters of the Royal Society, and received the rare
+honor, for a woman, of an appointment to a professorship in the Academy
+of Arts in London, being, meanwhile, universally acknowledged to occupy
+a brilliant position in the best circles of fashionable society.
+
+A writer in the Westminster Review gives a romantic account of an
+incident that led to the greatest misfortune of Angelica’s life:
+
+“It was in early girlhood, while traveling with her father through
+Switzerland to their native land, that she first beheld the man who was
+to exercise so fatal an influence on her destiny. Angelica was then
+only in her seventeenth year, her dawning talents had already attracted
+considerable attention, but as both father and daughter were poor, they
+were compelled to travel on foot, resting at night at the little inns
+by the wayside. One evening, when, wearied with the long day’s journey,
+they entered a humble house of entertainment, they were informed by the
+landlord that they must go farther, for a couple of “grand seigneurs,”
+just arrived, had engaged all the rooms for themselves and their suite.
+The weary travelers insisted on their right to remain, and the debate
+was growing warm, when one of the gentlemen for whose accommodation
+they were rejected made his appearance, and with great politeness
+begged them to enter the dining-room and share their repast. The good
+Kauffman, whose frank, confiding nature was always a stranger to
+suspicion, at once consented, despite the whispered entreaties of his
+daughter, who, with the intuitive perception of her sex, had discerned
+something offensive beneath the polished courtesy of their inviter.
+She was not mistaken; at the table Lord E---- soon forgot the respect
+due to youth and innocence, and attempted some liberty. Angelica
+indignantly repulsed it, and on its repetition, rising hastily from the
+table, drew her father with her, and instantly left the house.”
+
+Years afterward, while Angelica was living in England--“welcomed with
+enthusiasm, sought by the noblest and most gifted in the land, when
+all seemed to smile upon her path, in a fatal hour she again lighted
+on the man whose undisguised libertinism had so deeply wounded her
+modesty ten years before. It was in the midst of a brilliant circle,
+where all the _beaux esprits_ of London were assembled, that they again
+met. Lord E---- had long since lost every trace of her, and great was
+his amazement to recognize in the elegant woman and celebrated artist
+the humble little pedestrian of the Swiss mountains. If he had thought
+her charming then, how much more lovely did she seem to him now; his
+heart and fancy were alike inflamed, and he resolved that this time,
+at least, she should not escape him. Feigned repentance for the past,
+assurances of unselfish devotion which sought for nothing in return
+save the friendship and esteem of its object, flattery, insinuation,
+all were employed. Angelica, trusting and guileless, believed him; nor
+was it till, fancying himself secure of triumph, he threw off the mask,
+that she even suspected his baseness. Equally shocked and indignant,
+she would no longer admit him to her society.
+
+“This only stimulated his passions. Perhaps he thought it a pretext
+to lure him to more honorable offers; at all events, despairing of
+winning the prize by any other means, he laid his rank and title at her
+feet. But Angelica was no Pamela to receive with humble gratitude the
+hand of him who had insulted her virtue. Her mild but resolute refusal
+stung him to madness. If what some of her biographers assert be true,
+he forced himself into her presence, and sought by violence that which
+no entreaties could win; but here, too, he failed. The rumor of his
+worthless conduct got abroad, and he found it most convenient to leave
+England for a time, vowing revenge. The subsequent portion of the story
+is well known.”
+
+Others say it was an English painter, who, out of jealousy of the
+talents of Angelica, instigated to his base plot the man who deceived
+her. Be that as it may, she was undoubtedly the victim of a conspiracy
+arranged with no less malignity than art. It was a counterpart to the
+story of the Lady of Lyons; a rejected suitor vowing revenge, and using
+as his instrument to obtain it a man very different in character from
+the noble Claude.
+
+A low-born adventurer, who assumed the name of a gentleman of rank
+and character--that of his master, Count Frederic de Horn--played a
+conspicuous part at that time in London society, and was skillful
+enough to deceive those with whom he associated. He approached our
+artist, who was then about twenty-six, and in the bloom of her
+existence. He paid his respects as one who rendered the deepest homage
+to her genius; then he passed into the character of an unassuming and
+sympathizing friend. Finally, he appealed to her romantic generosity
+by representing himself as threatened with a terrible misfortune, from
+which she only could save him by accepting him as her husband. A sudden
+and secret marriage he averred was necessary.
+
+Poor Angelica, who had shunned love on the banks of Como, and under the
+glowing skies of Italy; and since her coming to London had rejected
+many offers of the most advantageous alliance, that she might remain
+free to devote herself to her art, was caught in the fine-spun snare,
+and yielded to chivalrous pity for one she believed worthy of her
+heart’s affection. The marriage was celebrated by a Catholic priest,
+without the formality of writings, and without witnesses.
+
+Angelica had received commissions to paint several members of the
+royal family and eminent personages of the court, and her talents
+had procured her the favorable notice of the Queen of England. One
+day, while she was painting at Buckingham Palace, her majesty entered
+into conversation with her, and Angelica communicated to her royal
+friend the fact of her marriage. The queen congratulated her, and sent
+an invitation to the Count de Horn to present himself at court. The
+impostor, however, dared not appear so openly, and he kept himself very
+close at home, for he well knew that it could not be long before the
+deception would be discovered.
+
+At length the suspicions of Angelica’s father, to whom her marriage had
+been made known, led him to inquiries, which were aided by friends of
+influence. About this time, some say, the real count returned, and was
+surprised at being frequently congratulated on his marriage. Then came
+the mortifying discovery that the pretended count was a low impostor.
+The queen informed Angelica, and assured her of her sympathy.
+
+The fellow had been induced to seek the poor girl’s hand from motives
+of cupidity alone, desiring to possess himself of the property she had
+acquired by her labors. He now wished to compel her to a hasty flight
+from London. Believing herself irrevocably bound to him, Angelica
+resolved to submit to her fate; but her firmness and strength of nature
+enabled her to evade compliance with his requisition that she should
+leave England, till the truth was made known to her--that he who called
+himself her husband was already married to another woman still living.
+This discovery made it dangerous for the impostor to remain in London,
+and he was compelled to fly alone, after submitting unwillingly to the
+necessity of restoring some three hundred pounds obtained from his
+victim, to which he had no right.
+
+The false marriage was, of course, immediately declared null and
+void. These unhappy circumstances in no way diminished the interest
+and respect manifested for the lady who, in plucking the rose of
+life, had been so severely wounded by its thorns; on the contrary,
+she was treated with more attention than ever, and received several
+unexceptionable offers of marriage. But all were declined; she chose to
+live only for her profession.
+
+One of Angelica’s biographers pronounces her “proof against flattery.”
+Nollekens, on the other hand, accused her of having been a coquette
+in her youth. While at Rome, before her marriage, he said she
+was extremely fond of personal admiration. “One evening she took
+her station in one of the most conspicuous boxes of the theatre,
+accompanied by two artists, both of whom, as well as many others, were
+desperately enamored of her. She had her place between her two adorers;
+and while her arms were folded before her in front of the box over
+which she leaned, she managed to press a hand of both, so that each
+imagined himself the cavalier of her choice.”
+
+After fifteen years’ residence in England, when the physician who
+attended her suffering father advised return to Italy, and the invalid
+expressed his fear of dying and leaving her unprotected, Angelica
+yielded to his entreaties, and bestowed her hand upon the painter
+Antonio Zucchi.
+
+This gentleman was born in Venice in 1728, and had worked there
+upon historical pieces. He afterward took to landscape-painting and
+architecture, and many of his designs were published in learned works
+of the day. Being induced to go to England, he obtained an excellent
+place, and won the warm friendship of Mr. Kauffman. The marriage
+with his daughter took place in 1781, and proved a most happy one,
+undisturbed by any untoward occurrence till the death of Zucchi.
+
+Angelica, with her husband and her father, now returned to the sunny
+south. Stopping in Schwarzenberg to visit their relatives, they
+proceeded to Italy, settling themselves for a prolonged stay. In
+January of the following year Kauffman expired in the arms of his
+loving child.
+
+The wedded pair, anxious to escape from the shadow of this sorrow,
+hastened to Rome, where they fixed their permanent abode, paying only
+a few visits to Naples at the command of the royal family. Their house
+was the centre of attraction to the artistic and literary society of
+that capital of art; and Madame Zucchi did the honors and dispensed
+hospitalities with a grace peculiarly her own, without losing a
+particle of her energy in the prosecution of her painting, or any
+portion of the love for it that had distinguished her early years.
+This may account for the uniform individuality discernible in her
+productions, in the merits and defects of which may be traced the
+peculiarities of her nature and training.
+
+In Rome, Angelica became acquainted with Goethe, Herder, and other
+great men who at different times visited the Eternal City. Goethe says
+of her in one of his letters, “The good Angelica has a most remarkable,
+and, for a woman, really unheard-of talent; one must see and value
+what she does and not what she leaves undone. There is much to learn
+from her, particularly as to work, for what she effects is really
+marvelous.” And in his work entitled “Winkelmann and his Century,” he
+observes concerning her: “The light and pleasing in form and color,
+in design and execution, distinguish the numerous works of our artist.
+No living painter excels her in dignity, or in the delicate taste with
+which she handles the pencil.”
+
+At the same time she has been thought deficient in strength of outline,
+variety and force of touch; her coloring has been said to lack depth
+and warmth; while all acknowledge her grace, sweetness, and delicacy,
+and the freedom and ease, with the correctness and elegance of her
+drawing. Her works have been justly called “light and lovely May-games
+of a charming fantasy.”
+
+Among her character-pictures have been noted particularly “Allegra”
+and “Penserosa,” and fancy portraits of Sappho and Sophonisba, with
+the goddesses of Grecian mythology; also figures and scenes from the
+modern poets, such as the delicate and bewitching Una, from Spenser’s
+“Faery Queen,” and simple allegorical representations. These last
+were favorite subjects with her, and were taken both from classic and
+romantic history, as “Venus and Adonis,” “Rinaldo and Armida,” “The
+Death of Heloise,” “Sappho inspired by Love,” etc. The praise can not
+be denied her of having essentially aided the progress of modern art,
+without parting with any portion of her feminine reserve and purity.
+Her pictures, with Mengs’s writings, helped to liberate painting from
+the exclusive school of Carlo Maratti.
+
+Among her best compositions have been noted “Leonardo da Vinci Dying in
+the arms of Francis I.;” “The Return of Arminius”--painted for Joseph
+II.--“The Funeral Pomp of Pallas;” and “The Nymph Surprised,” covering
+herself hastily with a white veil. In painting portraits, she had the
+habit of waiting, before sketching, to seize on some favorite attitude
+or expression. She understood the effects of clare-obscure, and took
+care to avoid confusion in her figures. Her draperies were designed
+with taste, and not superfluous.
+
+An amateur once said to her, “Your angels could walk without deranging
+their robes.”
+
+She was in the habit of throwing on paper her reflections, and
+preserving the souvenirs. The following words were written on one of
+her pictures:
+
+“I will not attempt to express supernatural things by human
+inspiration, but wait for that till I reach heaven, if there is
+painting done there.”
+
+Art to her had been as the breath of life, and labor her greatest
+delight. They continued to be so, even when, crowned with fame, she was
+the centre of an admiring circle in the best society of Rome. Zucchi,
+in the hope of beguiling her from too assiduous application, purchased
+a beautiful villa--Castle Gandolfo--for their residence; but Angelica
+could not bear to be long distant from Rome. Strangers who came to the
+city were soon attracted to pay their respects to the lovely artist;
+and in the companionship of the great and gifted, either in her own
+circle, or with friends like Klopstock and Gessner--who have highly
+praised her genius--she exercised an influence that did not fail to
+promote the growth of literary and artistic cultivation.
+
+De Rossi says: “It was interesting to see Angelica and her husband
+before a picture. While Zucchi spoke with enthusiasm, Angelica remained
+silent, fixing her eloquent glance on the finest portions of the work.
+In her countenance one could read her feelings, and her observations
+were always limited to a few brief words. These, however, seldom
+expressed any blame; only the praises of that which was worthy of
+praise. It belonged to her nature to be struck by the beautiful alone,
+as the bee draws only honey out of every flower.”
+
+Raphael Mengs pronounced upon her a flattering eulogium. “As an
+artist,” he says, “she is the pride of the female sex in all times and
+all nations. Nothing is wanting; composition, coloring, fancy, all are
+here.” But he was her friend, and wrote thus while the recollection of
+her charms and virtues were fresh in his memory.
+
+Fuseli, who was honored by her friendship, was a more severe judge.
+He says, he “has no wish to contradict those who make success the
+standard of genius, and, as their heroine equals the greatest names
+in the first, suppose her on a level with them in power. She pleased,
+and desired to please, the age in which she lived and the race for
+which she wrought. The Germans, with as much patriotism, at least, as
+judgment, have styled her the Paintress of Minds (Seelen Mahlerin);
+nor can this be wondered at for a nation who, in A. R. Mengs, flatter
+themselves that they possess an artist equal to Raphael.
+
+“The male and female characters of Angelica never vary in form,
+feature, or expression from the favorite ideal in her own mind. Her
+heroes are all the man to whom she thought she could have submitted,
+though him, perhaps, she never found. Her heroines are herself, and,
+while suavity of countenance and alluring graces shall be able to
+divert the general eye from the sterner demands of character and
+expression, can never fail to please.”
+
+The lighter scenes of poetry were painted by her with a grace and
+taste entirely her own, and happily formed, withal, to meet that of an
+engraver, whose labors contributed to the growth and perpetuity of her
+fame. This was Bartolozzi, whose talents were in great part devoted to
+her.
+
+One feels naturally desirous of knowing something about the personal
+appearance of one so much admired. Her portrait, painted by herself,
+the size of life, is in the Pitti Gallery at Florence, with that of
+two other female artists; and the three attract the attention of every
+visitor.
+
+The following is the description of one spectator: “The first in
+feature and expression bears the stamp of a masculine intellect; the
+touch is vigorous, the coloring has the golden tint of the Venetian
+school, but it presents no mark of individuality; this is Maria Robusti
+Tintoretto. The second can not be mistaken; even the most unpracticed
+eye would discern at a glance that it is a Frenchwoman--piquant,
+lively, graceful, evidently not so much engrossed with her art as to be
+insensible to admiration as a woman--this is the well-known Madame Le
+Brun. Opposite the fair Parisian is a third portrait, a woman still in
+the bloom of life, but destitute of all brilliancy of coloring, with an
+expression grave and pensive almost to melancholy. She is seated on a
+stone, in the midst of a solitary landscape, a portfolio with sketches
+in one hand, a pencil in the other. The attitude is unstudied almost
+to negligence. There is no attempt at display; you feel as you look on
+her that every thought is absorbed in her vocation. This is Angelica
+Kauffman.”
+
+The quiet tenor of her life was broken up by the death of her husband
+in 1795. This domestic calamity was followed by political events that
+shook the world, and our artist suffered amid the universal agitation.
+She was much disquieted by the invasion of Italy by the French, though
+she found in her art both relief from care and a protection from the
+dread of poverty. General L’Espinasse exempted the house in which she
+lived from lodging soldiers, and offered her his services for her
+security and protection. But no kindness could restore her lost energy
+or bring back the cheerfulness that had once sustained her.
+
+In 1802 Angelica was seized with illness, and on recovery was advised
+to travel for the strengthening of both her bodily and mental
+faculties, and for relief from the oppression of sadness that paralyzed
+even her love of art. She visited Florence, Milan, and Como, where she
+lingered with a melancholy pleasure amid the scenes of her youthful
+days. In Venice she staid to visit the family of her deceased husband.
+She then returned to Rome, where she was received by her friends with a
+jubilant welcome.
+
+Her time passed thenceforward in her accustomed employments, and the
+society of those who loved her. Her health continued to decline, but
+her intellect remained bright and vigorous to the period of her death
+in November, 1807. Not long before she expired she requested her cousin
+by signs to read to her one of Gellert’s spiritual odes. In the midst
+of Italian life she was ever true to the German spirit; as, amid her
+more than masculine labors, she preserved her gentle, womanly nature.
+The news of her decease caused profound grief throughout Rome. All
+the members of the Academy of St. Luke assisted at her funeral; and,
+as at the obsequies of Raphael, her latest pictures were borne after
+her bier. Her remains were placed in the Church of St. Andrew della
+Fratte. Her bust was preserved in the Pantheon.
+
+Her works are scattered all over Europe, and are to be found in Vienna,
+Munich, London, Florence, Rome, Paris, etc.
+
+
+
+
+                             CHAPTER XII.
+
+                        THE EIGHTEENTH CENTURY.
+
+ Female Artists in the Scandinavian Countries.--In Sweden.--Ulrica
+ Pasch.--Danish Women Artists.--A richer Harvest in the
+ Netherlands.--The Belgian Sculptress.--Maria Verelst.--Her
+ Paintings and Attainments in the Languages.--Residence in
+ London.--Curious Anecdote.--Walpole’s Remark.--Women Artists in
+ Holland.--Poetry.--Henrietta Wolters.--Her Portraits.--Invitation
+ from Peter the Great.--Dutch Paintresses.--The young
+ Engraver.--Caroline Scheffer.--Landscape and Flower Painters.--A
+ Follower of Rachel Ruysch.--An Engraver.--In England.--Painting
+ suited to Women.--Literary Ladies.--Effect of the Introduction
+ of a new Manner in Art.--Numerous Dilettanti.--Female
+ Sculptors.--Mrs. Samon.--Mrs. Siddons and others.--Mrs.
+ Damer.--Aristocratic Birth.--Early love of Study and Art.--Horace
+ Walpole her Adviser.--Conversation with Hume.--First Attempt at
+ Modeling.--The Marble Bust and Hume’s Criticism.--Surprise of
+ the gay World.--Miss Conway’s Lessons and Works.--Unfortunate
+ Marriage.--Widowhood.--Politics.--Walpole’s Opinion of Mrs. Damer’s
+ Sculptures.--Darwin’s Lines.--Sculptures.--Envy and Detraction.--Going
+ abroad.--Escape from Danger.--Noble Ambition.--Return to
+ England.--Politics and Kissing.--Private Theatricals.--The three
+ Heroes.--Friendship with the Empress.--Walpole’s Bequest.--Parlor
+ Theatricals, etc.--Removal.--Project for improving India.--Mrs.
+ Damer’s Works.--Opinions of her.
+
+
+From Germany we now turn to the northern countries, to the Netherlands,
+and England, to glance at their female artists of the eighteenth
+century.
+
+Few are found among the Scandinavian nations. Female talent had greatly
+aided to bring about the rise of literature in Sweden, as in the
+instance of Charlotte Nordenflycht and Ulrica Widström by their lyric
+poems, and Maria Lenngren by her dramatic productions; but only one
+artist of merit appears--the painter Ulrica Frederika Pasch, who, in
+1773, was elected a member of the Academy at Stockholm.
+
+In Denmark, where many women cultivated the muses, gaining celebrity
+for lyric and dramatic productions, a flower-painter, C. M. Ryding,
+and an engraver on copper, Alexia de Lodde, may be mentioned, as well
+as Margaretta Ziesenis, who devoted herself to painting portraits and
+historical pieces, and was somewhat famous for her copies in miniature,
+such as that of Correggio’s Zingarella.
+
+A much richer harvest opens in the Netherlands, in which the number of
+women pursuing art as a profession was not less than it had been in the
+preceding century. Among the Belgians the name of the sculptress Anna
+Maria von Reyschoot of Ghent must not be omitted.
+
+
+                            MARIA VERELST.
+
+Maria Verelst was born in 1680, at Antwerp. She was the daughter of
+the painter Herman Verelst, and belonged to a family abounding in
+celebrated artists. She received instruction from her uncle, Simon
+Verelst, and was highly esteemed, not only for her very uncommon skill
+in small portraits, while she attempted historical pieces successfully,
+but also for her attainments in the languages and music. She went with
+her father to London, then, as before and afterward, the rendezvous of
+foreign talent, and died there in 1744.
+
+Descampes mentions a curious anecdote of her proficiency in the
+languages. During her residence in London, one evening at the theatre,
+she chanced to sit near six German gentlemen of high rank. They were
+struck with her beauty and distinguished air, and expressed their
+admiration in conversation with each other, in the most high-flown
+terms which the German language could supply. The lady turned and
+addressed them in the same tongue, observing that such extravagant
+praise in the presence of a lady conveyed to her no real compliment.
+One of them soon after repeated his encomium in Latin. She again
+turned, and, replying in the same language, said, “It was unjust to
+deprive the fair sex of that classic tongue, the vehicle of so much
+true learning and taste.”
+
+With increased admiration the strangers begged permission to pay their
+respects in person to a lady so singularly endowed. Maria answered that
+she was a painter by profession, and lived with her uncle, Verelst
+the flower-painter. They did not lose time in availing themselves of
+the opportunity of seeing the fair artist and her works. Each of the
+gentlemen sat for his portrait, for which he gave liberal compensation.
+The story spread abroad, and proved an introduction for Maria into the
+best society.
+
+Walpole remarks of this artist that she painted in oil both large
+and small portraits, and drew small history-pieces. She spoke Latin,
+German, Italian, and other languages fluently.
+
+In Protestant Holland women artists are found in still greater numbers.
+Here the same favorable circumstances which had in former ages brought
+art to early bloom existed with little change. As women assumed an
+influential position in literature, so they did in the pictorial arts.
+
+The religious spirit that animated many breathed in the hymns and
+odes of Petronella Mocas, and in the didactic poetry of Lucretia van
+Merken; Elizabeth Wolff made herself known by her poetical epistles;
+and the national drama, the fair fruit of the seventeenth century,
+had a votary in the Baroness von Launoy, who made translations from
+Tyrtæus. In like manner did women show their enterprise in the branches
+of study which belong to our subject.
+
+
+                          HENRIETTA WOLTERS.
+
+Henrietta Wolters of Amsterdam gained no inconsiderable fame as a
+miniature-painter. She was the pupil of her father, Theodore van Pee,
+and was early accustomed to copy from Van der Velde and Vandyck. The
+miniature portraits afterward painted by her were so perfect in finish
+and execution, that the Czar Peter the Great, who seems to have become
+acquainted with her during his journey incognito through Holland,
+offered her a salary of six thousand florins as court-painter if she
+would remove to his capital. She received as much as four hundred
+florins for a single picture. She declined the imperial invitation, and
+remained in her home, where, having lived with her husband, the painter
+Wolters, since 1719, she died in 1741.
+
+Passing over several of little note as artists, though among them are
+numbered the Princess Anna of Orange and Cornelia de Ryk, we may pause
+to mention Christina Chalon, who was born in Amsterdam in 1749, and
+received her education with another artist, Sarah Troost. She painted
+chiefly in gouache scenes from country life and family groups, and is
+said to have learned the engraver’s art so young that she engraved a
+picture when only nine years old. She died at Leyden in 1808.
+
+Caroline Scheffer belongs to the close of this century. She was the
+daughter and pupil of a painter, Ary Lamme, and married another, J.
+B. Scheffer of Mannheim, with whom she lived long in Amsterdam and
+Rotterdam. After her husband’s death, in 1809, she went to Paris with
+her two sons, Ary and Henry, to give them the advantage of the best
+instruction in painting. They did credit to the care of this good
+and affectionate mother in the fame they acquired, and returned her
+devotion with due tenderness and filial love. She died at Paris in 1839.
+
+To these names should be added those of several women who devoted
+themselves especially to landscape and flower painting--two branches in
+which Holland could boast artists of skill and renown. Among these are
+Elizabeth Ryberg, who lived in Rotterdam; Maria Jacoba Ommegank, and
+Alberta ten Oever of Gröningen, some of whose landscapes, in the manner
+of Ruysdael and Hobbema, were seen in the exhibition of 1818. Anna
+Moritz, Susanna Maria Nymegen, and Cornelia van der Myin, are named by
+Dr. Guhl.
+
+Elizabeth Georgina van Hogenhuizen, a dilettante, born in Hague in
+1776, became a disciple of Rachel Ruysch, and gave promise of attaining
+to a kindred celebrity, had not her life been cut short in the bloom of
+eighteen.
+
+Among engravers on copper, who employed themselves with the pencil
+as well as the graver, may be mentioned Maria Elizabeth Simons; she
+engraved several pictures from Rubens and Van der Velde in the early
+part of the century.
+
+In England, the political greatness of the nation and the appreciation
+of art among the nobility, more than any natural predisposition of the
+people, proved favorable to the progress of a cultivated taste, and
+rewarded talent from other countries. Corresponding to the improvement
+in the prospects of art, we find a number of women occupied diligently
+in its pursuit.
+
+A writer in one of the British reviews observes: “The profession of
+the painter would seem, in many respects, peculiarly fitted for woman.
+It demands no sacrifice of maiden modesty nor of matronly reserve;
+it leads her into no scenes of noisy revelry or unseemly license; it
+does not force her to stand up to be stared at, commented on, clapped
+or hissed by a crowded and often unmannered audience, who forget the
+woman in the artist. It leaves her, during a great portion of her time
+at least, beneath the protecting shelter of her home, beside her own
+quiet fireside, in the midst of those who love her and whom she loves.
+But, on the other hand, to attain high eminence, it demands the entire
+devotion of a life; it entails a toil and study, severe, continuous,
+and unbroken.” There is enough in this twofold truth to account both
+for the number of women artists and the failure of many to reach the
+distinction they aimed at.
+
+The assiduous cultivation of literature among ladies of the higher
+class in the eighteenth century is sufficiently attested by productions
+that yet remain for popular admiration. The names of Joanna Baillie,
+Mrs. Montague, Clara Reeve, Fanny Burney, Harriet and Sophia Lee, Mrs.
+Cowley, etc., posterity will not willingly let die; and the improvement
+in general education owes much to the beneficial influence of women who
+labored for this end, and strove also to introduce into society a less
+frivolous tone of manners and a more pervading respect for morality and
+religion. Mrs. Trimmer, Hannah More, Mrs. Barbauld, are remembered
+with gratitude as having done their part in the good work; as also
+Elizabeth Smith, who added to her literary acquirements extraordinary
+talents and accomplishments both in music and painting.
+
+It was after the introduction of a new manner by artists who had
+partaken of the inspiration of Carstens--such as Flaxman and Fuseli,
+near the close of the century--that the greater number of English
+female artists came into notice. It is necessary to mention only the
+most prominent. One third, at least, of the entire body in England were
+distinguished chiefly as amateurs, while in France the contrary was
+true, very few having been noted among the artists of this period.
+
+First let us pay some attention to the sculptors. In the early part of
+the century Mrs. Samon modeled figures and historical groups in wax. It
+is said that the world-renowned Siddons was accustomed to amuse herself
+occasionally by attempts in sculpture. Lady E. Fitzgerald, Miss Ogle,
+Mrs. Wilmot, and Miss Andross, were also noted for their attempts in
+sculpture. But the place of pre-eminence, above all who had appeared
+down to the later years of the eighteenth century, belongs to Mrs.
+Damer.
+
+
+                          ANNE SEYMOUR DAMER.
+
+A rarer honor it is to a nation to be able to boast of a successful
+artist of aristocratic origin than of a celebrated statesman. The
+subject of this sketch was descended from families of the best blood
+of England. Born in 1748, she was the only child of Field Marshal
+Henry Seymour Conway (brother to the Marquis of Hertford) and Caroline
+Campbell, only daughter of John, the fourth Duke of Argyle, and
+widow of the Earl of Aylesbury and Elgin. “Her birth entitled her to
+a life of ease and luxury; her beauty exposed her to the assiduities
+of suitors and the temptations of courts, but it was her pleasure to
+forget all such advantages, and dedicate the golden hours of her youth
+to the task of raising a name by working in wet clay, plaster of Paris,
+stubborn marble, and still more intractable bronze.”[2]
+
+[2] Allan Cunningham.
+
+The foundation of a pure and correct taste was laid in her superior
+education. She devoted herself early to study, and acquired a knowledge
+of general literature rare among women; became well acquainted with the
+history and arts of the nations of antiquity, and with the standard
+authors of England, France, and Italy. Her cousin, Horace Walpole, was
+greatly pleased with her enthusiasm, and took delight in directing her
+studies.
+
+She had long been accustomed to gaze with admiration on the few
+beautiful pieces of ancient sculpture which she had opportunity of
+seeing, and she felt in her own soul that inspiration which is almost
+always the prophecy of success. It is said the bent of her genius
+was discovered by an adventure with David Hume, the historian. When
+eighteen or twenty years old, Anne was walking with him one day. They
+were accosted by an Italian boy who offered for sale some plaster
+figures and vases. The historian examined his wares, and spent some
+minutes talking with the little fellow. Miss Conway afterward rallied
+Mr. Hume in company upon his taste for paltry plaster casts. He
+replied, with a touch of sarcasm, that the images she had viewed with
+such contempt had not been made without the aid of both science and
+genius, adding that a woman, even with all her attainments, could not
+produce such works. The young lady formed a determination from that
+moment to convince her monitor of his mistake.
+
+She procured wax and modeling tools, worked in secret, and in a short
+time finished a head--some say a portrait of the philosopher, which she
+presented to him in no small triumph.
+
+“This is very clever,” observed Hume. “It really deserves praise for a
+first attempt; but, remember, it is much easier to model in wax than to
+chisel a bust from marble.”
+
+The persevering girl was resolved to compel the satirist to the
+admission that a woman could do more than he had supposed. Without
+any announcement of her design, she supplied herself with marble and
+all the necessary implements of labor. It was not long before she had
+copied out in marble, roughly perhaps, but faithfully, the head she had
+modeled in wax. She placed it before the historian, who was actually
+surprised into admiration, though he found something still to criticise
+in the want of fine workmanship and delicate finish. His fault-finding
+probably went far to stimulate her to new exertions. From this time the
+impulse of genius was strong within her, and she was firmly resolved
+even to seclude herself from the brilliant society by which she was
+surrounded for the purpose of devoting her life to the pursuit she
+found so congenial to her taste.
+
+It could not long be concealed from the world of fashion that the
+admired Miss Conway had forsaken the mask and the dance, and was
+working, like any day-laborer, in wet clay; that she moved amid
+subdued lights; that her glossy hair was covered with a mob cap
+to keep out the white dust of the marble, while an unsightly apron
+preserved her silk gown and embroidered slippers; that her white and
+delicate fingers were often soiled with clay, or grasped the hammer
+and the chisel. The strange story ran like wild-fire among the circles
+of her acquaintance. Several titled ladies had wielded the pencil
+and the brush, but scarcely one could be remembered who had taken
+to sculpture. It may well be imagined that the spirited girl found
+pleasure in showing her independence, and that she was animated by a
+noble ambition to carve out for herself with the chisel a place among
+the honored among artists, worthy of a descendant of the Seymours and
+the Campbells. Works of genius seemed more than coronets to her; and
+noble actions, than Norman blood!
+
+She now took lessons in modeling and the elemental part of sculpture,
+from Cerrachi--the same conspirator who was brought to the guillotine
+for plotting against Napoleon--while she perfected herself in the
+practical part of working in marble in the studio of the elder Bacon,
+and studied anatomy with Cruikshanks. She produced a number of ideal
+heads and busts, and some figures of animals, executed with skill; but
+her progress was slow, and she produced no work of note till seven
+years after her marriage.
+
+At the age of nineteen she bestowed her hand upon the Hon. John
+Damer, the eldest son of Lord Milton, and the nephew of the Earl of
+Dorchester. This marriage proved a sad drawback to the improvement
+of our young artist. Damer--“heir in expectancy to thirty thousand a
+year--was at once eccentric and extravagant. Those were the days of
+silk, and lace, and embroidery, and he adorned his person with all
+that was costly, and loved to surprise his friends and vex his wife by
+appearing thrice a day in a new suit.” He furnished for Miss Burney,
+remarks Mrs. Lee, “in her celebrated novel of Cecilia, a character in
+real life--Harrington, the guardian of her heroine.” He became the
+prey of tailors and money-lenders in London; his extravagance daily
+increased, and he scattered a princely fortune in a few years. In nine
+years this unhappy union was terminated by the suicide of the husband,
+who shot himself with a pistol, in the Bedford Arms, Covent Garden, in
+August, 1776. His wardrobe, which was sold at auction, is said to have
+brought fifteen thousand pounds--perhaps half its cost.
+
+The widow, left childless, availed herself of her recovered freedom
+to take journeys with the object of gaining new ideas in the art she
+loved. She traveled through France, Spain, and Italy, renewing her
+studies in sculpture. At this time it was the fashion for ladies to
+take a warm interest in politics. Mrs. Damer became an ardent partisan
+of the Whig cause, and active in helping to carry elections.
+
+Mrs. Lee observes: “Gentlemen have no objection to ladies being
+politicians if they take the right side: to wit, that to which they
+themselves belong; and Mrs. Damer conscientiously adopted the opinions
+of the Whig party. At that time Great Britain was waging war with her
+American colonies. She took the part of the rebellious subjects, warmly
+espoused our cause, and bravely advanced her opinions.” She was a warm
+friend of Fox.
+
+Walpole thus speaks of his cousin’s works, which soon acquired her
+fame as a sculptor: “Mrs. Damer’s busts from the life are not inferior
+to the antique. Her shock dog, large as life, and only not alive,
+has a looseness and softness in the curls that seemed impossible
+to terra-cotta; it rivals the marble one of Bernini in the royal
+collection. As the ancients have left us but five animals of equal
+merit with their human figures--viz., the Barberini goat, the Tuscan
+boar, the Mattei eagle, the eagle at Strawberry Hill, and Mr. Jenning’s
+dog--the talent of Mrs. Damer must appear in the most distinguished
+light.” Cerrachi gave a whole figure of Anne as the Mùse of Sculpture,
+preserving the graceful lightness of her form and air.
+
+The poet Darwin says:
+
+  “Long with soft touch shall Damer’s chisel charm;
+  With grace delight us, and with beauty warm.”
+
+After 1780, she produced several fine specimens of sculpture, both in
+marble and terra-cotta. She made a group of sleeping dogs, in marble,
+for the Duke of Richmond, her brother-in-law, and another for Queen
+Charlotte. She presented a bust of herself, in 1778, to the Florentine
+Gallery, and executed several of her titled lady relatives, which were
+esteemed as works of great merit, and still adorn the galleries of
+noble connoisseurs. Two colossal heads of her workmanship, representing
+Thames and Isis, were designed for the keystones of the bridge at
+Henley.
+
+Envy was busy, as it generally is, in disputing the claims of this
+noble lady to the entire authorship of her celebrated productions; but,
+though they exhibit a varied character, there was no proof that she
+availed herself of more assistance than is usual for all sculptors,
+both in modeling and marble-work. Subordinate hands are always employed
+in preparing the model and removing the superfluous material.
+
+Mrs. Damer complied with the fancy of the day in idealizing the
+portraits of some of her friends into muses and deities. To please her
+fast friend, Horace Walpole, she presented him with two kittens in
+marble, wrought by herself, as an addition to the curiosities of his
+villa. Still more endearing than their relationship was her agreement
+with him in political opinions.
+
+She had lost her father at the time she went abroad in 1779. The
+seas were filled with the armed vessels of France, America, and
+Great Britain, and there was some danger in crossing the Channel.
+The sculptress was protected, it is true, by her sympathy with the
+Transatlantic “rebels” and by her character of artist. However, the
+vessel in which she sailed encountered a French man-of-war, with which
+a running fight was kept up for four hours. But “the heroic daughter of
+a hero” manifested both sense and coolness. The French prevailed; the
+packet struck its colors within sight of Ostend; but Mrs. Damer was not
+detained in captivity.
+
+She now devoted herself more assiduously to the study of classic
+authors, with the view of entering more fully into the feeling and
+character of antique sculpture. She kept notes of her reflections
+as she contemplated the works of art in Italy, with the remarks of
+critics. She was bent on accomplishing some great work, the glory of
+which should eclipse the lustre of her hereditary dignity. She had more
+ambition to become distinguished as a sculptor than as the descendant
+of the high aristocracy of Britain.
+
+Returning from Italy and Spain, she took part in the election that
+terminated in the triumph of Charles Fox. Mrs. Crewe and the lovely
+Duchess of Devonshire joined her in canvassing for their favorite,
+the Whig candidate, “rustling their silks in the lowest sinks of sin
+and misery, and, in return for the electors’ ‘most sweet voices,’
+submitting, it is said, their own sweet cheeks to the salutes of
+butchers and barge-men.”
+
+An old elector said to Cunningham: “It was a fine sight to see a grand
+lady come right smack up to us hard-working mortals, with a hand held
+out, and a ‘Master, how d’ ye do?’ and laugh so loud, and talk so kind,
+and shake us by the hand, and say, ‘Give us your vote, worthy sir--a
+plumper for the people’s friend, our friend, every body’s friend.’ And
+then, sir, if we hummed and hawed, they would ask us for our wives and
+children; and if that didn’t do, they’d think nothing of a kiss--ay, a
+dozen on ’em. Kissing was nothing to them, and it came all so natural.”
+
+It is recorded, also, that Mrs. Damer was fond of private theatricals,
+and recited poetry and personated characters in plays performed at
+the Duke of Richmond’s and elsewhere. Her talents in high comedy won
+deserved applause, and many of our actresses would be eclipsed by her
+performance in the standard old pieces. But though she took part in
+such entertainments for the pleasure of others, her own delight was in
+sculpture alone. Her busts in bronze, marble, and terra-cotta became
+ornaments to the rich collections of her friends. Her statue of the
+king in marble was established in the Edinburgh Register Office. She
+consecrated a monumental bust to the memory of the countess her mother,
+whose pieces of needle-work had equaled the finest paintings. She
+formed a design to perpetuate the memory of a noble act by Lord William
+Campbell, her uncle, he having once leaped from a boat into the Thames,
+and dived down sixteen feet, to save the life of a drowning man. This
+work was never finished in marble.
+
+Mrs. Damer’s heroes, out of her own family, were Fox, Nelson, and
+Napoleon; and she was acquainted with them all. She executed the
+busts of the first two, and it was one of her fancies to record in
+a small book the remarks of “the Napoleon of the waves” during his
+conversations with her. During her visit in France she formed a
+friendship for the Viscountess Beauharnais; and many years afterward
+a French gentleman brought her a letter from the wife of the First
+Consul, with a splendid present of porcelain. She was invited to Paris
+by her former friend, who desired to present her to Napoleon. The
+latter asked her for a bust of Fox, which Mrs. Damer brought to the
+emperor on a subsequent visit to Paris. The emperor presented her with
+a splendid snuff-box and his portrait set with diamonds.
+
+Walpole died in 1797, bequeathing to this daughter of General Conway
+for her life, his Gothic villa of “Strawberry Hill,” with its rich and
+rare contents--books and artistic curiosities--and two thousand pounds
+a year to keep the place in repair. It has “become famous from its
+connection with the studies of the accomplished author of the Castle
+of Otranto.” Here Mrs. Damer was happy in entertaining her friends,
+not only with feasts of good things at her table, but with private
+theatrical performances, in which she often took part. Joanna Baillie,
+the matchless Siddons, Mrs. Garrick, Mrs. Berry and her daughters,
+were among her chosen companions. The classic villa, however, had been
+entailed upon Lord Waldegrave, and Mrs. Damer was induced to give it up
+to him ten years previous to her own death. She purchased York House
+in the neighborhood, the birth-place of Queen Anne. This was her summer
+residence, her winter house being in Park Lane.
+
+As she approached the close of life, and saw the heroes of her early
+enthusiasm pass away, her love of sculpture increased. She thought
+the art might be made to render important aid in the civilization and
+religious improvement of Hindostan and the Indian isles, and often
+talked with Sir Alexander Johnston of substituting Christian subjects
+in sculpture for the idols of heathenism in those regions. She was,
+unfortunately, no longer young enough for such an enterprise; yet the
+idea was a noble one. She executed the bust of Nelson in marble for
+a present to the King of Tanjore--a Hindoo sovereign of power and
+influence in the south of Asia. That specimen of her skill may have
+tended to disseminate in that remote nation a desire for statuary by
+British artists.
+
+A list of thirty of her works has been published. A beautiful bust of
+herself, executed by her in marble, was in the collection of Richard
+Payne Knight, and was bequeathed by him to the British Museum. Her
+group of “The Death of Cleopatra,” represented the closing scene of
+Shakspeare’s tragedy. The Queen of Egypt, having failed to excite the
+pity of Octavius Cæsar, and resolved to follow her departed love, has
+applied the “venomous worm of Nile” to her breast. The words
+
+                  “Come, mortal wretch,
+  With thy sharp teeth this knot intrinsicate
+  Of life at once untie,”
+
+are embodied in the expression.
+
+This tasteful composition was modeled in basso-relievo, and was
+engraved by Hellyer as a vignette title to the second volume of
+Boydell’s Shakspeare.
+
+Mrs. Damer’s health declined in the spring of 1828, and on the 28th
+of May she departed this life, in her eightieth year. She left to her
+relative Sir Alexander Johnston all her works in marble, bronze, and
+terra-cotta, and her mother’s needle pictures, with directions that her
+apron and tools should be buried in her coffin, and that her manuscript
+memoranda and correspondence should be destroyed. She was interred in
+the church of Tunbridge, Kent.
+
+Whatever difference of opinion there may be respecting the genius and
+works of this sculptress, there can be none in pronouncing her an
+extraordinary woman. She would have been called “strong-minded” in
+our day, for she sent a friendly message to Napoleon on the eve of
+Waterloo, canvassed an election for Fox, and entertained Queen Caroline
+during her trial! In her estimation, genius and generous impulse were
+above the conventionalities of birth and fashion. It is difficult
+to estimate fairly the productions of a favored child of wealth and
+splendor, and one eminent for learning and wit. Her works have been
+severely criticised, and those who most admire her independent career,
+are disposed to deny her the possession of great originality and such
+a practical knowledge of art as would enable her to finish with a
+good degree of perfection. It has been remarked, however, that her
+conception was generally superior to her execution.
+
+
+
+
+                             CHAPTER XIII.
+
+                        THE EIGHTEENTH CENTURY.
+
+ Mary Moser.--Nollekens’ House.--Skill in Flower-painting.--The
+ Fashions.--Queen Charlotte.--Patience Wright.--Birth
+ in New Jersey.--Quaker Parents.--Childish Taste for
+ Modeling.--Marriage.--Widowhood.--Wax-modeling.--Rivals
+ Madame Tussaud.--Residence in England.--Sympathy with America
+ in Rebellion.--Correspondence with Franklin.--Intelligence
+ conveyed.--Freedom of Speech to Majesty.--Franklin’s Postscript.--“The
+ Promethean Modeler.”--Letter to Jefferson.--Patriotism.--Art the
+ Fashion.--Aristocratic lady Artists.--Princesses Painting.--Lady
+ Beauclerk.--Walpole’s “Beauclerk Closet.”--Designs and Portrait.--Lady
+ Lucan.--Her Illustrations of Shakspeare.--Walpole’s Criticism.--Other
+ Works.--Mary Benwell and others.--Anna Smyters and others.--Madame
+ Prestel.--Mrs. Grace.--Mrs. Wright.--Flower-painters.--Catherine Read
+ and others.--Maria Cosway.--Peril in Infancy.--Lessons.--Resolution
+ to take the Veil.--Visit to London.--Marriage.--Cosway’s
+ Painting.--Vanity and Extravagance.--The beautiful Italian
+ Paintress.--Cosway’s Prudence and Management.--Brilliant
+ evening Receptions.--Aristocratic Friends.--The Epigram on the
+ Gate.--Splendid new House and Furniture.--Failing Health.--France
+ and Italy.--Institution at Lodi.--Singular Occurrence.--Death of
+ Cosway.--Return to Lodi.--Maria’s Style and Works.
+
+
+                              MARY MOSER.
+
+This lady, a member of the Royal Academy in London, is mentioned by the
+biographers of Nollekens as “skillful in painting flowers, sarcastic
+when she held the pen.” She liked to visit the illiterate Nollekens, at
+whose house, with a cup of tea, she occasionally enjoyed the company of
+Dr. Johnson. Smith does not hesitate to charge her with having set her
+cap at Fuseli, “but his heart, unfortunately, had already been deeply
+pierced by Angelica Kauffman.”
+
+She was the daughter of a German artist in enameling, but was educated
+in England. She was truly wonderful in flower-pieces. The tasteful
+decorations of some new apartments in Windsor Palace were executed by
+her hand.
+
+While in London she wrote thus to her friend Mrs. Lloyd:
+
+“Come to London and admire our plumes; we sweep the sky! A duchess
+wears six feathers, a lady four, and every milkmaid one at each corner
+of her cap! * * * Fashion is grown a monster; pray tell your operator
+that your hair must measure just three quarters of a yard from the
+extremity of one wing to the other.”
+
+Queen Charlotte took particular notice of Miss Moser, and for a
+considerable time employed her for the decoration of one chamber, which
+her majesty commanded to be called Miss Moser’s room, and for which the
+queen paid upward of nine hundred pounds.
+
+
+                           PATIENCE WRIGHT.
+
+This extraordinary woman, as Dunlap rightly calls her, was born, like
+West, among a people who professed to eschew all that is imaginative
+or pictorial. Her parents, who were Quakers, lived at Bordentown, New
+Jersey, where Patience Lovell was born in 1725. Her uncommon talent for
+imitation was shown long before she had an opportunity of seeing any
+work of art. The dough meant for the oven, or the clay found near her
+dwelling, supplied her with materials out of which she moulded figures
+that bore a recognizable resemblance to human beings, and, ere long, to
+the persons with whom she was most familiar.
+
+She married Joseph Wright of Bordentown in 1748. He lived only nineteen
+years. Before 1772 the lady had gained not a little celebrity in some
+of the cities of the United States for her astonishing likenesses in
+wax. A widow, with three children dependent on her for support, she was
+obliged to seek a larger field for her efforts. The prospect of success
+in London was good, and to London she went.
+
+There is testimony in English journals of the day that her works
+were thought extraordinary of their kind. She bade fair to rival
+the famous Madame Tussaud. Her conversational powers and general
+intelligence gained her the attention and friendship of several among
+the distinguished men of the day. Though a resident of England, her
+sympathies were engaged in behalf of her countrymen during the struggle
+of the American Revolution. It is said she even rendered important
+aid to the cause by sending to American officers intelligence of the
+designs of the British government. She corresponded with Franklin while
+he was in Paris; and as soon as a new general was appointed, or a
+squadron began to be fitted out, he was sure to know it. She was often
+able to gain information in families where she visited, and to transmit
+to her American friends accounts of the number of British troops and
+the places of their destination.
+
+At one time she had frequent access to Buckingham House, and was
+accustomed to express her sentiments freely to their majesties, who
+were amused with her originality. The great Chatham honored her with
+his visits, and she took the full-length likeness of him, which appears
+in a glass case in Westminster Abbey.
+
+The following is the postscript to one of Franklin’s letters, offering
+service should she return to America through France:
+
+“My grandson, whom you may remember when a little saucy boy at school,
+being my amanuensis in writing the within letter, has been diverting
+me with his remarks. He conceives that your figures can not be packed
+up without damage from any thing you could fill the boxes with to
+keep them steady. He supposes, therefore, that you must put them
+into post-chaises, two and two, which will make a long train upon
+the road, and be a very expensive conveyance; but, as they will eat
+nothing at the inns, you may the better afford it. When they come to
+Dover, he is sure, they are so like life and nature, that the master
+of the packet will not receive them on board without passports. It
+will require, he says, five or six of the long French stage-coaches to
+convey them as passengers from Calais to Paris; and a ship with good
+accommodations to convey them to America, where all the world will
+wonder at your clemency to Lord N----, that, having it in your power to
+hang or send him to the lighters, you had generously reprieved him for
+transportation.”
+
+Mrs. Wright was sometimes called “Sibylla,” as she professed to
+foretell political events. In a London magazine of 1775 she is called
+“the Promethean modeler,” with the remark: “In her very infancy she
+discovered such a striking genius, and began making faces with new
+bread and putty to such an extent that she was advised to try her skill
+in wax.”
+
+Her likenesses of the king, queen, Lord Temple, Lord Chatham, Barry,
+Wilkes, and others, attracted universal attention. Critics gave her
+credit for wonderful natural abilities, and said she would have been
+a miracle if the advantages of a liberal education had fallen to her
+lot. Noticing her quick and brilliant eyes, their glance was said to
+“penetrate and dart through the person looked on.” She had a faculty of
+distinguishing the characters and dispositions of her visitors, and was
+rarely mistaken in her judgment of them.
+
+Dunlap farther speaks of “an energetic wildness in her manner. While
+conversing she was busy modeling, both hands being under her apron.”
+
+Her eldest daughter married Mr. Platt, an American; she inherited some
+of her mother’s talents. She became well known in New York about 1787
+by her modeling in wax. The younger was the wife of Hoppner, the rival
+of Stuart and Lawrence in portrait-painting. The young lady’s sweet
+face may be recognized in some historical compositions. The British
+Consul at Venice, mentioned by Moore in his Life of Byron, was the
+grandson of Mrs. Wright.
+
+Mrs. Wright lost favor with George III. by her earnest reproofs for his
+sanction of the war with America. She went to Paris in 1781, but was
+in London in 1785, when she wrote to Jefferson that she was delighted
+that her son Joseph had painted the best likeness of Washington of any
+painter in America. Washington himself said he “should think himself
+happy to have his bust done by Mrs. Wright, whose uncommon talents,”
+etc.
+
+She wished not only to make a likeness of the hero, but of those
+gentlemen who had assisted at signing the treaty of peace. “To shame
+the English king,” she says, “I would go to any trouble and expense, to
+add my mite to the stock of honor due to Adams, Jefferson, and others,
+to send to America.” And she offered to go herself to Paris and mould
+the likeness of Jefferson. She wished to consult him how best to honor
+her country by holding up the likenesses of her eminent men, either in
+painting or wax-work; and hinted at the danger of sending Washington’s
+picture to London, from the enmity of the government and the espionage
+of the police; the latter, she observes, having “all the folly, without
+the ability, of the French.”
+
+The exercise of artistic accomplishment was now so popular, that
+culture in painting, drawing, and etching became general in the
+education of young ladies. The fashion of patronizing the arts, too,
+was in vogue among women of the highest rank. Lady Dorothea Saville
+painted portraits and drew admirable sketches. Lady Louisa de Greville
+and her sister Augusta were ardent connoisseurs. The Countess Lavinia
+Spencer was celebrated for her skill in etching; and Lady Amherst, Lady
+Temple, and Lady Henry Fitzgerald, were noted artists.
+
+Two princesses of the royal family took pleasure in painting. Princess
+Elizabeth drew with taste and skill. She engraved a “Birth of Love”
+after Tomkins, and produced several original specimens of great beauty.
+One of her fancy-pieces was “Cupid turned Volunteer,” which appeared,
+in 1804, in a series of prints engraved with poetical illustrations.
+The designs were beautiful. Three years later, a series of twenty-four
+etchings by her royal highness was published. They evinced spirit and
+taste, and a deep feeling for the beautiful.
+
+Charlotte Matilda, afterward Queen of Wurtemberg, drew and painted
+landscapes after the manner of Waterloo.
+
+
+                         LADY DIANA BEAUCLERK.
+
+Lady Diana Spencer, the wife of Topham Beauclerk, and the daughter
+of the Duke of Marlborough, was celebrated as an amateur artist, and
+produced drawings that gained the enthusiastic admiration of Walpole.
+In 1776 he built a hexagonal tower, which he called “Beauclerk
+Closet,” as it was constructed “purposely for the reception of seven
+incomparable drawings by Lady Diana, illustrating scenes in his
+‘Mysterious Mother.’” They were conceived and executed in a fortnight.
+In 1796 the lady produced designs for a translation of Bürger’s ballad
+of “Leonore,” by her nephew, published in folio the following year.
+Lady Diana also finished a series of designs for a splendid edition of
+Dryden’s Fables in folio. These show that she possessed an elegant and
+fertile imagination, with a truly classic taste. In her portrait of the
+Duchess of Devonshire, the nymph-like grace of the figure is like what
+a Grecian sculptor would give to the form of a dryad or river-goddess.
+
+She died in 1808, at the age of seventy-four.
+
+
+                     MARGARET, COUNTESS OF LUCAN,
+
+possessed a remarkable talent for copying miniatures and illuminations.
+She completed a series of embellishments of Shakspeare’s historical
+plays, in five folio volumes, now preserved in the library at Althorp.
+For sixteen years she devoted herself to the pursuit, indulging in “the
+pleasurable toil” of illustrating that great work. She commenced this
+enterprise when fifty years of age, and ended it at sixty-six. Walpole
+says: “Whatever of taste, beauty, and judgment in decoration, by means
+of landscapes, flowers, birds, heraldic ornaments and devices, etc.,
+could dress our immortal bard in a yet more fascinating form, has
+been accomplished by a noble hand, which undertook a Herculean task,
+and with a true delicacy and finish of execution that has been rarely
+equaled.”
+
+Lady Lucan also copied the most exquisite works of Isaac and Peter
+Oliver, Hoskins, and Cooper; “with genius,” says her admiring friend,
+“that almost depreciated those masters;” and “transferring the vigor of
+Raphael to her copies in water-colors.” She died in 1815.
+
+The Countess of Tott exhibited in 1804 her portrait of the famous
+Elfi Bey. Lord Orford speaks of Mrs. Delany’s skill in painting
+and imitating flowers with cuttings of colored paper. This lady is
+mentioned by Madame d’Arblay, in her Diary, as the queen’s friend, the
+wife of Patrick Delany, who was the intimate friend of Dean Swift.
+
+Among a host of minor women artists may be mentioned Mary Benwell, who
+painted portraits and miniatures in oil and crayons, exhibited from
+1762 to 1783. She married Code, who was in the army, and purchased
+rank for him. He was stationed at Gibraltar, where he died. Mrs. Code
+retired from her profession in 1800. Miss Anna Ladd, skilled in the
+same branch, died in 1770. Agatha van der Myn also painted flowers,
+fruits, and birds in England.
+
+Anna Smyters, the wife of a sculptor and architect, acquired celebrity
+for her miniatures and water-color paintings. One, representing a
+wind-mill with sails spread, a miller with his sack on his shoulder, a
+carriage and horse, and a road leading to a village, was complete, of a
+size so small that it could be covered by a grain of corn.
+
+Miss Anna Jemima Provis was said to have made known to some English
+artists the receipt for coloring used by the great Venetian masters. It
+had been brought from Italy by her grandfather.
+
+Mrs. Dards opened a new exhibition with flower-paintings, in the
+richest colors. They were exact imitations of nature, done with
+fish-bones.
+
+Mrs. Hoadley, wife of the Bishop of Winchester, was well skilled
+in painting. Caroline Watson was eminent in engraving. She was
+born in London, 1760. Receiving instruction from her father, she
+engraved several subjects in mezzotinto and in the dotted manner. Her
+productions were said to possess great merit. Miss Hartley, who etched
+admirably, preceded her.
+
+Maria Catharine Prestel was the wife of a German painter and engraver.
+She aided him in some of his best plates, particularly landscapes. The
+marriage was not happy, and the pair separated. Madame Prestel came
+to England in 1786, where she engraved prints in a style surpassed by
+no artist for spirit and delicacy. She made etchings, and finished in
+aquatinta in a fine picturesque manner. She died in London in 1794.
+
+Mrs. Grace exhibited her works seven years in the Society of Artists.
+They were chiefly portraits in oil, rather heavy in coloring. She
+attempted a historical subject in 1767: Antigonus, Seleucus, and
+Stratonice. Her residence was in London.
+
+Mrs. Wright, the daughter of Mr. Guise--one of the gentlemen of his
+majesty’s Chapel Royal at St. James’s, and master of the choristers
+at Westminster--was a successful painter in miniature. She married,
+unfortunately, a French emigrant, who shortly afterward left her, and
+went to France, where he died. Her second husband was Mr. Wright, a
+miniature-painter. She died in 1802.
+
+Fiorillo also mentions Betty Langley, Miss Noel, Miss Linwood,
+Miss Bell, Madame Beaurepas, and the eldest daughter of Smirke the
+academician.
+
+Walpole mentions Elizabeth Neal as a distinguished paintress, who went
+to Holland. She painted flowers so admirably, that she was said to
+rival the famous Zeghers.
+
+Among English flower-painters should not be forgotten Miss Elizabeth
+Blackwell, Miss Gray, Anna Ladd, Anna Lee, and Mary Lawrence, who
+busied herself with a splendid work on roses--painting and engraving
+the illustrations.
+
+Catherine Read painted beautiful family scenes, and obtained
+considerable reputation as a painter of portraits, both in oil and
+crayon. A crayon, in the possession of a lady of New York, was
+recognized as hers by an eminent American painter. She lived near
+St. James’s, and frequently sent pieces to the exhibition. Several
+mezzotint prints after her pictures were published. In 1770 she went to
+the East Indies, staid a few years, and returned to England. Her niece,
+Miss Beckson, also an artist, who went with her to the East Indies,
+afterward married a baronet.
+
+Some of Anna Trevingard’s pictures were engraved. Miss Drax and Miss
+Martin engraved from Tomkins and Der Petit; Miss Morland and Catharine
+Mary Fanshawe drew and engraved twenty pictures of historical scenes.
+The zealous and industrious Mary Spilsbury’s studies from country life,
+and particularly those in which she represented her rural scenes and
+sports of children, have been reproduced in engravings.
+
+It is certainly surprising that engraving and flower-painting did not
+boast at this time a greater number of distinguished followers.
+
+It now becomes our task to linger a moment over the history of a
+paintress whose genius and attainments won for her an enviable
+reputation, and whose life experience illustrates the condition and
+circumstances of art amid the higher classes of English society.
+
+
+                             MARIA COSWAY.
+
+Maria Hadfield was the daughter of an Englishman who became rich
+by keeping a hotel in Leghorn. It is said he lost four children in
+infancy, and detected a maid-servant in the avowal that she sent them
+to heaven out of love, and meant that the fifth, Maria, should follow
+the rest. The woman was imprisoned for life, and the child was sent
+to a convent to be educated. There she received lessons in music and
+drawing, in common with other branches. Returning home, she devoted
+herself to painting, and the acquaintance she afterward formed at Rome
+with Battomi, Mengs, Maron, and Fuseli, with her contemplation of
+the works of art in churches and palaces, contributed to the farther
+development of her talents.
+
+At her father’s death she formed the resolution of entering a cloister,
+but her mother persuaded her to accompany her first to London. There
+the young girl became acquainted with the interesting and popular
+Angelica Kauffman, who easily prevailed on her to relinquish all idea
+of taking the veil.
+
+The change of resolution was followed not long afterward by Maria’s
+marriage with Richard Cosway, a portrait and miniature painter, who
+occupied a high position, and whose soft, pliant, and idealized style
+was well adapted to please rich patrons whose vanity desired the most
+favorable representation. In his carefully-finished miniatures the most
+ordinary features were transformed into beauty, and pale, watery eyes
+were made to sparkle with intellectual expression. This faculty of
+beautifying rendered him the favorite of the wealthy and aristocratic.
+He was, moreover, a member of the Academy, and had the honor of
+being called a friend by the Prince of Wales, circumstances which
+contributed still more to make him the “fashion.” But, unfortunately,
+he had not good sense enough to wear these honors meekly. Vanity led
+him into ridiculous extravagances. He dressed in the extreme of the
+mode, and kept his servants costumed in the like absurd manner; he
+gave expensive entertainments, and succeeded in drawing around him a
+number of frivolous young sprigs of nobility, who would do him the
+favor of drinking his Champagne and scattering his money at play, and
+the next morning would amuse their “set” by laughing heartily over the
+pretensions of the “parvenu.”
+
+Such was the situation of Cosway when he fell in love with Maria
+Hadfield, wooed, and won her, and took his wife to his magnificently
+furnished house. Maria was very young, and, having come recently from
+Italy, was inexpert both in the English language and English customs.
+Her fashionable husband chose to keep her strictly isolated from all
+society till she should learn to appear with dignity and grace in the
+distinguished circles where he meant she should move.
+
+Meanwhile he caused her to complete her artistic education, and to
+practice on the lessons she received. Her miniatures soon gained such
+appreciation that the highest praise was awarded to them of all that
+appeared at the Royal Academy exhibitions. Maria was even pointed out
+in the street as the successful artist. Then arrived the time when,
+in Cosway’s opinion, she was fitted to become the central point of
+attraction in his house for the brilliant society he loved.
+
+Very soon the talk every where was of the young, beautiful, and gifted
+Italian. Cosway’s receptions were crowded, and half the carriages at
+his door contained sitters ambitious of the honor of being painted by
+the hand of his lovely wife. Her portrait of the beautiful Duchess of
+Devonshire in the character of Spenser’s Cynthia raised her to the
+pinnacle of reputation.
+
+Cosway, however, was too prudent, and, at the same time, too proud to
+permit his wife to be esteemed a professional painter, for he knew
+well that her productions would have greater value as the work of an
+amateur. To be painted by her was thus represented and regarded as
+a special favor; and costly presents were frequently added to the
+customary payments for her pictures.
+
+In another matter the husband was more indulgent. Maria was
+passionately fond of music, and he permitted her to exercise her gift
+of song at the brilliant companies invited to his magnificent abode.
+This completed the enchantment. Visitors came in such numbers that the
+house would scarcely contain them; and all who were fashionable, or
+had any aristocratic pretensions, were sure to be found in Cosway’s
+drawing-rooms. There would be the poet whose latest effusion was
+the rage in high circles; the author of the last sensation-speech
+in Parliament; any rising star in art, or any hero of a wonderful
+adventure; in short, all the lions of London were gathered in that
+place of resort, to see and to be seen, and, above all, to listen to
+the charming Cosway. The Honorable Mrs. Damer, Lady Lyttleton, the
+Countess of Aylesbury, Lady Cecilia Johnston, and the Marchioness of
+Townshend, were Maria’s most intimate friends, and were usually present
+to add splendor to her receptions; while among the men were General
+Paoli, Lords Sandys and Erskine, and his royal highness the Prince
+of Wales, the foreign embassadors being also invited upon special
+occasions.
+
+The mansion in Pall Mall was soon found too small to accommodate such
+an influx of visitors, and to display its master’s works and finery. A
+new one was taken in Oxford Street.
+
+Several of Cosway’s biographers mention the fact that the figure of a
+lion beside the entrance put it into some wag’s head to stick on the
+door an epigram that had a severe point, as the foppish little painter
+was “not much unlike a monkey in the face:”
+
+  “When a man to a fair for a show brings a lion,
+  ’Tis usual a monkey the sign-post to tie on;
+  But here the old custom reversed is seen,
+  For the lion’s without, and the monkey’s within.”
+
+The artist left the house in consequence of this foolish joke, and
+fitted up another in the same street, with the magnificence of a fairy
+palace. The author of “Nollekens and his Times” says:
+
+“His new house he fitted up in so picturesque, and, indeed, so princely
+a style, that I regret drawings were not made of the general appearance
+of each apartment; for many of the rooms were more like scenes of
+enchantment, penciled by a poet’s fancy, than any thing perhaps before
+displayed in a domestic habitation. His furniture consisted of ancient
+chairs, couches, and conversation-stools, elaborately carved and
+gilt, and covered with the most costly Genoa velvets; escritoirs of
+ebony, inlaid with mother-of-pearl; and rich caskets for antique gems,
+exquisitely enameled, and adorned with onyxes, opals, rubies, and
+emeralds. There were also cabinets of ivory, curiously wrought; mosaic
+tables set with jasper, blood-stone, and lapis lazuli, having their
+feet carved into the claws of lions and eagles; screens of old raised
+Oriental Japan; massive musical clocks, richly chased with ormolu and
+tortoise-shell; ottomans superbly damasked; Persian and other carpets,
+with corresponding hearth-rugs, bordered with ancient family crests,
+and armorial ensigns in the centre; and rich hangings of English
+tapestry. The carved chimney-pieces were adorned with the choicest
+bronzes, models in wax, and terra-cotta; the tables were covered with
+old Sèvre, blue Mandarin, Nankin, and Dresden China; and the cabinets
+were surmounted with crystal cups, adorned with the York and Lancaster
+roses, which might probably have graced the splendid banquets of the
+proud Wolsey.”
+
+But splendor, fashionable position, success as an artist, and the
+friendship of princes and nobles could not make Richard Cosway happy.
+He saw the sneers lurking beneath the smiles of his aristocratic
+guests, and he heard the rumor that he was accused by other artists
+of using his talents to flatter the great, whose fleeting favor could
+not, after all, confer upon him lasting reputation. Maria’s health,
+too, began to fail; and, as the London climate was no longer endurable
+for her, her husband took her to travel on the Continent. They went
+to Paris and Flanders. One day, as they walked in the Gallery of the
+Louvre, Cosway pointed to the naked wall, and said his cartoons would
+look well in that place. He presented them to the French king, who
+accepted and hung them up, giving the painter in return four splendid
+pieces of Gobelin tapestry, which Cosway presented to the Prince of
+Wales.
+
+With improved health, Mrs. Cosway returned to England and resumed her
+brilliant parties. But her spirits again failing, she accompanied her
+brother to Italy, expecting her husband to join her.
+
+Three years’ residence in that soft clime quite restored her health,
+and she set out on her return to London. A new and terrible trial
+awaited her there: she was called to mourn the death of her only
+daughter.
+
+Again she departed for France, and, after the breaking out of the war
+between that country and England, pursued her journey to Italy. She
+established at Lodi a college for the education of young ladies on a
+plan she had arranged for a similar institution at Lyons.
+
+On the establishment of peace she returned to England, and became the
+tender nurse of her invalid husband, trying to solace the weary hours
+which were passed in weakness and pain.
+
+Upon Mrs. Cosway’s return, Smith informs us, “she had caused the body
+of their departed child, which her husband had preserved in an embalmed
+state within a marble sarcophagus that stood in the drawing-room of
+his house in Stratford Place, to be conveyed to Bunhill row, where it
+was interred, sending the sarcophagus to Mr. Nollekens, the sculptor,
+to take care of for a time. It is a curious coincidence that the same
+hour this sarcophagus was removed from Mr. Nolleken’s residence, Mr.
+Cosway died in the carriage of his old friend, Miss Udney, who had
+been accustomed, during his infirm state, occasionally to give him an
+airing,” and had taken him out that morning, as the weather was fine.
+
+Maria heard the sound of the returning wheels, and, hastening down
+to receive her husband, found only his lifeless corpse. He had died
+suddenly, upon a third and last attack of paralysis, July 4, 1821, at
+the advanced age of eighty.
+
+The widow returned to Lodi, where her ladies’ college was still
+flourishing. The place was endeared to her by many happy memories, and
+there she was loved and respected by a large circle of friends. She
+died in 1821.
+
+In her style Mrs. Cosway appears to have taken much from Flaxman and
+Fuseli. In many of her works something fantastic is embodied, which is
+associated with more of the wild and terrible than we usually find in
+the creations of a mind at ease. No doubt her inconsolable grief for
+the loss of her child was the cause of this unfeminine peculiarity. She
+originated compositions from Virgil and Homer, as well as from Spenser
+and Shakspeare.
+
+The engraving from a portrait of Maria Cosway represents her in the
+bloom of youth, with a profusion of light hair dressed after the
+then prevailing mode. The fresh and delicate loveliness of the face
+is most attractive, and there is a wonderful beauty in the large,
+soft eyes, and the artless innocence that beams in their expression.
+The celebrated Mrs. Cowley, in a letter to her, thus speaks of her
+portrait: “If you can draw every body as justly as the fair Maria
+Cosway, you will be the first portrait-painter in the kingdom.”
+
+She painted a portrait of Madame Le Brun. One of her latest works was
+a picture representing Madame Recamier as a guardian angel watching a
+slumbering child. “The Winter’s Day,” in twelve pieces, was a series
+by her, and she also published a book of drawings jointly with
+Hopner. Her “Lama,” exhibited at the Royal Academy in 1788, showed a
+female figure reclining by a stream; and the striking likeness to Mrs.
+Fitzherbert caused no little sensation.
+
+
+                            MADAME TUSSAUD.
+
+Madame Tussaud’s famous wax-work collection was first opened in Paris
+about 1770, by M. Courcius, her uncle. Though consisting then chiefly
+of busts, with a few full-length figures, it attracted much attention
+as a novelty; and Louis XVI. was wont to amuse himself by placing
+living figures, costumed, among the wax ones. In 1802 Madame Tussaud
+opened her exhibition in London; afterward visiting all the large towns
+in Great Britain. Her rooms were large and splendidly decorated, and
+her figures were magnificently dressed--some in their own royal robes,
+with crowns, stars, orders, and regal finery. Among the historical
+groups is one of Henry VIII. and his family. The exhibition is still
+kept up in the largest saloon in Europe, more than forty persons being
+kept constantly employed in the care of it.
+
+
+
+
+                             CHAPTER XIV.
+
+                        THE EIGHTEENTH CENTURY.
+
+ Close of the golden Age of Art in France.--Corruption of
+ Manners.--Influence of female Genius.--Reign of Louis XVI.--Female
+ Energy in the Revolution.--Charlotte Corday.--Greater Number of
+ female Artists in Germany.--Reasons why.--French Women devoted
+ to Engraving.--Stamp-cutters.--A Sculptress enamored.--A few
+ Paintresses.--The Number increasing.--Influence of the great
+ French Masters.--Sèvres-painting.--Genre-painting.--Disciples
+ of Greuze.--Portrait-painting in vogue.--Caroline
+ Sattler.--Flower-painters, etc.--Engravers.--Two eminent
+ Paintresses.--Adelaide Vincent.--Marriage.--Portraits and other
+ Works.--The Revolution.--Elizabeth Le Brun.--Talent for Painting.--Her
+ Father’s Delight.--Instruction.--Friendship with Vernet.--Poverty and
+ Labor.--Avaricious Step-father.--Her Earnings squandered.--Success
+ and Temptation.--Acquaintance with Le Brun.--Maternal Counsels
+ to Marriage.--Secret Marriage.--Warnings too late.--The Mask
+ falls.--Luxury for the Husband, Labor and Privation for the
+ Wife.--Success and Scandal.--French Society.--Friendship with
+ Marie Antoinette.--La Harpe’s Poem.--Evening Receptions.--Splendid
+ Entertainments.--Scarcity of Seats.--Petits Soupers.--The Grecian
+ Banquet.--Reports concerning it.--Departure from France.--Triumphal
+ Progress.--Reception in Bologna.--In Rome.--In Naples.--In
+ Florence.--Madame Le Brun’s Portrait.--Goethe’s Remarks.--New
+ Honors.--Reception at Vienna.--An old Friend in Berlin.--Residence
+ in Russia.--Return to France.--Loyalty.--Her Pictures.--Death of her
+ Husband and Daughter.--Advanced Age.--Autobiography.--An emblematic
+ Life.
+
+
+The golden age of French literature and art came to a close with the
+life of Louis XIV. A shadow only of that fortunate epoch lingered
+during the years succeeding, and the general corruption of manners soon
+obliterated even that. But in the reign of Louis XV. were glimpses of
+a better state of things, and the influence of female genius and merit
+was apparent, as a long list of names in literature can testify. Vice
+held sway, however, in the latter years of this monarch, and hypocrisy
+became the only homage paid by the court to virtue.
+
+The sceptre passed into the hands of Louis XVI., a feeble prince, whose
+virtues were those of the man, not the sovereign. When the throne was
+shattered, and revolution broke out, the women of France regained
+their energy. They were heroines under the sway of the Decemvirs. What
+self-sacrifice, for example, can outshine that of Charlotte Corday--the
+greater than Brutus? And what was begun by a woman, a woman completed:
+Madame Cabarrus shared in the glory of those great events! Those days
+had writers, too, whom posterity has crowned with the garland woven by
+their contemporaries.
+
+In comparing woman’s progress and her cultivation of art in France
+with those of other nations, and especially the German, we may notice
+important differences. The number of female artists was far greater in
+Germany, perhaps because many cities in that land were central points,
+affording employment to labor, and appreciation to those who devoted
+themselves to the profession; whereas in France Paris alone was the
+great rendezvous. There were, also, several branches of art cultivated
+in Germany which in France were little practiced by women, such as
+landscape-painting, for instance. The French women devoted themselves
+much more to engraving than in Germany; in fact, engravers formed the
+majority of female artists in France, where, moreover, female effort
+was more in a strictly business line than in any other country. With
+this professional devotion among the women engravers in France, it
+follows that there were few amateurs; while, on the other hand, those
+in Germany and England who handled the implements of art as dilettanti
+were very numerous.
+
+Glancing over the prominent Frenchwomen who enjoyed a reputation among
+their contemporaries during the eighteenth century, we may notice the
+stamp-cutters Marie Anne de St. Urbin and Elise Lesueur, with the
+sculptress Mademoiselle Collot, who afterward married Falconnet, and
+assisted him in the completion of the statue of Peter the Great. She
+was said to be enamored of the czar, and to have executed the finest
+bust of him extant. The female painters of this period are but little
+known. In the early part of the century, Lucrece Catherine de la Ronde
+and Elizabeth Gauthier engraved after Edelinck and Langlais. Marie
+Catherine Herault accompanied her husband, the painter Silvestre, to
+Dresden; and Geneviéve Blanchot, and the Dames Godefroy and Davin,
+among others less noted, complete the list during the first half of the
+century.
+
+The number of devotees to art, however, was rapidly increasing, as the
+ateliers of Regnault, David, and Redouté could bear witness, when they
+became central points of reunion for female enterprise and study.
+
+The influence of those celebrated men, whose fair scholars have
+exercised their talents in the nineteenth century, brought more into
+vogue the tender and emotional kind of genre-painting, shown by Greuze
+and Fragonard to be so well adapted to the taste and the feeling of
+woman. Marguerite Gérard, the sister-in-law and pupil of Fragonard,
+in this manner painted scenes of domestic life and family groups
+with much grace and repose. A Madame Gérard has been mentioned as a
+dilettante, who possessed a large fortune, and had a hotel furnished
+with facilities for painting Sèvres. Her splendid cupboards of polished
+mahogany were gilded and bronzed, and their contents looked like a
+rich collection for the gratification of taste rather than for sale.
+She purchased some pieces for sixty and eighty louis-d’ors. A pair
+of vases, not very large, painted with sacred subjects, sold for
+twenty-six thousand livres.
+
+The genre style was practiced by Mademoiselle Duquesnoy and Madame
+Gois. Greuze’s manner was also imitated by his wife, Anna Gabrielle,
+with Marie Geneviéve Brossard de Beaulieu, who had the honor of
+membership in the Academies of Paris and Rome.
+
+Other disciples of this school entered into their profession after the
+commencement of the nineteenth century; and they, with the pupils of
+Regnault, Redouté, and David, belong to a later period than that under
+discussion.
+
+Portrait-painting was more in vogue than any other kind, and that
+almost altogether in oil; while miniature-painting, so much in favor
+among the women of Germany, was in France much less practiced. Among
+those who gained some celebrity, Caroline Sattler deserves mention. She
+studied in Paris, and was not only received as a member of the Academy
+in that city, but was honored with the title of Professor. Some time
+afterward she gave her hand to a merchant named Tridon, and went to
+live in Dresden.
+
+Landscape-painting was practiced by very few women. In flower-painting
+Madeleine Françoise Basseporte was noted. She was born in 1701,
+received her instruction from Aubriet, and in 1743 succeeded him in
+his official appointment in the _Jardin des Plantes_. She painted a
+series of pieces for the collection of the Duc Gaston d’Orleans, which
+are still exhibited as masterworks of art.
+
+Madame Kugler, the wife of Von Weyler, painted the portraits of
+distinguished persons in ivory, and had fine pieces, in enamel and
+pastel, in the exhibition in 1789. She was employed by the government,
+and worked after her husband’s plans. For twelve years she was
+distinguished for her labors.
+
+Mesdames Charpentier, Surigny, Capet, Bruyère, Michaud, Davin, Mirnaux,
+Anzon, and Benoit--who painted the emperor--were also well known as
+artists.
+
+Susanna Silvestre came of a French family of painters. She copied heads
+and portraits after Vandyck.
+
+As to the class of women, already noticed, who embraced the profession
+of engravers, they were almost innumerable; yet it is difficult to
+select any who merit special attention. One of the number--Marguerite
+Leconte--about the middle of the century was a member of Art-academies
+in Rome, Florence, and Bologna, and enjoyed a position of high
+distinction. Geneviéve Naugis, born in Paris in 1746, worked before
+she became the wife of Regnault. She copied plants from nature, and
+engraved in copper; she also copied history-pieces after different
+masters.
+
+Fanny Vernet engraved the pictures painted by her husband, Charles
+Vernet; and, in her son Horace, gave to French art one of its greatest
+ornaments.
+
+Elizabeth Clara Tardieu was the wife of an eminent French engraver, and
+was accustomed to practice the art herself with success.
+
+Mary Magdalen Hortemels, the daughter of a French engraver, and the
+wife of Cochin, was a noted engraver. She executed with the point and
+finished with the graver, in a light and pleasing style. Several of
+the plates for Monicart’s treatise on the pictures, statues, etc., at
+Versailles were done by her.
+
+Marie Rosalie Bertaud and Louise Adelaide Boizot were excellent
+engravers.
+
+Anne Philibert Coulet was an ingenious engraver of landscapes and
+marine views; she wrought in a delicate and pleasing style.
+
+We will now throw back a look upon two female painters, who won for
+themselves a nearly equal renown, and who are admirably adapted--each
+in her own personal history, and the view of her early efforts--to be
+representatives of the condition and characteristics of French art at
+that period; and, withal, of the prevalent state of society. These
+women are Adelaide Vincent and Louise Elise Le Brun.
+
+
+                           ADELAIDE VINCENT.
+
+Adelaide Vertus Labille was born in Paris in 1749, and received her
+earliest lessons in painting in that city, from J. E. Vincent, of
+Geneva. This artist had come to Paris a short time before her birth,
+had gained consideration as a painter of miniature portraits, and was
+received a member of the Academy. Adelaide’s teacher in pastel-painting
+was at first Latour; but when the son of her childhood’s
+master--François Antoine Vincent, who had shared her studies in his
+father’s atelier, as a boy, three years older than herself--came back
+to Paris, she determined to join him both in the pursuit of art and the
+journey of life. Her first husband had been M. Guyard; her second was
+the younger Vincent.
+
+Adelaide painted a great number of portraits, among which those of
+artists were most noted. One of these--the portrait of the sculptor
+Gois--won the prize offered by the Academy, and gained for the fair
+artist such celebrity that even the works of her famous rival Madame Le
+Brun were thought inferior to it.
+
+A distinguished mark of appreciation was the appointment of Madame
+Vincent as regular member of the Academy; this took place on the 31st
+March, 1781. When the storm of the Revolution burst upon France she
+adhered to the party of her husband, whose attachment to the royal
+family caused him to live in continual hostility with the republican
+painter David. One of her works was a large picture, in which the
+figures were of life size, representing herself before the easel, and
+her pupils around her; among them Mademoiselle Capet, the Duchess of
+Angoulême, and several other members of the royal family, by whom she
+was greatly esteemed and frequently employed.
+
+Another of her greatest productions represents the reception of a
+member into the Order of St. Lazarus, by Monsieur, the king’s brother,
+grand master of the order, who had given her the appointment of court
+painter. This picture was destroyed during the Revolution, and its loss
+caused the artist so much vexation that she would rarely touch the
+brush afterward. Among her subsequent productions, a portrait of her
+husband was celebrated at the time.
+
+This accomplished woman, crowned with honors by her contemporaries,
+both as an artist and in social life, and esteemed by a large circle of
+friends, died in 1803.
+
+
+                          ELIZABETH LE BRUN.
+
+The other distinguished artist alluded to is Marie Louise Elizabeth
+Vigée, who, under her married name, Le Brun, is widely known as one of
+the most celebrated women belonging to the eighteenth and nineteenth
+centuries.
+
+She was born in Paris, April 16th, 1755. Her father was a skillful
+portrait-painter, and, amid the sports of childhood in her home, she
+became acquainted with the principles that form the ground-work of this
+art. She showed very early both disposition and talents for painting.
+When only seven or eight years of age she drew a sketch of a bearded
+man, which when her father saw, recognizing it as a token of the
+presence of genius, he exclaimed, rapturously, “You shall be a painter,
+my daughter, or there never was one!”
+
+Elizabeth long remembered this occurrence, and, in her memoir of
+herself, speaks of the deep impression made upon her childish feelings
+by the praises her father lavished on this early production.
+
+The lessons she received at home were soon found insufficient for her
+rapidly-developing talent. She was introduced, as a pupil in drawing,
+to Briard, a painter of considerable merit, who excelled in outline and
+sketching. Her teacher in coloring was Davesne, after whom a picture
+of Marie Antoinette as Dauphine of France was engraved. The celebrated
+Joseph Vernet, then in the midst of his brilliant career, gave her
+valuable advice, and always took a fatherly interest in the gifted
+child. Her own father died when she was only thirteen years old, but
+her mother permitted her to continue her studies of the great masters
+in the public galleries.
+
+Here the maiden copied from the mighty works of Rubens, from the
+portraits of Rembrandt and Vandyck, and from the delicate and charming
+female heads of Greuze. Thus the ground-work was laid of her future
+eminence as a colorist, and it was not long ere she was sufficiently
+advanced to make considerable profit out of her labors.
+
+Her father had left no property at his death, and her mother had
+been too long accustomed to a brilliant and luxurious Parisian life
+not to feel privations sorely. She sought the means of indulgence in
+her accustomed pleasures by availing herself of the talents of her
+daughter, who now found herself obliged to support the family with her
+earnings.
+
+Even when the mother entered into a second marriage, some years
+later, the condition of things was not improved. Madame Vigée, wedded
+to a rich jeweler, found herself disappointed in the expectation of
+increased means to minister to her vanity and extravagance. From
+the day of the bridal the husband showed himself so avaricious and
+penurious, that he refused to furnish his wife and step-daughter even
+the necessaries of life.
+
+The labors of our poor little Elizabeth were again in requisition;
+and though her old friend Vernet advised her to give her parents only
+an allowance from her earnings, and reserve the remainder for her
+own use, all she could procure was taken from her and spent, either
+in the purchase of articles for the family, or for the gratification
+of her mother’s unbounded fondness for dress, promenades, and public
+amusements.
+
+Wherever the youthful maiden appeared she was noticed for her extreme
+beauty, as well as talked about for her wonderful talents, and the
+general interest in her professional career seemed to go hand in hand
+with admiration of her rare personal loveliness. She tells us, in her
+memoirs, of several men enamored of her, who bespoke portraits from
+her hand in the hope, during the sittings, of making progress in her
+favor; but her love for art, as well as the principles of morality and
+religion in which she had been reared, rendered her proof against all
+such attempts to undermine her virtue.
+
+When only fifteen years old she painted a portrait of her mother,
+which proved so admirable a piece of work that Vernet counseled her
+to present it to the Academy with an application for admission.
+Elizabeth’s extreme youth prevented her being received as a member, but
+she was permitted, a few years later, to be present at all the public
+sittings of the Academy.
+
+It was about this time that she became acquainted with Jean Baptiste
+Pierre Le Brun, a painter and picture-dealer, who was then considered
+one of the first connoisseurs of Europe. He paid devoted attention
+to the lovely young artist, inducing her to visit his rare and rich
+collection for the purpose of study, while he manifested the deepest
+interest in her success. Six months after his introduction he became a
+suitor for her hand. She says, in her autobiography,
+
+“I was far from the thought of marrying M. Le Brun, although he
+possessed a handsome face and agreeable person; but my mother, who
+imagined him very rich, never ceased urging me not to refuse so
+advantageous a proposal. So at length I yielded; but the marriage was
+only an exchange of one kind of trouble for another. Not that M. Le
+Brun was a bad-hearted man. His character showed a mixture of softness
+and vehemence; and his complaisance to every one made him popular. But
+he was unhappily too fond of the society of disreputable females, and
+this degrading propensity led him to a passion for gaming that ruined
+both of us in point of fortune. So completely had he run through all we
+possessed, that in 1789 I had not twenty francs for my journey out of
+France, although my earnings had amounted to more than a million.”
+
+The marriage, which on the husband’s part was a mere matter of
+speculation, for he relied on the talents of his bride to rid him
+of his creditors, and enable him to live in ease and luxury, was
+one of those alliances common in Paris in the reign of Louis XV.
+The experience of our heroine was characteristic of the times. Le
+Brun had been previously engaged to the daughter of a wealthy Dutch
+picture-dealer, with whom he had transacted business. He begged
+his wife to keep their marriage a secret till his former business
+arrangements were satisfactorily adjusted. Madame consented, although
+she was placed in a most painful position, being beset with warnings
+and entreaties from her friends, urging her not to enter into a union
+sure to be productive of unhappiness--when, alas! the mischief was
+already accomplished. The Duchesse d’Aremberg predicted misery as
+the result of such a marriage; the court jeweler, Auber, a friend
+of her youth, advised her “rather to tie a stone round her neck and
+throw herself into the river than to commit such a piece of folly and
+madness.”
+
+The young wife, however, still kept her faith in the excellence of her
+beloved. At last the completion of his business arrangements enabled
+him to declare the marriage publicly, and very soon it appeared that
+all these warnings were but too well founded. Le Brun first took
+possession of all the hard-earned property of his wife, and compelled
+her to increase her income by taking pupils. The sole advantage
+this accession of means procured for her was the more active and
+incessant employment that prevented her from feeling too bitterly the
+disappointment of her hopes of happiness in domestic life. Her husband
+took the money paid for her pictures and lessons to squander it on his
+own selfish indulgences. He occupied the first floor of the house,
+furnished in magnificent style, and surrounded himself with costly
+luxuries; while his wife was obliged to content herself with the second
+story, and with very plain living. Such a state of things in married
+life, however, was not unusual toward the close of the reign of Louis
+XV., and it excited no surprise.
+
+While matters stood thus, Le Brun obtained the credit of being an
+indulgent husband by the indifference he showed in allowing even
+persons of questionable character to visit his wife, while he seldom
+appeared in her circles, and by his disregard of sundry cautions and
+rumors on the subject. Scandal, which rarely spares an ill-used wife,
+unless the austere seclusion of her life be more than hermit-like,
+whispered terrible things of Madame Le Brun, and she was even accused
+of owing the large sums paid for her pictures more to personal favors
+than to her merit as a painter. Conscious of innocence, she was wont
+to complain to her husband of such injustice, and he would answer,
+jestingly,
+
+“Let people talk. When you die I will put up a lofty pyramid in my
+garden, inscribed with a list of the portraits you have painted, and
+then the world will know how you have come by the money you have made.”
+
+Such mocking sympathy was all the return for her confidence and earnest
+appeals for protection from the unworthy husband who continued to live
+in luxury at her expense.
+
+When twelve thousand francs were sent Elizabeth for a portrait of the
+son of Princess Lubomirska, Le Brun appropriated to his own use the
+entire sum except two louis-d’ors, which he gave his wife out of it.
+
+With feelings wounded, and alienated from him by such treatment, Madame
+Le Brun at length appears to have resolved to make herself as happy
+as possible in her own way. French society was then corrupted to the
+core, and it was difficult to move in it without partaking of the
+contamination. It was especially so for one whose education had been
+superficial, and who had never learned to emulate the example of those
+pure devotees to art who had found in that a power to preserve and
+guide them, even amid the intrigues and dissipation of the circles that
+surrounded them.
+
+Madame Le Brun had obtained the favor and intimate friendship of
+persons of very high rank. Marie Antoinette not only sent to her for
+her picture, but was accustomed to ask her to sing with her, the
+painter being almost as celebrated for her “silver voice” as for her
+professional merits. The public honors lavished upon her aided to make
+her labors profitable.
+
+On one occasion, at a sitting of the French Academy, La Harpe recited a
+poem in honor of female genius. When he came to the lines--
+
+  “Le Brun--de la beauté le peintre et le modèle,
+  Moderne Rosalba, mais plus brillante qu’elle,
+  Joint la voix de Favart au sourire de Vénus--”
+
+the whole assembly rose, not even, excepting the Duchesse de Chartres
+and the King of Sweden, and the fair artist was stunned with a burst
+of enthusiastic applause.
+
+Her admission into the Academy, which had been hitherto prevented by
+personal jealousies and other hinderances, now took place, on the
+presentation of her own portrait, in 1783. This picture she had painted
+after the famous one by Rubens--“_Le chapeau de paille_”--which she
+had seen the year before when on a visit to Belgium. Her work was so
+admirable that Vernet, her ever faithful friend, saw at once that he
+could by its means procure the immediate enrollment of her name among
+the members of the Academy.
+
+In the “poor dwelling” to which M. Le Brun’s extravagance consigned
+her, she managed to hold every week an evening reception,
+notwithstanding the limited accommodations. Her house became the
+rendezvous for all the celebrities of Paris, and for much of its
+beauty and high rank. Curious stories were afloat in regard to her
+expenditures in entertaining the dignified personages who visited
+her. It was said that her table was covered with gold plate; that her
+apartments were warmed with aloes-wood, and even that she kindled her
+fire with bank-notes. The absurdity of such rumors may well lead one to
+doubt others in the _chroniques scandaleuses_ of the day, more nearly
+affecting her reputation.
+
+It is certain, however, that she received guests of the highest
+distinction, and that her receptions were crowded to excess. The want
+of chairs often compelled her visitors to seat themselves on the
+ground. Madame Le Brun herself describes, with evident pleasure in the
+recollection, the embarrassment of the fat old Duc de Noailles, who one
+evening had to stand a long time, on account of the scarcity of seats.
+
+Music was generally a part of the entertainment, and the fair hostess,
+though she had paid little attention to the superior cultivation of
+that art, sang most charmingly. Grétry, Sachini, and Martini here
+rehearsed scenes from the new operas before their representation;
+Garat, Azevedo, Richer, and Madame Le Brun supplied the vocal music,
+while the instrumental would be furnished by Viotti, Jarnowich,
+Maestrino, Cramer, Hülmandel, and Prince Henry of Prussia, brother to
+Frederick William III. He was said to be a celebrated amateur.
+
+The _petits soupers_ which usually terminated these delightful
+_soirées_, and to which only a few favored guests were invited, became
+renowned throughout France. They were said to be brilliant in Attic
+elegance and Parisian luxury. The popular Delille, the piquant author
+Le Brun, who first flattered the royal family and then became the
+Pindar of the Revolution; the luxurious Boufflers, the Vicomte de
+Segur, were among the frequenters of this sanctuary of the muses and
+the graces. The suppers, indeed, had a European celebrity.
+
+One day the brother of Madame Le Brun read aloud from the travels of
+Anacharsis a description of an ancient Grecian banquet. The fancy came
+into the lady’s head of arranging one of her suppers in imitation of
+the feasts of the luxurious Aspasia.
+
+The cook was immediately furnished with receipts for Greek sauces; the
+“little” supper-room was changed into a classic banqueting-hall, and a
+table made according to the antique fashion was set in the middle of
+the room, surrounded with Grecian draperied couches. A request was sent
+to the Comte de Pezay, who lived in the same building, for an antique
+mantle of regal purple, while the Marquis de Cubières was levied on for
+a golden lyre, on which he was skilled in playing.
+
+Le Brun--not the husband, but the poet--was arrayed by the fair
+hands of the artist--whose taste in picturesque costume none could
+question--with the purple robe and a classic wig, adorned with a laurel
+wreath. He was thus fitted to bear his part as Pindar or Anacreon! Some
+young ladies, noted for their beauty, were dressed in Greek tunics,
+with classic coiffures, to figure as Athenian maidens; while the
+gentlemen guests underwent a corresponding transformation.
+
+Those favored with invitations to this select entertainment took their
+places to the music of the golden lyre, and the classic air composed by
+Gluck,
+
+  “Le Dieu de Paphos et de Gnide,”
+
+while the Pindar of the evening sang Anacreontic odes.
+
+Among the delicacies that covered the board were eels and birds dressed
+with Greek sauces and garnished with honey-cakes; figs, and olives,
+and grapes of Corinth. Two beautiful slaves--Mademoiselle de Bonneuil
+and Mademoiselle Le Brun--served the guests with Cyprian wine, in cups
+brought from buried Herculaneum.
+
+Two guests arrived late--the Comte de Vaudreuil and the financier
+Boutin--who had not been prepared for the surprise. They stood still,
+dumb with amazement, at the threshold, and seemed to think themselves
+transported to Athens in her day of intellectual glory!
+
+The next day the classic banquet given by Madame Le Brun was the talk
+of all Paris. She was entreated to repeat the entertainment, but with
+proper tact declined. Some of her acquaintances took offense at the
+refusal and at their own exclusion, and revenged the slight (as she
+says) by slandering her to the king. It was averred the supper had cost
+twenty thousand francs, and Cubières had much ado to undeceive his
+majesty.
+
+The story and the fame of the banquet traveled over the Continent; by
+the time it had reached Rome the cost had swelled to forty thousand;
+and in Vienna, the Baroness Strogonoff assured Madame Le Brun, it
+was reported she had spent sixty thousand. In St. Petersburg it was
+naturally as much as eighty thousand. “The fact is,” says Madame Le
+Brun, “the little affair cost me only fifteen francs.” She may be
+relied on as to her share of the expense, although the cost to others
+may have been somewhat greater.
+
+Such exaggerated rumors, and the gossip growing out of them, caused
+some disagreement in the general estimation of Madame Le Brun’s talents
+and character. The homage she had received and continued to receive
+from the nobility, with her appointment as painter-in-ordinary to the
+queen, and the favors heaped on her by the court, helped to render her
+obnoxious to a people among whom attachment to royalty and aristocratic
+forms began to be regarded as a crime.
+
+France was on the eve of that Revolution which was destined to uproot
+the existing order of things, and the woman whom Marie Antoinette
+had made her companion was not likely to escape without opprobrium.
+Besides, had she not, in 1774, before her marriage, published a work
+entitled “_Amour des Français pour leur roi_?”
+
+When the Revolution broke out, Madame Le Brun perceived that she could
+no longer remain in France. The law protecting artists, and permitting
+them to travel in their vocation, was available for her departure.
+
+She resolved to go to Italy, and, with poignant grief, bade adieu to
+her home and friends. But the journey commenced so sadly proved a
+triumphant progress, crowned with tokens of respect and homage.
+
+In Bologna she was at once declared a member of the Academy. At Rome
+she was welcomed by a deputation of artists, who went to meet her;
+while the painter Menageot, who had just been appointed director of
+the French Academy, assigned her apartments in the palace of the
+institution.
+
+In Naples she was received with marks of distinction by the queen, the
+sister of Marie Antoinette, and here several residents of rank sat to
+her for their portraits--among others, the beautiful Lady Hamilton,
+whom the artist painted as a Bacchante reclining on the sea-shore. This
+picture was highly praised, and spread far and wide the fame of Madame
+Le Brun.
+
+In Florence she was requested to paint a portrait of herself for the
+collection of originals to which reference has already been made.
+She finished the portrait for this gallery, where it was placed in
+1790, two years after that of Angelica Kauffman had been added to the
+collection.
+
+Goethe says of the portrait of Angelica Kauffman, comparing it with
+that of Madame Le Brun in the same gallery: “It has a truer tone in
+the coloring; the position is more pleasing, and the whole exhibits
+more correct taste and a higher spirit in art. But the work of Le
+Brun shows more careful execution; has more vigor in the drawing, and
+more delicate touches. It has, moreover, a clear, though somewhat
+exaggerated coloring. The Frenchwoman understands the art of adornment;
+the head-dress, the hair, the folds of lace on the bosom--all are
+arranged with care, and, as one might say, _con amore_. The piquant,
+handsome face, with its lively expression, its parted lips disclosing
+a row of pearly teeth, presents itself to the beholder’s gaze as if
+coquettishly challenging his admiration, while the hand holds the
+pencil as in the act of drawing. The picture of Angelica, with the
+head gently inclined, and the soft, intellectual melancholy of the
+countenance, evinces higher genius, even if, in point of artistic
+skill, the preference would be given to the other.”
+
+From a comparison of the two portraits, a contrast might be drawn in
+the contemplation of the lives and characters of the two artists. But
+we will return to Madame Le Brun, whom we find pursuing the journeys
+she made as a conqueror, receiving new honors and new tributes wherever
+she passed.
+
+After visiting Florence and Parma, where she was elected a member
+of the Academy, she went to Venice, Verona, and Milan. Italy--the
+land where the fairest fruits of female genius in painting had been
+found--seemed eager to pay the homage of admiration to the gifted
+daughter of another clime. Compliments and felicitations were showered
+upon her by the countrymen of a Sirani and a Robusti.
+
+She came at length to Vienna, where the Count Kaunitz received her with
+friendly welcome, and immediately introduced her at court. A golden
+harvest here awaited her efforts, and gallant attentions from persons
+in high places were not wanting. The Prince de Ligne--a type of the
+cavaliers of the _ancien régime_, whom she had known in former years
+at the court of Versailles--devoted himself to her service, and sang
+her praises in amatory verses.
+
+Visiting Berlin, she found an old friend in the person of Prince Henry,
+and had a very favorable reception at court. Thence she went to St.
+Petersburg, where she lived some years in a brilliant circle of society
+under the protection of the Empress Catherine II. and Paul I.
+
+The honors heaped upon her were crowned in 1800 by her election to
+membership in the Academy of Arts; but, notwithstanding the favor in
+which she stood with the imperial family and the nobility, and the
+influx of wealth that grew out of their kindness and the extended
+appreciation of her paintings, the condition of her health at last
+obliged her to quit Russia. The entreaties of the emperor and empress
+could not prevail upon her to remain longer than 1801.
+
+In July of that year she returned to Berlin and received the honor
+of being chosen a member of the Academy. Orders for portraits were
+not wanting, but her short stay made it impossible to undertake them.
+Passing through Dresden she returned to the native land for which her
+heart had ever pined, arriving in safety at Paris in the winter of the
+same year.
+
+The misfortunes of the Bourbons had filled her breast with sympathizing
+grief wherever the news had reached her. She remained true to them
+through all reverses, living to witness both the restoration and second
+and final exile of that royal line. This loyal feeling manifested
+itself even in her relations to the imperial family, when they were in
+possession of the throne.
+
+Her picture of “Venus binding Love’s wings” had been engraved in Paris
+by Pierre Villu, in 1787. In London she was attacked by the painter
+Hoppner, who depreciated her works, and charged her with mannerism. She
+succeeded, nevertheless, in obtaining distinguished patrons. Two pieces
+that spread her renown were, a knee-piece of the Prince of Wales, and
+one of the Signora Grassini in a classic character. The draperies are
+luxuriant and rainbow-colored.
+
+Sir Joshua Reynolds, when questioned by Northcote on the merits of two
+of her portraits, pronounced them “as fine as those of any painter,”
+and he would not except Vandyck, though his remark has been attributed
+to a generous unwillingness to interfere with the brief summer of her
+popularity. After a residence of three years in England she came to
+Paris to paint the portrait of Madame Murat.
+
+At Coppet, whither she went on a journey into Switzerland in
+1808-9, she painted a portrait of Madame de Staël, which aided much
+in spreading her reputation. Having returned from this tour, she
+purchased a country-seat near Marly, which became, as her house in
+Paris had been, the resort of a highly cultivated and brilliant
+society. Especially at the period of the Restoration, public attention,
+influenced by that of the court, seemed turned to Madame Le Brun with
+greater earnestness than ever.
+
+The husband of this accomplished woman died in 1813, and five years
+afterward she lost her only daughter. Her death was followed by that
+of the brother to whom Madame Le Brun was so much attached. These
+multiplied afflictions weighed heavily upon her desolate heart. She
+sought consolation in renewed devotion to her art, and worked in her
+profession as assiduously as ever, notwithstanding the infirmities of
+advanced age. When eighty years old she painted the portrait of her
+niece, Madame de Riviere, and so remarkable for vigorous coloring and
+lively expression was this picture that it has been preserved among the
+best specimens of her powers in their prime of energy.
+
+About this time, in 1835, she gave the world her autobiography, in the
+work entitled “Souvenirs.” In this memoir she enumerates the paintings
+which she had at that time executed during her life. She had finished
+six hundred and sixty-two portraits, fifteen large compositions, and
+two hundred landscape-pieces, sketched during her travels in England
+and Switzerland.
+
+She had nearly completed her eighty-seventh year at the time of her
+death, March 30th, 1842. Her long life had been as richly productive in
+earnest labor as in the reward of success, and in manifold enjoyment.
+It may, indeed, be regarded, in its rare bloom and vigor, as a type of
+that brilliant period, gay and luxuriant on the surface, but concealing
+numerous imperfections, which preceded the French Revolution, and led,
+as a natural consequence, to that tremendous outbreak.
+
+
+
+
+                              CHAPTER XV.
+
+                        THE EIGHTEENTH CENTURY.
+
+ Women Artists in Spain.--Their Participation a Test of general
+ Interest.--Female Representatives of the most important Schools.--That
+ of Seville.--Of Madrid.--The Paintress of Don Quixote.--Ladies
+ of Rank Members of the Academy.--Maria Tibaldi.--Two female
+ Artists besides two Poetesses in Portugal.--The Harvest greater
+ in Italy.--Few attained to Eminence.--Learned Ladies.--Female
+ Doctors and Professors.--Degrees in Jurisprudence and Philosophy
+ conferred on them.--Examples.--The Scholar nine Years old.--A lady
+ Professor of Mathematics.--Women Lecturers.--Comparison with English
+ Ladies.--Brilliant Devotees of the Lyre.--Female Talent in the
+ important Schools of Art.--Women Artists in Florence.--Engravers and
+ Paintresses.--In Naples.--Kitchen-pieces.--In the Cities of northern
+ Italy.--In Bologna.--Princesses.--In Venice.--Rosalba Carriera.--Her
+ childish Work.--Her Genius perceived.--Instruction.--Takes to
+ Pastel-painting.--Merits of her Works.--Celebrity.--Invitations
+ to Paris and Vienna.--Visit from the King of Denmark.--Invited
+ by the Emperor and the King of France.--Portrait for the Grand
+ Duke of Tuscany.--The King of Poland her Patron.--Unspoiled by
+ Honors.--Her moral Worth.--Residence in Paris.--Her Pictures.--The
+ Lady disguised as a Maid-servant.--Want of Beauty.--Anecdote of the
+ Emperor.--Rosalba’s Journal.--Visit to Vienna.--Presentiment of
+ Calamity.--The Portrait wreathed with gloomy Leaves.--Blindness.--Loss
+ of Reason.--Death and Burial.--Her Portrait.--Other Venetian Women.
+
+
+A glance at the women artists of the romantic South will close this
+general survey of the eighteenth century. In Spain we find few worthy
+of mention. Since the commencement of the Bourbon dynasty interest in
+art had ceased to be the essential element in the national life that
+it had been under the sway of the house of Hapsburg throughout the
+seventeenth century. And in the Peninsula the truth was made apparent
+that the participation of women is a test and measure of the general
+interest in the studies and products of art prevailing among any people.
+
+The most important schools, however, were not entirely without female
+representatives. Linked with that of Seville, we hear the name of the
+portrait-painter, Maria de Valdes Leal; her father and tutor, Don Juan
+de Valdes, after the death of Murillo, was regarded as the first living
+master of this school.
+
+That of Madrid had among its disciples Clara and Anna Menendez, the
+latter being remembered as the painter of a series of scenes from Don
+Quixote. To the same school belong Donna Barbara Maria de Hueva, and
+Donna Maria de Silva, Duchess of Arcos, both celebrated for their skill
+in drawing, and members of the Academy of San Fernando, as were also
+Anna Menendez, and the painter Anna Perez of Navarre. Maria Felice
+Tibaldi, born in 1707, painted in oil, and also miniatures and pastels.
+She possessed great skill in drawing from life and copying historical
+pieces. A work of her husband, Pierre Subleyras, “The Apostolic
+Supper,” was copied by her in miniature. Pope Benedict XIV. sent
+her for it a thousand scudi, and placed it in his collection at the
+Capitol. After the death of her husband Maria supported herself and her
+children by her talents.
+
+To these may be added Maria Prieto, the daughter of a distinguished
+_médailleur_; she practiced both painting and engraving, but died in
+her twentieth year at Madrid, in 1772.
+
+Portugal, at this period, was justly proud of two women whose poetical
+talents had won no small celebrity, Magdalena da Gloria and the
+Countess de Vimiero. Beside them we may note two artists of eminence,
+Doña Isabel Maria Rite of Oporto, and Catarina Vieira of Lisbon; the
+former of high repute as a miniature-painter, the latter noted for
+several church pictures which she painted after the designs of her
+brother, Don Francisco Vieira de Mattos.
+
+In Italy the harvest of names was greater, but fewer women attained
+to eminence during this century than in either of the two that had
+preceded it. Of women of poetical genius there was no lack at this
+period; and more than ever--though such are not wanting in the early
+annals of the principal Italian cities--learned ladies abounded. Female
+doctors and professors were far more in plenty than they promise to be
+in America in the latter half of the nineteenth century. Such phenomena
+were not rare in the classic Italian clime as women occupying the
+chair, not only of music, drawing, and modern tongues, but of Greek,
+Latin, Hebrew, mathematics, and astronomy. They took degrees as doctors
+in jurisprudence and philosophy; for example, Maria Victoria Delfini,
+Christina Roccati, and Laura Bassi, in the University of Bologna,
+and Maria Pellegrina Amoretti, in that of Pavia. Anna Manzolini, in
+1758, was Professor of Anatomy in Bologna; and Maria Agnesi--who,
+when only nine years of age, had delivered at Milan a Latin address
+on the “Studies of the Female Sex”--was appointed by the Pope to the
+professorship of mathematics in the same university at Bologna.
+
+It was not then esteemed unfeminine for women to give lectures in
+public to crowded and admiring audiences. They were freely admitted
+members of learned societies, and were consulted by men of pre-eminent
+scientific attainments as their equals in scholarship; yet, a British
+reviewer remarks, “It is doubtful whether the far-famed Novella was
+a better Greek scholar than Mrs. Browning; or Maria Porcia Vignoli,
+whose statue long adorned the market-place of Viterbo, more learned in
+natural sciences than Mrs. Somerville.”
+
+Among the more brilliant devotees of the lyre may be mentioned, in
+passing, Emilia Ballati and Giulia Baitelli, who emulated the fame of
+Petrarch, and Laura Vanetti, in whose poems Metastasio discerned the
+very soul of the bard of Love.
+
+But we must not linger over names, even of the artists who belong to
+our special field of observation. None of the important early schools
+failed in the eighteenth century, to be able to boast the ornament of
+female talent. In Florence, Violanta Beatrice Siries, after a prolonged
+course of study in Paris under Boucher and Rigaud, was noted as a
+portrait-painter. In the same branch of the profession, Anna Boccherini
+and Anna Galeotti were highly esteemed.
+
+In copper-engraving, Catarina Zucchi and Laura Piranesi acquired some
+celebrity. As engravers, we hear of Livia Pisani, Violanta Vanni, and
+Teresa Mogalli, the last also skilled in painting.
+
+In encaustic painting, Anna Parenti-Duclos was well known toward the
+close of the century. Maria Felicia Tibaldi was distinguished in Rome
+for her talents as a painter no less than for her virtues as a woman;
+and her sister, Teresa, belongs to the same category, with Rosalba
+Maria Salviani and Caterina Cherubini. In miniature-painting, Bianca
+and Matilda Festa excelled; the latter holding the professor’s chair in
+the Academy of San Luca.
+
+The wreaths of poetry and painting were intertwined around the brow of
+Maria Maratti, the daughter and pupil of the celebrated Carlo Maratti,
+and the wife of the poet Zappi. The like was true of Anna Victoria
+Dolora, who died at a great age in 1827, in a Dominican convent.
+
+Naples boasted at this period a famous mathematician in Maria Angela
+Ardinghelli. Three gifted sisters, Maria Angiola, Felice, and Emmanuela
+Matteis, were also noted here; with the distinguished Angelica Siscara
+and Colomba Garri, who practiced flower and genre painting, and
+produced a series of kitchen-pieces, in which they sought to idealize
+by artistic adornment the ordinary occupations of the frugal and
+industrious housewife.
+
+The cities of northern Italy had their share of energetic women. Turin,
+Milan, Bergamo, Roveredo, Carpi, and Parma produced artists whose fame
+was limited to a narrower circle than those of Bologna and Venice,
+where, especially in the former city, the shadow of past glories seemed
+to linger.
+
+Professor Anna Manzolini modeled excellent portraits in wax, and
+Clarice Vasini obtained no small celebrity as a sculptor, being a
+member of the Academy.
+
+Lucia Casalini, Bianca Giovannini, Barbara Burini, Eleonora Monti, Anna
+Teresia Messieri, Rosa Alboni, and Teresa Tesi, belonged to Bologna,
+and elevated the renown of its women for painting. They aspired to
+imitate the example of Elizabetta Sirani.
+
+Carlotta Melania Alfieri is mentioned as accomplished in literature,
+music, and painting.
+
+Laura Vanetti, praised as a linguist, musician, and philosopher, also
+excelled in painting. In the beginning of this century the Princess
+Elizabeth of Parma, afterward married to the King of Spain, was a
+famous dilettante. Another Princess Elizabeth, the wife of the Archduke
+Joseph of Austria, was, in 1789, on account of her pastels, admitted to
+membership of the Academy in Vienna.
+
+In Venice, on the other hand, the fair students of art zealously
+emulated the fame of Maria Robusti. This “city of the sea” had many
+daughters who did well in painting, though even their names are now
+forgotten. She gave birth to one, however, whose fame was destined to
+spread into a wider circle, and to renew even in foreign lands the
+ancient lustre of the Italian name in art. This gifted being stands
+almost alone in the century as one who will be remembered by posterity
+with admiration.
+
+
+                           ROSALBA CARRIERA.
+
+Rosalba Carriera was born in Venice in 1675. Her father held an office
+under government, which occupied his whole time; but he, as well as
+his father, had been a painter. He loved art, and encouraged his child
+in her early fancies. Her first childish work was at point de Venise
+lace. She seemed to care little for the ordinary amusements of young
+people, but passed her leisure time in drawing. She tried to copy one
+of her father’s designs for the head of a sonnet. A student of art,
+who chanced to see this piece of work, showed it to his master, who
+instantly perceived the genius of the child artist; and, foreseeing the
+excellence to which she would attain, and wishing to encourage her to
+persevere, gave her other designs to copy.
+
+Rosalba was desolate when this friend left Venice; but a Venetian
+banker, who had noticed her proficiency, lent her some heads in pastel
+of Baroche. These studies vastly improved her; and her father, then
+satisfied of his daughter’s possession of rare talents, consented
+that she should take lessons from Antonio Nazari, who was eminent
+as a pastel-painter. The cavalier Diamantini, distinguished for the
+freshness of his pencil, also gave her instruction.
+
+Her most valuable knowledge of the technical part of painting,
+which gave her the mastery and command of her art that marked her
+productions, was acquired under the tuition of Antonio Balestra.
+Finally, she obtained from her kinsman, Antonio Pellegrini, a knowledge
+of the details of miniature-painting, to which the advice of a lady
+friend first directed her, and in which branch she acquired rare skill.
+She would willingly have pursued this, but the weakness of her sight
+compelled her to abandon it, and take to pastel-painting, in which she
+obtained the greatest celebrity--attaining, Zanetti says, the highest
+grade of perfection.
+
+Her miniatures were noted particularly for severe accuracy of drawing,
+united with rare softness and delicacy of touch; they had the
+perfection of proportion, and the brilliancy and warmth of coloring for
+which her pastels were remarkable. Her tints were blended with great
+tenderness; her heads had a lovely expression of truth and nature.
+
+Her talents met with due appreciation and honor while yet in their
+bloom of promise. She was celebrated in her native city as the
+“companion of the muse of painting,” and “the ornament of her sex and
+of the Venetian school.” Zanetti speaks of her with high praise in his
+“Storia della Pittura Veneziana.” Works evincing her extraordinary
+ability were shown at most of the courts of Europe. She was invited to
+Paris and Vienna to practice her profession there, and was elected to
+membership in the academies of Paris, Bologna, and Rome. Her miniature
+and pastel paintings were sent to the institutions which conferred
+this honor upon her. The King of Denmark came to Venice, and, having
+heard of Rosalba, expressed a curiosity to see her. After consulting
+Balestra, she presented to her royal visitor some portraits of Venetian
+ladies of rank whom he had admired, receiving from his majesty in
+return a very costly diamond. She also played and sang for his
+amusement with her two sisters, one of whom performed on the violin.
+
+She was invited by royalty to paint the Emperor Charles and the
+imperial court; also the King of France. The Grand-Duke of Tuscany
+placed her portrait in his gallery; it is painted in pastel, with one
+of her sisters. The style is noble and sustained; the expression is
+true, and the flesh-tints are so admirable, the face seems scarcely to
+want a soul. Augustus III., King of Poland, was her special patron; and
+in Modena she painted portraits of the reigning family.
+
+None of these, or similar honors, had power to turn her head nor
+to corrupt her heart. Although a daughter of Venice, then the most
+luxurious and licentious city in Europe, the deep seriousness, and
+even enthusiastic melancholy of her character--dispositions that find
+expression in many of her works--kept her aloof from contact with vice,
+and her moral purity and worth were as conspicuous and as universally
+recognized as her genius. Her own house at Venice was adorned with
+portraits and original compositions. This valuable collection she sold
+at a high price to the King of Poland, who placed them in a special
+cabinet of his palace in Dresden.
+
+In the bloom of her career and her fame, Rosalba accompanied her
+brother-in-law Pellegrini to France. She remained a year at the house
+of M. Crozat. Two portraits of the king were done by her in pastel, and
+one in miniature, besides a victoire for a snuff-box which his majesty
+gave to Madame de Ventadour.
+
+Several groups and demi-figures, designed by Pellegrini and executed
+by Rosalba, are preserved in Paris, with many heads in pastel done for
+Crozat. Many of her symbolical pictures--such as the Muses, Sciences,
+Seasons, etc.--were purchased by English travelers. Her crayon-drawings
+were distinguished by softness and life-like freshness. She became a
+member of the Paris Academy in October, 1720. Her tableau de reception
+was a Muse in pastel. The connoisseurs esteemed her portraits for their
+perfect likeness, delicacy of touch, wonderful lightness, peculiar
+grace, and admirable coloring and expression. They were unrivaled of
+their kind.
+
+An anecdote has been mentioned of a lady of rank who wished to study
+painting under Rosalba, but knew she could not be prevailed on to take
+pupils. The lady presented herself in the disguise of a maid-servant,
+and desired employment at the house of the distinguished paintress.
+Rosalba was pleased with her appearance, and at once engaged her
+services. While faithfully performing her tasks, the lady incessantly
+watched the proceedings of the artist; and, by dint of careful
+observation, succeeded in learning much of the art. Rosalba noticed
+the extraordinary quickness of her maid in these matters; and, willing
+to give to native talent all the aid in her power, invited the girl
+to observe her while painting, and gave her valuable instruction. The
+secret was at last discovered. The lady became afterward an artist so
+skillful in miniatures, that she received an appointment from a German
+prince as painter at his court.
+
+An Italian writes concerning her: “Nature had endowed Rosalba with
+lofty aspirations and a passionate soul, and her heart yearned for that
+response which her absence of personal attractions failed to win. She
+was aware of her extreme plainness; and had she ignored it, the Emperor
+Charles XI. enlightened her, when, turning to Bertoli, a court artist,
+who presented her in Vienna, he said, ‘She may be clever, Bertoli mio,
+this painter of thine, but she is remarkably ugly.’ But Rosalba, even
+if annoyed, could well afford to smile, for Charles XI. was the ugliest
+of men.”
+
+While in France, Rosalba wrote a journal which was entitled “Diario
+degli anni 1720 e 1721. Scritto da Rosalba Carriera.” It appeared
+in Venice in 1793, with notes by Giovanni Vianelli, who had a fine
+collection of her paintings.
+
+From Paris she went laden with honors to the imperial court at Vienna,
+where, besides the emperor and empress, she painted the archduchesses
+and others of the court. The King of Poland had a number of her
+pastels, which were highly valued.
+
+Zanetti remarks: “Much of interest may be said of this celebrated and
+highly-gifted woman, whose spirit--in the midst of her triumphs and the
+brightest visions of happiness--was weighed down with the anticipation
+of a heavy calamity. On one occasion--when she had painted a portrait
+of herself, with the brow wreathed with gloomy leaves, significant of
+death--her friends asked why she had done this. She replied that the
+representation was an image of her life, and that her end would be
+tragic, according to the meaning here shadowed forth. This portrait was
+afterward in the possession of Giambattista Sartori, a brother of her
+famous pupil Felicità Sartori. He preserved it as a sacred relic. His
+sister married Von Hoffmann, and painted with much success at the court
+of the Elector of Saxony.”
+
+It seemed, indeed, that the presentiment of a fast approaching and
+terrible affliction, amid the strict seclusion in which Rosalba lived,
+had taken possession of this noble and gifted spirit. It might be that
+her solitary existence tended to sadden her temperament, and deepen
+its natural inclination to melancholy. The forewarning, of which even
+in youth she felt conscious, was mournfully fulfilled ere she had
+long passed her prime. Before she was fifty years of age she became
+totally blind, as she had feared. Her mind struggled long with weakness
+and incurable sorrow, but sank at last, and the light of reason too
+departed.
+
+The latter part of her life was a blank, yet she lingered to old
+age, dying in Venice, on the 15th of April, 1757. Amid the universal
+expression of unaffected sorrow and commiseration, she was buried in
+the church of San Sista a Modesta. She left considerable property. Her
+grave is still pointed out to the traveler as the last resting-place of
+one whose genius was an ornament to Venice.
+
+Many of her works have been engraved. The Dresden Gallery has the
+largest collection, numbering one hundred and fifty-seven pieces.
+
+The engraving of Rosalba’s portrait shows a youthful face, with a
+pleased expression of childish innocence. The hair is brushed back
+from the forehead on the top, but curls cluster around the face on the
+sides; earrings are worn, and the corsage is low. The eyes are dark,
+the forehead is high, and the whole head has a graceful air.
+
+Like Rosalba Carriera, Ippolita Venier was a native of Venice, though
+she lived at Udina with the painter her father. In 1765 she painted the
+Adoration of the Kings, for a church in the sea-born city. Felicità
+Sartori was a pupil of Rosalba, and worked in Dresden, whither she went
+with her husband.
+
+Apollonia de Forgue, born in 1767, assisted her husband, Seydelman,
+with his pictures. She was a member of the Academy in Dresden.
+
+
+
+
+                             CHAPTER XVI.
+
+                        THE NINETEENTH CENTURY.
+
+ More vigorous Growth of the Branches selected for female
+ Enterprise.--Progress accelerated toward the Close of last
+ Century.--Still more remarkable within the last fifty Years.--Great
+ Number of Women active in Art.--Better intellectual Cultivation
+ and growing Taste.--Increased Freedom of Woman.--Present Prospect
+ fair.--Growing Sense of the Importance of Female Education.--Women
+ earning an Independence.--The Stream shallows as it widens.--Few
+ Instances of pre-eminent Ability.--Fuller Scope of the Influence
+ of the French Masters in the nineteenth Century.--David, the
+ Republican Painter.--His female Pupils.--Angélique Mongez.--Madame
+ Davin and others.--Disciples of Greuze.--Female Scholars of
+ Regnault.--Pupils of the Disciples of David.--Pupils of Fleury
+ and Cogniet.--Madame Chaudet.--Kinds of Painting in Vogue.--The
+ Princess Marie d’Orleans.--Her Statue of the Maid of Orleans.--Her
+ last Work.--Promise of Greatness.--Sculpture by Madame de
+ Lamartine.--“Paris is France.”--Painting on Porcelain.--Madame
+ Jacotot and others.--Condition of Art in Germany.--Carstens.--Women
+ Artists.--Maria Ellenrieder.--Louise Seidler.--Baroness von
+ Freiberg.--Madame von Schroeter.--Female Artists of the Düsseldorf
+ School.--The greatest Number in Berlin.--Rich Bloom of Female Talent
+ in Vienna and Dresden.--Changes in Italy.--Prospect not fair in Spain
+ and Scandinavia.--In England, Sculpture and Painting successfully
+ cultivated.--Fanny Corbeaux.--Superior in Biblical Scholarship.--The
+ Netherlands in this Century.--Encouragement for Women to
+ persevere.--Dr. Guhl’s Opinion.--History the Teacher of the Present.
+
+
+With the foregoing glimpses, the sketch of woman’s active efforts
+in art during the eighteenth century may be closed; completing our
+bird’s-eye view of her share in those ennobling pursuits during
+a history covering over two thousand years. As we approach the
+present time, the various branches in which her enterprise has been
+influential develop into more distinct and vigorous growth. It may now
+be interesting to notice the indications of our own--the nineteenth
+century.
+
+The progress of female talent and skill, accelerated toward the close
+of the preceding age, has become more remarkable than ever within the
+last fifty years. The number of women engaged in the pursuits of art
+during that time far exceeds that of the whole preceding century.
+
+This accession is probably owing, in a great measure, to the more
+general appreciation of art, growing out of better intellectual
+cultivation, and to the growing taste for paintings and statuary as
+ornaments of the abodes of the wealthy. But it is due, in some degree,
+to the increased freedom of woman--to her liberation from the thraldom
+of old-fashioned prejudices and unworthy restraints which, in former
+times, fettered her energies, rendered her acquisition of scientific
+and artistic knowledge extremely difficult, and threw obstacles in the
+way of her devotion to study and the exercise of her talents. We have
+seen that, the more enlarged is the sphere of her activity among any
+people, the greater is the number of female artists who have done and
+are doing well, by their sustained and productive cultivation of art.
+
+At the present time, the prospect is fair of a reward for study and
+unfaltering application in woman as in man; her freedom--without
+regarding as such the so-called “emancipation,” which would urge her
+into a course against nature, and contrary to the gentleness and
+modesty of her sex--is greater, and the sphere of her activity is wider
+and more effective than it has ever been. The general and growing
+apprehension of the importance of female education will gradually lead
+to dissatisfaction with the superficial culture of modern schools, and
+to the adoption of some plan that shall develop the powers of those
+who are taught, and strengthen their energies for the active duties of
+life. Many advantages besides these have encouraged the advancement
+of women as artists beyond any point reached in preceding ages. We
+may thus find an increasing number of young women who, bent on making
+themselves independent by their own efforts, spare no pains to qualify
+themselves as teachers in various branches of art.
+
+The same observation we made in regard to the increase of art scholars
+in the last century is true of the present. The stream which has
+widened has grown shallower in proportion; and while the cultivation of
+taste and talent has become more general, and many more have attained
+a respectable degree of skill, there are few instances of pre-eminent
+ability, or of original genius. This seems a law of the world of art,
+as well as that of poetry and science; and it holds good no less among
+men than women. We must look, therefore, for not many remarkable
+examples of talent.
+
+We have already seen something of the influence of Carstens and David
+in the bent and direction given to female talent; but these had not
+full scope till the beginning of the nineteenth century. David was
+inspired by a more earnest feeling than had breathed in the frivolous
+and conventional style of a former period; and the depth and vigor,
+and more careful execution he brought into vogue, greatly improved the
+taste of his day. He may be called the Republican painter, laying the
+ground-work of French art as it now exists.
+
+David himself had a goodly number of female pupils, and some of them
+displayed no inconsiderable talent. Among them may be enumerated
+Constance Marie Charpentier, who, besides, enjoyed the advantage of
+instruction under Gérard and Lafitte, with Angélique Mongez, at first
+the pupil of David, then of Regnault. She painted a large picture
+entirely in the classic style of David. Her painting--the figures life
+size--represented “Ulysses finding young Astyanax at Hector’s Grave.”
+The design is correct of the antique costume, the disposition is
+excellent, and a free and light touch is noticed. So large a picture
+had rarely been exhibited in Paris by a woman. This artist, however,
+lacked originality and self-reliance, and seemed to follow David too
+slavishly. Another large picture was “Alexander weeping at the Death of
+the Wife of Darius.” The connoisseurs gave her the credit of a grand
+style, but thought her coloring hard.
+
+To these may be added Madame Leroulx and Madame Davin. The latter
+received instruction, also, from Suvé and Augustin, and obtained the
+gold medal for her miniatures and genre-paintings. Nanine Ballain was
+noted for her genre-paintings; and Marie Anne Julie Forestier, for her
+romantic ones in this style and for her classic pictures.
+
+Contemporary with these were some female artists who painted in the
+manner of Greuze; as Constance Mayer, afterward a disciple and friend
+of Prudhon; Madame Elie, and Philiberte Ledoux; the first well known
+for her portraits, the latter for her scenes and child-pictures. We may
+mention, in passing, Madame Villers, whose numerous works were marked
+by truth and pleasing expression. One of her pieces, “A Child asleep in
+a Cradle,” carried away by a flood, while a faithful dog plunges in to
+save it, with eager expression, is very striking and graceful.
+
+Regnault, the rival of David, had the honor of many more female
+scholars. One of them, Madame Anzon, painted large pictures in 1793.
+Sophie Guillemard sent to the Exhibition, in 1802, “Alcibiades
+and Glycerion,” and, two years later, her “Joseph and Potiphar’s
+Wife.” After this, Claire Robineau produced historical pictures and
+landscapes, and Rosalie de Lafontaine her delicate genre-paintings.
+Aurore Etienne de Lafond and Eugénie Brun obtained medals for their
+master-pieces in miniature-painting. Madame Lenoir painted Sage’s
+portrait, and was much esteemed. A host of names might be added, were a
+mere list desirable.
+
+The disciples and imitators of David also numbered women among
+their pupils. Drolling’s daughter, Louise Adéone, studied under his
+direction; her first husband was Pagnierre the architect. Fanny Robert
+was trained in Girodet’s atelier; Abel de Pujol taught Adrienne Marie
+Louise Grandpierre Deverzy; and Gérard finished some of David’s
+scholars, as Eléonore Godefroy, who exhibited portraits and copies from
+her master after 1810, and Louise de Montferrier, Comtesse de Hugo,
+whose genre-paintings were brought to the Exhibition nine years later.
+Madame von Butlar, of Dresden, studied under this master in 1823.
+
+These were the latest masters in serious historical painting till
+Robert Fleury and Léon Cogniet, who could perhaps boast the greatest
+number of gifted female pupils. We should mention here Jeanne Elizabeth
+Gabiou, the wife of Antoine Denis Chaudet, born in 1767, and dying
+about 1830. She was a pupil of her husband, and painted “A Child
+Teaching a Dog to Read,” with many charming little pieces of the kind;
+excelling, too, as a portrait-painter. The empress bought one of her
+pictures.
+
+The majority of French women artists of this period busied themselves
+with portraits. Flower-painting was also much in vogue, and miniature
+and porcelain painting furnished continual employment for female
+industry and talent.
+
+In modeling and sculpture France has produced some excellent artists
+since the commencement of the present century.
+
+
+                           MARIE D’ORLEANS.
+
+One in particular, of illustrious station and royal blood, too early
+snatched away by death, has conferred lustre upon the whole class by
+whom the difficult and delicate art has been cultivated.
+
+Marie of Orleans, the daughter of Louis Philippe, is thus mentioned in
+Mrs. Lee’s “Sketches.”
+
+“She was born at Palermo in 1813, and was married in 1837 to Duke
+Alexander of Wurtemberg. Her health was impaired, and she went to Pisa
+in the hope of recovering, but died there in 1839. Her statue of the
+Maid of Orleans is of the size of life, and is placed at Versailles; it
+is full of animation and spirit. But her last work, an angel in white
+marble, seems to be the result of inspiration. It is in the chapel
+of Sablonville, on the sarcophagus of her brother. It may be deeply
+lamented that the Princess Marie did not live to give additional proofs
+of the capability of her sex for works of sculpture. Her early death
+frustrated the efforts of a genius which bade fair to compete with the
+graceful forms of Canova or Flaxman.”
+
+Mrs. Lee says, “We were much gratified by seeing a font in the church
+St. Germain de l’Auxerrois in Paris, by Madame Lamartine, the wife of
+the poet and historian; the font is surrounded by marble angels, who
+rest on its margin. It is a beautiful record of her taste, ingenuity,
+and benevolence.”
+
+Paris at this period, more emphatically than ever, was the centre
+of active efforts among artists. “_Paris--c’est la France_” was an
+expression as true as in the literary and political life of the nation.
+This was advantageous for the development of talent, and the advance of
+skill in details; bringing rival merits more keenly into conflict, and
+furnishing the student with more varied means of instruction.
+
+Painting on porcelain became much practiced by French women in the
+early part of the present century. Amélie Legris was skilled in it, as
+well as in painting in oil, miniatures, and aquarell.
+
+Madame Jacotot was noted for her beautiful paintings on porcelain. She
+was sent to Italy by the French government to copy the paintings of
+Raphael. She lived in style, was in much society, and was distinguished
+for her wit.
+
+Madame Ducluzeau is the wife of a physician, and has gained
+considerable celebrity as an artist. The Comtesse de Mirbel painted
+miniatures. Louis Philippe, and many persons of his court, and the
+nobility, sat to her. She was employed to copy paintings for cadeaus to
+royalty.
+
+Madame Aizelin had some charming pieces in pastel in the Paris
+Exhibition, 1857. Transparency of tissue was never better rendered than
+in her gauze drapery. Madame Fontaine, a pupil of Cogniet, excelled in
+the department of still-life. Mademoiselle Augustine Aumont had twelve
+panels, giving the flowers of each month. Miss Mutrie, Mademoiselle
+Alloin, pupil of Rosa Bonheur, and many other women, were praised for
+beautiful groups of fruit and flowers. In this branch, as in portraits,
+miniatures, and porcelain-painting, the palm of excellence is awarded
+to lady artists. The productions of Madame Herbalin were conspicuous
+for delicacy and purity of execution and coloring.
+
+Casting a glance at the condition of art at this period in Germany,
+it is noticeable that women took part with enthusiasm in almost every
+branch. We have observed the grounding of modern art in this country by
+Carstens. He went back to the purer forms of the antique, as his French
+contemporary, David, had done; and his restoration of purity, vigor,
+and tenderness, found earnest sympathy among his fair countrywomen.
+A style expressing the heart’s deepest feelings, and the religious
+veneration which had become traditional, could not fail to meet the
+aspirations of noble-minded female artists.
+
+Among artist-women who flourished at the close of the eighteenth and
+in the present century we may mention Mademoiselle Sonnenschein, who
+died in 1816, a member of the Academy in Stuttgard. We should not
+drop, among minor names, that of Sophie Ludovika Simanowitz, born
+Reighenbach, whose portrait of Schiller is well known.
+
+Magdalena Tischbein, a flower-painter, the daughter of a noted artist,
+married the court painter Strack, of Oldenburg, in 1795.
+
+The Princess of Saxe-Meiningen was noted for her beautiful pictures
+illustrating Bible history.
+
+Mary Anna Bösenbacher, of Cologne, an engraver, was engaged in the
+service of the Elector Max Francis.
+
+Barbara Krafft, born Steiner, of Iglau, painted a number of
+genre-pictures of life size, and in this branch was the precursor of
+Madame Jerichow-Baumann. She died in Bamberg, in 1825, aged sixty.
+
+One who was busy in Rome at this time was Maria Ellenrieder. She had
+before visited the Academy in Munich for the purpose of educating
+herself in historical painting. In her works she sought to revive the
+spirit of ancient German art, and her longings drew her to the city
+which has long been the resort of ambitious art-students, where we find
+her in 1820. Among her productions are many altar-pieces, representing
+the Holy Family. Some have been lithographed. Since 1825 she has lived
+in Germany, where she has completed many works, and has practiced the
+art of etching.
+
+Louise Caroline Seidler was at the same time in Rome. Born in Jena,
+she studied painting in Munich under Professor Von Langer, afterward
+going to Italy to profit by the works of Pietro Perugino and Raphael.
+She received the appointment of court painter in Weimar, and executed
+several pictures that belong to the romantic genre school. A splendid
+fruit of her study of the old masters is a collection of heads taken
+from celebrated pictures of the fifteenth and sixteenth centuries.
+These were lithographed by Von Schmeller, and published in Weimar in
+1836.
+
+Among the German artists in Rome at the same period was Electrine
+Stuntz, afterward Baroness von Freiberg. She was the daughter of a
+landscape-painter of Strasburg, and devoted herself to historical
+pieces. She was in the Eternal City during 1821 and the following
+year, and was elected an honorary member of the Academy of San Luca,
+occupying a position similar to that held by Angelica Kauffman. Her
+works have a serious character, and Madonna pictures abound in them.
+About 1823 she was married to Baron von Freiberg, and thenceforward
+divided her cares between her family and her art. Several of her
+etchings were greatly admired, and brought her high reputation.
+
+Madame Caroline von Schroeter belongs to the same period. She became
+distinguished in Rome in 1826 by her beautiful miniature-paintings, and
+was there chosen member of the Academy of San Luca.
+
+A few female artists belonged to the Düsseldorf school, while in
+Weimar they were indefatigable in supporting the ancient reputation.
+But the greatest number is to be found in Berlin. The impetus there
+given in various departments of learning, and the patronage of royal
+connoisseurs, with the superior cultivation of the people, had the
+happiest effect, and brought out the richest bloom of female talent.
+No branch of modern art has there been neglected by women, and several
+have displayed a genius for sculpture. Dilettanti of the highest rank
+have turned their attention to painting; and those who have pursued
+art as a profession, from dignified history-pieces down to flowers and
+landscapes, have met with encouraging success. In flower-painting and
+arabesques some very important improvements have recently been made.
+
+In the other cities of Germany, where women have successfully engaged
+in such pursuits, less has been done. Few have taken to the profession
+in Vienna, though Dresden has maintained the old repute in this
+particular, and her Academy is to this day a genial nursery of female
+talent.
+
+Italy, the birthplace of the fine arts, has experienced the change
+common to all mundane things, and the participation of her women in
+art is by no means so great and significant as in earlier ages. Yet
+a few names may be ranked with those who have gone before. Turin,
+Milan, and Rome have each produced fair artists of distinction in
+various branches, and their success promises to open the way to future
+enterprise.
+
+Not so fair is the prospect in Spain and among the Scandinavian
+nations. In England, on the other hand, both sculpture and painting
+have been successfully cultivated during the present century. We may
+mention, in passing, Fanny Corbeaux, an artist and distinguished
+Biblical scholar, born in 1812. When she was only fifteen years of
+age her father suddenly lost his property, and became indigent. The
+daughter had received only superficial instruction in drawing, but
+determined to use her small skill to support her father and herself.
+With the ardent spirit of youth she threw herself into the undertaking,
+sparing herself no severe labor, and so well directed were her efforts
+that, before the end of the year, she obtained a silver medal for
+water-color drawings. Within the next three years she received another
+similar token of approbation, and the gold medal of the Society of Arts.
+
+All this time she had been her own instructor. She afterward painted
+small pictures in oil and water-colors, but confined herself chiefly
+to portraits. Her superiority in Biblical scholarship was shown by a
+valuable series of letters on the Physical Geography of the Exodus. She
+published another series entitled “The Rephaim.”
+
+Fanny is described as being small, with figure slightly bent, but
+cheerful and charming in manner. Her mother, living with her, is said
+to be lively and agile in movement.
+
+Miss Merrifield is the author of a treatise on the Art of Painting.
+
+A “Society of Female Artists” was established in London in 1857.
+Among its members, and now secretary to the association, is Mrs.
+Elizabeth Murray, the wife of the English Consul at Teneriffe. She
+has great celebrity as a water-color artist. Her style is dashing
+and vigorous, but highly finished; her coloring bright, transparent,
+pure, and sparkling, though something deficient in depth and middle
+tint. Mrs. Murray has lately published a book entitled “Sixteen
+Years of an Artist’s Life, etc.” She says of herself: “A vagabond
+from a baby, I left England at eighteen, independent, having neither
+master nor money. My pencil was both to me, and, at the same time, my
+strength, my comfort, and my intense delight.” Honorable Mrs. Monckton
+Mills, Miss Louisa Rayner, Miss Florence Caxton, and others, are
+mentioned with praise. Mrs. Benham Hay is known as the illustrator of
+Longfellow’s Poems; and Barbara Leigh Smith, an admirable writer, is an
+excellent artist. Of Miss Mutrie’s work Mr. Ruskin says: “It is always
+beautiful;” and Miss Howitt and Mrs. Carpenter are noted as artists.
+Many whose names are now beginning to be familiar have hardly yet done
+justice to their own powers.
+
+The Netherlands have done their share during the present century,
+preserving the old Dutch reputation, and producing a number of women
+who have made themselves independent by the exercise of skill in
+different departments of art.
+
+The encouragement Goëthe has given, in his observations on the women
+artists of his day, is applicable to those of the present. They
+have taken more firm hold, and manifested yet more ability in the
+profession. If many of them have been deficient in creative power, they
+have shown themselves capable of the highest excellence in the tender,
+the graceful, the pathetic, the ideal, and in the delicacy and quick
+perception, which often achieves so much, as by intuition. Dr. Guhl
+regards the indications of the present age as exceedingly promising,
+and urges women to enlarged ambition and activity. Severe exertions are
+demanded, but when was any success worth having commanded without them?
+The time is now ripe for their emulation of their most eminent rivals
+of the other sex, not by laying aside womanly delicacy, but by labors
+entirely consistent with that true modesty which will ever be the most
+attractive ornament of the sex. History is the great teacher of the
+present; and what we have seen of the achievements of by-gone ages is
+so full of encouragement, that it is but reasonable to look for still
+greater triumphs in the wider arena now opened, than have yet crowned
+the genius or the persevering industry of woman.
+
+
+
+
+                             CHAPTER XVII.
+
+                        THE NINETEENTH CENTURY.
+
+ Felicie de Fauveau.--Parentage.--Her Mother a Legitimist.--The
+ Daughter’s Inheritance of Loyalty.--Removals.--Felicie’s
+ Studies.--Learns to Model.--Resolves to be a Sculptor.--Labor becoming
+ to a Gentlewoman.--Her first Works.--Early Triumphs.--Social Circle in
+ Paris.--Evening Employments.--Revival of a peculiar Taste.--Mediæval
+ Fashions.--The bronze Lamp.--Equestrian Sketch.--Effect of the
+ Revolution of 1830.--The two Felicies leave Paris.--A rural
+ Conspiracy.--A domiciliary Visit.--Escape of the Ladies.--Discovery
+ and Capture.--The Stratagem at the Inn.--Escape of Madame in
+ Disguise.--Imprisonment of Mademoiselle.--Works in Prison.--Return
+ to Paris.--Politics again.--Felicie banished.--Breaks up her
+ Studio.--Poverty and Privation.--Residence in Florence.--Brighter
+ Days.--Character of Felicie.--Personal Appearance.--Her Dwelling and
+ Studio.--Her Works.--The casting of a bronze Statue.--Industry and
+ Retirement.--“A good Woman and a great Artist.”--ROSA BONHEUR.--Her
+ Birth in Bordeaux.--Her Father.--Rosa a Dunce in Childhood.--Her
+ Parrot.--Rambles.--The Spanish Poet.--Removal to Paris.--Revolution
+ and Misfortune.--Death of Madame Bonheur.--The Children at
+ School.--Rosa detests Books and loves Roaming.--Remarriage of
+ Bonheur.--Rosa a Seamstress.--Hates the Occupation.--Prefers turning
+ the Lathe.--Her Unhappiness.--Placed at a Boarding-school.--Her
+ Pranks and Caricatures.--Abhorrence of Study.--Mortification at her
+ Want of fine Clothes.--Resolves to achieve a Name and a Place in the
+ World.--Discontent and Gloom.--Return home.--Left to herself.--Works
+ in the Studio.--Her Vocation apparent.--Studies at the Louvre.--Her
+ Ardor and Application.--The Englishman’s Prophecy.--Rosa vowed to
+ Art.--Devoted to the Study of Animals.--Excursions in the Country
+ in search of Models.--Visits the _Abattoirs_.--Study of various
+ Types.--Visits the Museums and Stables.--Resorts to the horse and
+ cattle Fairs in male Attire.--Curious Adventures.--Anatomical
+ Studies.--Advantages of her Excursions.--Her Father her only
+ Teacher.--The Family of Artists.--Rosa’s pet Birds and
+ Sheep.--Her first Appearance.--Rising Reputation.--Takes the gold
+ Medal.--Proclaimed the new Laureat.--Death of her Father.--Rosa
+ Directress of the School of Design.--Her Sister a Professor.--“The
+ Horse-market.”--Rosa’s Paintings.--Bestows her Fortune on
+ others.--Her Farm.--Drawings presented to Charities.--Demand for
+ her Paintings.--Her Right to the Cross of the Legion of Honor.--The
+ Emperor’s Refusal to grant it to a Woman.--Description of her
+ Residence and her Studio.--Rosa found asleep.--Her personal
+ Appearance.--Dress.--Her Character.--Her Industry.--Mademoiselle
+ Micas.--Mountain Rambles.--Rosa’s Visit to Scotland.--Her Life in the
+ Mountains.--At the Spanish Posada.--Threatened Starvation.--Cooking
+ Frogs.--The Muleteers.--Rosa’s Scotch Terrier.--Her Resolution never
+ to marry.
+
+
+                          FELICIE DE FAUVEAU.
+
+Felicie was born in Tuscany, but was taken, when an infant, to Paris,
+where her education commenced. Her parents were persons of much
+intelligence and culture. Her mother had great taste for music and
+painting, and it was from her that her daughter’s talents received
+their first direction and encouragement. The family favored the
+aristocrats and Legitimists, and endured much in the cause of the
+Bourbons. Madame de Fauveau’s eyes had opened on the terrors of
+the guillotine, and she was as proud of those memories of exile,
+proscription, and the scaffold as most persons are of honor and titles.
+Her chivalrous loyalty looked on them as dignities, and the privilege
+of suffering for the family to which she was devoted was cheaply earned
+in her eyes by the ruin and exile of her own.
+
+The daughter shared in the mother’s chivalrous sentiments, and her
+cherished ideas of monarchy and Romanism became perceptible in her
+conversation and works, while her self-sacrificing spirit of loyalty
+remained the same amid many vicissitudes. Owing to pecuniary losses,
+her parents were compelled, while she was yet very young, to remove
+successively to Limoux, Bayonne, and Besançon. While at Bayonne,
+in 1823, she met with many partisans in the war then raging on the
+frontiers of Spain--men whose loyalty amounted to fanaticism, and
+whose piety belonged to the ancient time of the Crusades; from these
+her youthful imagination must have received powerful and indelible
+impressions.
+
+Her studies were varied and profound; ancient history, classic and
+modern languages, heraldry, and archæology received her devoted
+attention. The feudal and chivalric traditions of the Middle Ages were
+explored with eagerness by her, and she reproduced and utilized the
+knowledge thus acquired. During her residence in Besançon, she executed
+some oil-paintings which were much praised; but she seemed to feel that
+canvas was not the material which would most fully express her ideas.
+She had then received no instruction in modeling. One day, in her walk,
+she paused before the shop of one of the workmen who carve images of
+virgins and saints for village churches. Impelled irresistibly, she
+entered and made inquiries as to the method of work, learning thus
+the secrets of modeling in clay or wax, and of carving wood or gold.
+It then appeared that her vocation was decidedly for the plastic art.
+She had the faculty of coloring with skill, and might have been a
+great painter, had she not resolved to be a sculptor. Her taste led
+her to adopt the mediæval manner, and she took Benevenuto Cellini for
+her prototype, occupying herself with art in both its monumental and,
+decorative character.
+
+At the death of her father, the family--consisting of the widow, two
+sons and three daughters--was in some distress. Felicie determined to
+devote her talents to their support. Some of her friends objected that
+such employment was unbecoming one who belonged to a noble family.
+“Unbecoming!” said she, drawing herself up with a noble pride; “_Sachez
+qu’un artiste tel que moi est gentilhomme._”
+
+The first work she exhibited was a group from Scott’s novel,
+“The Abbot.” Encouraged by its brilliant success, she produced a
+basso-relievo, consisting of six figures--Christina of Sweden and
+Monaldeschi in the fatal gallery of Fontainebleau. This work was in
+the Exposition des Beaux Arts, and it received from Charles X. in
+person the gold medal awarded by the jury. The dramatic energy of the
+group, the expression of the figures, and the beauty of the minor
+details won universal admiration, and it was hailed as offering the
+brightest promise of future excellence. The triumphant artist was then
+a girl in the bloom of early youth; and, flattered and delighted at
+the appreciation she met with, it is not to be wondered at that her
+resolution to adhere to the career she had chosen was steadfast and
+immovable.
+
+Felicie remained in Paris with her family till 1830. Her mother’s
+house was the centre of a charming circle of persons of high rank,
+of cultivated women, and of accomplished artists, such as Scheffer,
+Steuben, Gassier, Paul Delaroche, Triqueti, Gros, Giraud, etc. So
+distinguished and agreeable was the mother, so sensible and so witty
+was the conversation of the daughter, that their society was coveted
+and prized. The friends assembled of an evening in their drawing-room
+would gather round a large centre-table, and improvise drawings in
+pencil, chalk, and pen and ink; or would model, in clay or wax,
+brooches and ornaments, sword handles and scabbards, dagger-hilts, etc.
+The young lady wished to revive those famous days when sculpture lent
+its aid to the gold and silver smith, the jeweler, the clock-maker,
+and the armorer. To her may be chiefly attributed the impulse given
+to this taste in Paris--a taste that infected England also, reviving
+mediæval fashions for ornaments, and also mediæval feelings and
+aspirations, which at last found expression in Puseyism in religion,
+and pre-Raphaelism in art.
+
+She executed, for Count Portalès, a bronze lamp of singular beauty,
+representing a bivouac of archangels armed as knights. They are resting
+round a watch-fire, while one, St. Michael, is standing sentinel. It
+is in the old Anglo-Saxon style. Round the lamp, in golden letters, is
+the device, “_Vaillant, veillant_.” Beneath is a stork’s foot holding a
+pebble, a symbol of vigilance, surrounded by beautiful aquatic plants.
+The work was poetically conceived, and executed with great spirit and
+finish. She also commenced a work which she called “a monument to
+Dante,” and sketched an equestrian statue of Charles VIII. On returning
+from the expedition to Naples, it was said, the monarch paused on the
+ascent of the Alps, and turned to take a last farewell of the beautiful
+country--“wooed, not wed”--which he so unwillingly abandoned. The
+sculptress was most successful in rendering this expression of sadness
+and yearning. The pose of the horse was natural, yet commanding; and
+the work would doubtless have been a master-piece; but, unfortunately,
+the model had to be destroyed, on the breaking up of her studio.
+
+Mademoiselle de Fauveau had now acquired an eminence and gained
+a celebrity which must have satisfied the most ambitious. She was
+incessantly occupied with commissions for most of the private galleries
+in France; and a place was promised her among those great artists who
+are employed to adorn public monuments, and whose works enrich public
+collections. She was to have modeled two doors for the gallery in the
+Louvre, after the manner of Ghiberti’s Gates of Paradise; a baptistery
+and pulpit in one of the metropolitan churches had been already spoken
+of, when the revolution of 1830 broke up this calm and noble existence,
+and ended her career in Paris.
+
+To Mademoiselle de Fauveau, with her extreme opinions, this revolution
+was a personal calamity. She had identified the glory and greatness of
+France with the elder branch of the Bourbons. The times for her were
+evil and out of joint; she abhorred the Paris which had overthrown
+what she considered a legitimate, to set up a pseudo royalty, and
+she longed, with all the concentration and single-mindedness of her
+character, for an opportunity of leaving the city. This soon presented
+itself. Among other noble and distinguished persons who were proud of
+their acquaintance with this gifted woman, were members of the Duras
+family. The married daughter, who bore the beloved but fatal name of La
+Roche Jacquelein, sympathized entirely with the opinions and feelings
+of her namesake, Felicie. She invited the artist to leave Paris, and
+accompany her on a visit to her estates in La Vendée. During this
+visit, which was at first considered a mere relaxation from severe
+labor and study, riding, shooting, and hunting took the place of
+designing, modeling, and casting. But, after a while, a more serious
+purpose was contemplated, and a loftier end proposed. Mademoiselle
+de Fauveau found herself in the thick of a political conspiracy.
+A regular _chouannerie_ was organized, and our poetical artist
+distinguished herself by her spirit, energy, and determination. To this
+day the peasantry in that part of France always speak of her as “_la
+demoiselle_.”
+
+The authorities at last took umbrage, and a domiciliary visit was made
+to the chateau. The two ladies, warned in time, escaped, and took
+refuge in a neighboring farm-house. But arms and ammunitions were found
+in the chateau, with compromising letters and treasonable symbols.
+Orders were given to pursue and arrest the fugitives. The farm-house
+was searched in vain; the peasants were questioned, but their fidelity
+was unimpeachable. Unfortunately, however, some faint sounds were heard
+behind an oven; the grated door was removed, and the two rebels, who
+had so nearly defeated the search of their pursuers, were discovered,
+arrested, and sent under a strong guard to Angers.
+
+At the first stage they stopped at an inn. The captives were conducted
+to a room up stairs; the door was locked, and their guards descended to
+the kitchen to refresh themselves. Presently a maid-servant was sent
+up to receive their orders for supper. In an instant, Madame de la
+Roche Jacquelein made herself understood by this woman. As soon as the
+supper was brought up, and the door closed, she effected an exchange
+of clothes, and, thus disguised, descended boldly, plates in hand,
+to the kitchen. She quickly deposited her burden on the dresser, and
+then, taking up the milk-pail, announced in the pretty _patois_ of the
+country her intention to fetch the milk from the dairy. It is said the
+lady looked so captivating in her new costume that a gallant sergeant
+made advances to her, which she was obliged to repress vigorously, so
+as to proceed unattended. She reached the dairy, went out at a back
+door, crossed some fields, and was soon out of reach. Mademoiselle
+de Fauveau remained quietly in her room, allowing the servant to
+sleep with her, so as to lull all suspicion, and give as much time as
+possible for the escape. The next morning the evasion of Madame was
+discovered, and caused great consternation. It was thought necessary
+to take the most rigid precautions, such as obliging Mademoiselle de
+Fauveau to have a guard in her sleeping-room, who was authorized to
+disturb her whenever he wished to make sure of her presence, to prevent
+her following her friend’s example. She was thus transferred to Angers,
+and remained seven months in prison.
+
+Her bold spirit and elastic temperament were not weakened or cast down
+by this destruction of her hopes. She took advantage of the forced
+seclusion to resume her occupations. In prison she modeled several
+small groups; one of them, composed of twelve figures, representing the
+duel of the Sire de Jarnee and the Count de la Chataignevaie in the
+presence of Henry II. and his court. She also designed a monument for
+Louis de Bonnechose, who had lately perished in an affray with some
+soldiers sent to arrest him. The background of this composition is
+architectural, in the Gothic style, adorned with the blazoned shields,
+achievements, and banners which belong peculiarly to the Vendean
+party. On the summit of the edifice is an angel, whose face is veiled,
+supporting the armorial shield of the deceased; in the foreground
+the Archangel Michael, terrible and victorious, has just killed the
+dragon. This dragon has a head like a cock--a type of the French
+republic. Michael bears in his right hand the avenging sword, and in
+his left holds a pair of crystal scales; in one of these are figures
+of judges, advocates, and magistrates; in the other, which weighs down
+these, is a single drop of blood, with this inscription:
+
+ “Quam gravis est sanguis justi inultus.”
+
+In this sketch, as, indeed, in all Felicie’s works, the symbolical
+beauty inspires the whole; the ideal gives spirit to the material form,
+while the form receives its noblest distinction as the fitting vehicle
+of the idea.
+
+After seven months’ imprisonment, Mademoiselle de Fauveau was set at
+liberty, and returned to Paris and her studio. Very soon afterward, the
+appearance of the Duchesse de Berri in Vendée set on fire all Royalist
+imaginations. Madame de la Roche Jacquelein and our fair artist again
+left Paris, and worked day and night for the cause so dear to their
+hearts, to reap again disappointment, failure, and misfortune. This
+episode in Felicie’s life may show how strong was the political bias
+which gave tone and character to both her private and artistic life.
+“My opinions are dearer to me than my art,” she said, and her actions
+proved this. She was one of the forlorn hope that stood up in the
+breach to save a falling dynasty; and with its ruins were ingulfed her
+own fortune, her prospects, and such part of her success as depended on
+the public recognition and acceptance of art in her own country.
+
+After the failure of this second attempt of the Legitimists,
+Mademoiselle de Fauveau was among the persons exiled. She first took
+refuge in Switzerland; then returned to Paris, in the very teeth of
+the authorities, broke up her studio and establishment there, and went
+to Florence, where she fixed her permanent abode with her mother and
+brother.
+
+Considerable expense and outlay are necessary to carry on the art
+of sculpture, and a removal from a studio in which were accumulated
+sketches, models, and marbles--most of them not portable--was almost
+total ruin. The forced sale of furniture; the transfer, at a heavy
+discount, of funds which had to be reinvested, added serious items
+to the amount of loss. From the fragments thus thrown aside fortunes
+were made. At the very time when the little family was enduring bitter
+privation in Florence, a man realized an almost fabulous sum by selling
+walking-sticks manufactured from designs made by Mademoiselle de
+Fauveau in those happy Paris evenings before mentioned.
+
+The expense attendant on establishing a new studio in Florence had
+to be met by the labor of many years. Madame de Fauveau, at this
+period, was the guardian angel of the family, and thought no sacrifice
+too great for the encouragement of her daughter’s genius, and the
+advancement of her views. Her own poetical and imaginative mind aroused
+and fostered the ideas of the sculptress, while her unflinching
+resignation and humble faith soothed and solaced her heart.
+
+With unparalleled nobleness, in spite of extreme poverty, the family
+refused to receive a sous from the princes or the party they had so
+served. No fleck of the world’s dust can be thrown on that spotless
+fidelity. It was at this period, when each day’s labor scarcely
+sufficed to provide for daily necessities, that Mademoiselle de Fauveau
+wrote to one of her friends, “We artists are like the Hebrews of old;
+manna is sent to us, but on condition we save none for the morrow.”
+
+Brighter days dawned. Labor is not only its own reward, in the
+happiness it confers, but those who sow unweariedly and judiciously
+shall reap fairly. Our sculptress achieved a modest independence. It
+was probably at this time of her life that her friend the Baroness de
+Krafft sketched her character, dwelling on the contrasts presented
+by her history, in which her mind was developed, and the bent of her
+nature determined. “Fire, air, and water,” she says, “are in that
+organization;” and it is true that ardor, purity, and impulse are
+the characteristics of her genius. On the one hand we see the lady
+of the Faubourg St. Germaine, with all the habits, associations, and
+prejudices which belong to her order; on the other, the artist, earning
+her daily bread, and obliged to face in their reality the sternest
+necessities and most imperative obligations; the single woman treading
+victoriously the narrow and thorny path which all women tread who
+seek to achieve independence by their own exertions; and the genius
+which, to attain breadth and vigor, must freely sweep out of its path
+limitations and obstacles. These contrasts appear in her person and
+manner. Her glance, usually soft, can kindle and grow stern. Madame de
+Krafft notices that the movements of her arms are somewhat abrupt and
+angular, but her hands “are white, soft, and fine, royal as the hands
+of Cæsar, or of Leonardo da Vinci.”
+
+Mademoiselle de Fauveau is described by a visitor as being fair, with
+low and broad forehead; soft, brown, penetrating eyes, aquiline nose,
+and mouth finely chiseled, well closed, and slightly sarcastic. Of the
+medium height, her figure is flexible and well formed. Her ordinary
+studio dress is velvet, of that “_feuille morte_” color Madame Cottin
+has made famous; with a jacket of the same fastened by a small leathern
+belt, a _foulard_ round the neck, and a velvet cap. Her hair is blonde,
+cut square on the forehead and short on the neck, and left rather
+longer at the sides, in the Vandyke manner. The face, and figure,
+and presence, give the impress of a firm but not aggressive nature,
+revealing the energy of resistance, not of defiance. Opinions strongly
+held and enunciated, defended to the death, if necessary, give such
+an aspect. Combined with this peculiarity is a look of thoughtful
+melancholy, such as Retzch has represented in his sketches of Faust. In
+fact, the head, in a statuette of herself, might serve as an ideal of
+the world-famous student. There are two admirable likenesses of her:
+one by Ary Scheffer and one by Giraud.
+
+Her dwelling is in the Via delle Fornace, where are also the studios of
+Powers and Fedi. A dark green door opens into a paved covered court,
+formerly the entrance to a convent, which is now adapted to form a
+modern habitation. On one side a flight of stairs leads to the upper
+rooms, another door leads to the studio; a third opens on a cool,
+quiet garden, shaded by trees. There are dovecotes, pigeon-houses,
+and bird-cages; and the walks are hedged with laurels and cypresses,
+while there are gay flowers mingled with Etruscan vases and jars.
+The artist’s drawing-room looks like the parlor of an abbess,
+furnished with antique hangings, carved chairs, silver crucifixes,
+and gold-grounded, pre-Raphaelite pictures, some of great beauty and
+value. From this drawing-room, half oratory and half boudoir, the
+visitor descends to the studio, which is composed of two or three large
+white-washed rooms on the ground floor.
+
+The first thing that strikes one here is the evidence of the artist’s
+indefatigable industry. Here are casts and bassi-relievi from the
+antique, but no goddesses, nymphs, or cupids; it is Christian art of
+the mediæval period. Saints and angels cover the walls; in the centre
+is a large crucifix of carved wood, beautifully executed, and full
+of vigor and expression; near it is a Santa Reparata, designed in
+terra-cotta. Mademoiselle de Fauveau has been peculiarly successful
+in her adaptation of terra-cotta to artistic purposes. A large
+alto-relievo represents two freed spirits flying heavenward, dropping
+their earthly chains. A lovely St. Dorothea looks upward, and holds up
+her hands for a basket of flowers and fruit which a descending angel
+is bringing from Paradise. Bold and rapid movement is expressed in
+the flying figure. In the background is an architectural design of a
+church, and an inscription describing how it sprang, as it were, from
+the martyr’s blood. There is a Judith addressing the Israelites from
+an open gallery, with the head of Holofernes on a spear beside her. In
+the aspect of the resolute woman of Bethulia there is an undefinable
+resemblance to the artist. The expression, indeed, is congenial to her
+character, in which there is the concentration of purpose which gives
+force, and the ardor that gives decision to the will.
+
+There are also works of a lighter character; the carved frame-work
+of a mirror, with an exquisite allegorical design--a fop and a
+coquette, in elaborate costume, are bending inward toward the glass,
+so intent on self-admiration as to be unconscious that a demon below
+has caught their feet in a line or snare from which they will not be
+able to extricate themselves without falling. Most of Mademoiselle
+de Fauveau’s works have superabundant richness of ornament and
+allegorical device. Her designs for gold and silver ornaments are
+unrivaled for elegance and imaginative picturesqueness.
+
+She made for Count Zichy a Hungarian costume, the collar, belt, sword,
+and spurs being of the most finished workmanship. A silver bell,
+ornamented with twenty figures, for the Empress of Russia, represents a
+mediæval household, in the costumes of the period, and their peculiar
+avocations, assembling at the call of three stewards, whose figures
+form the handle. Round the ball is blazoned, in Gothic characters, “_De
+bon vouloir servir le maître_.”
+
+It would be tedious to enumerate the works of this indefatigable
+artist. The finished specimens of twenty-five years of labor are shut
+up in private galleries, the models remaining in her studio. Her last
+and most imposing work is the monument in Santa Croce, erected to the
+memory of Louise Favreau by her parents. Madame de Krafft published a
+description of this in the _Revue Britannique_ for March, 1857. Three
+monuments, in different styles, may be seen in the Lindsay chapel. In
+her studio are several busts of great beauty, strongly relieved by her
+method of placing an architectural back-ground. One is the bust of the
+Marquis de Bretignières, the founder of the reformatory school colony
+of Mettray.
+
+Besides devoting herself to the actual expression of her ideas, Madame
+de Fauveau has, all her life, studied to improve the mere mechanical
+portion of her art. She endeavored to revive certain secrets known
+to the ancients, which have been abandoned and forgotten, to the
+detriment of modern sculpture. To cast a statue entire, instead of in
+portions, and with so much precision as to require no farther touch
+of the chisel--to preserve inviolate, as it were, the idea, while it
+is subject to the difficult process of clothing it with form, has been
+her life-long endeavor. In bronze, by means of wax, she succeeded,
+after repeated failures, with incredible perseverance. A figure of
+St. Michael in one of her works was thus cast seven times. The least
+obstacle, were it only the breadth of a pin’s point in one of the
+air-vents which are necessary to draw the seething metal into every
+part of the mould, is enough to destroy the work. At last her head
+workman brought her St. Michael complete; all the energy and delicacy
+of the original design being preserved, and none of the pristine
+freshness lost in the translation from wax to bronze.
+
+Mademoiselle de Fauveau works almost incessantly, scarcely allowing
+herself any relaxation. Her principal associates are a few of the
+higher church dignitaries, and two or three distinguished Italian or
+foreign families. Retirement is agreeable to her, and her political
+opinions have drawn around her a line of demarkation. She has paid two
+visits to Rome: one when the Duc de Bordeaux was there. He paid her
+much attention, as did the two great princes of art, Cornelius and
+Tenerani, at that time in Rome. Thus situated, beloved by many, admired
+and appreciated by all, this clever artist and noble woman leads an
+honored life, which seems a realized dream of work, progress, and
+success.
+
+From every point of view, a life so spent is a curious and interesting
+study. There is the independence belonging to an existence devoted
+to art, with almost cloistral simplicity and formality. She had been
+hardly ever separated from her proud and devoted mother till her
+death, in 1858. The loss left her inconsolable. Her brother, an artist
+of merit, resides with her, assists in most of her works, and is the
+support and comfort of her life. Her happy home and domestic relations
+have helped to expand and refine her genius. A woman’s art, as well as
+her heart, suffers when the home in which she works is uncongenial. Our
+artist’s name--Felicie--has proved a good omen for one who is at once
+“a good woman and a great artist.”
+
+
+                           ROSA BONHEUR.[3]
+
+[3] This sketch was prepared under the supervision of Mademoiselle
+Bonheur.
+
+Rosalie Bonheur--as she is called in her _acte de naissance_--was born
+in Bordeaux on the 16th of March, 1822. Her father, Oscar Raymond
+Bonheur, was a painter of merit, who had in youth taken the highest
+honors at the exhibitions of his native town. He devoted part of his
+time to giving drawing-lessons in families for the support of his
+aged parents. An attachment sprung up between him and one of his
+pupils--Sophie Marqués--a lovely and accomplished girl. Her family
+opposed their union on account of the artist’s poverty; and after the
+marriage the young people were thrown entirely on their own resources.
+Rosalie was the eldest of their four children. Her father was compelled
+to give up his dreams of fame and the higher labors of his art, and for
+eight years maintained his family by teaching drawing.
+
+Rosalie--or Rosa, as she has always called herself--was a wild, active,
+impetuous child, impatient of restraint, and having a detestation of
+study. She was a long time in acquiring even the elements of reading
+and writing. When not in the fields, she was in the garden. She
+remembers a gray parrot, a pet of her grandfather’s, that often called
+out “Rosa! Rosa!” in a voice like her mother’s, and would bring her
+in, when her mother would seize the opportunity to make her repeat her
+catechism. When the lesson was over, the little girl would scold the
+bird angrily for the trick it had played her. But if Rosa hated her
+books, she dearly loved all objects in nature, and was happiest when
+rambling in wood or meadow, gathering posies as large as herself. Her
+complexion was fair, with rosy cheeks; her light auburn hair curled in
+natural ringlets; and she was so plump that the Spanish poet Moratia,
+who then lived in Bordeaux, and spent his evenings at Bonheur’s, used
+to call her his “round ball.” He would romp with the merry child for
+hours together, and laugh over the rude figures she was fond of cutting
+out of paper. Rosa was fond of amusing herself in her father’s studio,
+drawing rough outlines on the walls, or burying her little fat hands
+in the clay, and making grotesque attempts at modeling, though these
+childish efforts were not noticed by her family as showing any genius.
+The exiled poet, however, saw the boldness, vigor, and originality of
+her nature, and often prophesied that his favorite would turn out, in
+some way, “a remarkable woman.”
+
+In 1829 Raymond Bonheur quitted Bordeaux, and established himself
+with his family in Paris. Interested in the ideas then fermenting in
+the public mind, he entered into the excitement that preceded the
+Revolution of July. Periods of national effervescence are not favorable
+to art; the painter could not sell his pictures, and had to betake
+himself once more to giving drawing-lessons. His wife gave lessons
+on the piano; but the growing agitation of the social and political
+world made their united exertions profitless. Madame Bonheur sustained
+her husband’s courage throughout this trying period, while she was
+often compelled, after the day’s labors, to sit up half the night to
+earn with her needle a precarious support for the morrow. When public
+tranquillity returned, Bonheur resumed his teaching, and had some of
+his works noticed in the Paris Exhibition.
+
+Madame Bonheur died in 1833. The father then placed the three elder
+children with an honest woman--La Mère Cathérine--who lived in the
+Champs Elysées; Juliette, the youngest, being sent to friends in
+Bordeaux. La Mère sent her little charges to the Mutual School of
+Chaillot. Rosa, now in her eleventh year, and detesting books and
+confinement as heartily as ever, generally contrived to avoid the
+school-room, and spent most of her time in the grassy and wooded
+spots afforded in the Bois de Boulogne, and other environs of Paris.
+Two years passed thus; the children being plainly clad and living on
+the humblest fare. Rosa meanwhile, with her passion for independence
+and outdoor life, incurred almost daily the angry reprimands of La
+Mère Cathérine, who was distressed at her neglect of school for her
+rambles. “I never spent an hour of fine weather indoors during the
+whole of the time,” she often said. But this sort of gipsy life could
+not last. Raymond Bonheur married again, took a house in the Faubourg
+du Roule, brought the three children home, and endeavored to put them
+in a way to make a position for themselves. The two boys--Auguste and
+Isidore--were placed in a respectable school, in which their father
+gave three lessons a week by way of payment; and Rosa, who could not be
+got to learn any thing out of a book, and seemed to have neither taste
+nor talent for any thing but rambling about in the sunshine, was placed
+with a seamstress, in order that she might learn to make a living by
+her needle.
+
+Nothing could have been more disagreeable to the poor girl than the
+monotonous employment to which she was thus condemned. The mere act of
+sitting still on a chair was torture to her active temperament; she ran
+the needle into her fingers at every stitch, and bending over her hated
+task made her head ache, and filled her with inexpressible weariness
+and disgust. The husband of the seamstress was a turner, and had his
+lathe in an adjoining room. Rosa’s sole consolation was to slip into
+this room, and obtain the turner’s permission to help him work the
+lathe. If he were absent, she would do her utmost to set the lathe in
+motion by herself, more than once doing some damage to the turner’s
+tools. But these stolen pleasures were insufficient to compensate her
+for the repulsiveness of her new avocation; and whenever her father,
+with his pockets full of bonbons, came to see her and learn how she
+was getting on, she would throw herself into his arms in a passion
+of tears, and beseech him to take her away. Every week her distress
+became more and more evident; she lost her appetite and color, and was
+apparently falling ill. Her father was much disappointed at the ill
+success of his attempt to make of his wild daughter an orderly and
+industrious needle-woman; but he was too fond of her to persevere in
+an experiment so repugnant to her feelings. He therefore broke off the
+arrangement with the seamstress, and took her home.
+
+After thinking over many plans for her, he at length succeeded in
+making an arrangement for her reception in a boarding-school in the
+Rue de Reuilly, Faubourg St. Antoine, on the same terms as those he
+had obtained for her brothers. A vast deal of good advice was expended
+on her, with many earnest exhortations to make the best use of the
+advantages of the school, by diligent application to her studies.
+
+For a short time after her entrance into this establishment, Rosa was
+delighted with her new life, for she speedily became a favorite with
+her young companions, the leader in all their games, and the inventor
+of innumerable pranks. But the teachers were far from being equally
+satisfied with the new pupil, who could not be got to learn a lesson,
+and who threw the household into confusion with her doings. One of
+her favorite amusements was to draw caricatures of the governesses
+and professors; which caricatures, after coloring, she cut out very
+carefully, and contrived to fasten to the ceiling of the school-room,
+by means of bread patiently chewed to the consistence of putty,
+and applied to the heads of the figures. The sensation created by
+this novel exhibition of portraiture, and the ludicrous bowings and
+courtesyings of the paper figures, as they swayed over the heads of
+their originals, may be easily imagined. The pupils would go beside
+themselves with suppressed laughter; the teachers were naturally more
+displeased than diverted. The mistress of the establishment, struck
+with the vigor and originality of these drawings, caused them to be
+detached from the ceiling, and placed them privately in an album,
+where, it is said, they have been treasured to this day. But Rosa was
+none the less pronounced a very naughty girl; and she generally found
+herself condemned to bread and water about five days in the week.
+
+Rosa Bonheur is by no means deficient in the faculty of acquiring
+knowledge, and has since made up, in her own way, for her early
+disinclination to study; but it was absolutely impossible for her,
+at that time, to constrain her mercurial temperament to the measured
+regularity of a class; and the only branch of study in which she made
+any progress was drawing, which she practiced assiduously, sharing the
+lessons given twice a week by her father in return for her schooling.
+
+Rosa, however, was far from happy. Besides the constant trouble in
+which her love of frolic and mischief involved her, there was another
+annoyance that poisoned her peace, and gradually rendered her stay in
+the school intolerably painful.
+
+All the other pupils being daughters of rich tradesmen, they were
+elegantly dressed, and had their silver forks and cups at table, and
+plenty of pocket-money for the gratification of their school-girl
+fancies. Rosa, with her calico frocks and coarse shoes, her iron
+spoon, tin mug, and empty pockets, felt keenly the inferiority of
+her position. Her father was as good and as clever as the fathers
+of her companions; why, then, was he not rich? Why must she wear
+calico and drink out of tin, while the other girls had silver mugs
+and beautiful silk dresses? Too generous to be envious, and treated
+as a favorite by the other pupils, the proud and sensitive child yet
+recoiled instinctively from a contact which awakened in her mind an
+unreasoning sense of injustice, and humiliated her, as she felt, for
+no fault of her own. She had no wish to deprive her little companions
+of the superior advantages of their lot, but she longed to possess
+the same, tormenting herself day and night with pondering on her
+difficulties, and seeking to devise some plan by which they might be
+overcome. To this period, with its secret mental experiences, is to be
+traced that firm resolve to achieve a name and a place for herself in
+the world--to a perception of whose social facts she was now beginning
+to awaken--which sustained her through the subsequent phases of her
+artistic development. Yet this resolve, though prompted by a galling
+sense of the humble character of her wardrobe and “belongings,”
+pointed less to the acquisition of greater elegance of dress and
+personal conditions--to which she has subsequently shown herself almost
+indifferent--than to the attainment of a superior and independent
+social position. She was determined to be something, though she could
+not see what, and felt no doubt of the accomplishment of her purpose,
+though as yet she had no idea of the mode in which it was to be carried
+out. Meanwhile, her secret discontent preyed on her spirits and
+affected her health. She became reserved and gloomy, and while seeking,
+with feverish anxiety, to devise the sort of work that should enable
+her to gain for herself the superior position she so ardently coveted,
+she became more and more neglectful of her studies, until, her teachers
+and her father being alike discouraged by her seeming idleness, the
+latter withdrew her from the school, and once more took her home.
+
+More than ever perplexed what to do with her, her father now left her
+for a time entirely to herself. Thus abandoned to her own spontaneous
+actions, Rosa, who felt that the idle and aimless life she had hitherto
+led was little calculated to help her to the realization of her secret
+ambition, and who was full of unacknowledged regret and remorse for her
+incapacity and uselessness, sought refuge from her own uncomfortable
+thoughts in her father’s studio, where she amused herself with
+imitating every thing she saw him do; drawing and modeling, day after
+day, with the utmost diligence and delight, happy as long as she had
+in her hands a pencil, a piece of charcoal, or a lump of clay. In the
+quiet and congenial activity of the studio, her excited feelings became
+calm, and her ideas grew clearer; she began to understand herself, and
+to devise the path nature had marked out for her. As this change took
+place in her mind, the desultory and purposeless child became rapidly
+transformed into the earnest, self-conscious, determined woman. She
+drew and modeled from morning till night with enthusiastic ardor; and
+her father, amazed at her progress, and perceiving at last the real
+bent of her nature, devoted himself seriously to her instruction,
+superintending her efforts with the greatest interest and care. He took
+her through a serious course of preparatory study, and then sent her to
+the Louvre to copy the works of the old masters, as a discipline for
+her eye, her hand, and her judgment.
+
+Surrounded and stimulated by the glorious creations of the great
+painters--the first to enter the gallery and the last to leave it--too
+much absorbed in her model to be conscious of any thing that went on
+around her, Rosa pursued her labors with unwavering zeal.
+
+“I have never seen an example of such application, and such ardor for
+work,” remarked M. Jousselin, director of the Louvre, in describing the
+deportment of the young student.
+
+The splendid coloring and form of the Italian schools, the lofty
+idealism of the German, and the broad naturalism of the Dutch, alike
+excited her enthusiasm; she studied them all with equal delight,
+and copied them with equal felicity. To aid her father in his arduous
+struggle for the support of his family, now increased by the birth of
+two younger children, was the immediate object of Rosa’s ambition;
+and, the admirable fidelity of her copies insuring them a speedy sale,
+this filial desire was soon gratified. She gained but a small sum for
+each, but so great was her industry that those earnings soon became an
+important item in the family resources.
+
+One day, when she had just put the finishing touch to a copy of _Les
+Bergers d’Arcadie_, at the Louvre, an elderly English gentleman stopped
+beside her easel, and, having examined her work with much attention,
+exclaimed, “Your copy, _mon enfant_, is superb, faultless! Persevere as
+you have begun, and I prophesy that you will be a great artist!” The
+stranger’s prediction gave the young painter much pleasure, and she
+went home that evening with her head full of joyous visions of future
+success.
+
+Rosa was now in her seventeenth year, vowed to art as the aim and
+occupation of her life, cultivating landscape, historical, and genre
+painting with equal assiduity, but without any decided preference for
+either; when, happening to make a study of a goat, she was so much
+enchanted with this new attempt that she thenceforth devoted herself
+to the cultivation of the peculiar province in which she has commanded
+such brilliant success. Too poor to procure models, she went out daily
+into the country on foot, in search of picturesque views and animals
+for sketching. With a bit of bread in her pocket, and laden with canvas
+and colors, or a mass of clay--for she was attracted equally toward
+painting and sculpture, and has shown that she would have succeeded
+equally in either--she used to set out very early in the morning, and,
+having found a site or a subject to her mind, seat herself on a bank or
+under a tree, and work on till dusk; coming home at nightfall, after
+a tramp of ten or a dozen miles, browned by sun and wind, soaked with
+rain, or covered with mud; exhausted with fatigue, but rejoicing in the
+lessons the day had furnished.
+
+Her inability to procure models at home also suggested to her
+another expedient, the adoption of which shows how earnest was her
+determination to overcome the obstacles poverty had placed in the way
+of her studies. The slaughtering and preparing of animals for the
+Paris market is confined to a few _abattoirs_, great establishments
+on the outskirts of the city, placed under the supervision of the
+municipal authorities. Each of these establishments contains extensive
+inclosures, in which are penned thousands of lowing and bleating
+victims, waiting their turn to be led to the shambles. To one of
+these--the _abattoir du Roule_--had Rosa the courage to go daily for
+many months, surmounting alike the repugnance which such a locality
+naturally inspired, and her equally natural hesitation to place herself
+in contact with the crowd of butchers and drovers who filled it. Seated
+on a bundle of hay, with her colors beside her, she painted on from
+morning till dusk, not unfrequently forgetting the bit of bread in
+her pocket, so absorbed would she become in the study of the varied
+types that rendered the courts and stables of this establishment
+so invaluable a field of observation for her. Not content with
+drawing the occupants of the _abattoir_ in their pens, far from the
+sickening horror of the shambles, she felt the necessity of studying
+their attitudes under the terror and agony of the death-stroke, and
+compelled herself to make repeated visits to the slaughter-house;
+looking on scenes whose repulsiveness was rendered doubly painful
+to her by her affectionate sympathy with the brute creation. In the
+evening, on her return home, her hands, face, and clothes were usually
+spotted all over by the flies, so numerous wherever animals are
+congregated. Such was the respect with which she inspired the rude
+companions by whom she was surrounded, and who would often beg to see
+her sketches, which they regarded with the most naïve admiration, that
+nothing ever occurred to annoy her in the slightest degree during her
+long sojourns in the crowded precincts of the _abattoir_.
+
+After she had ceased to visit this establishment, she frequented in
+a similar manner the stables of the Veterinary School of Alfort, and
+the animals and museums of the Garden of Plants. She also resumed her
+sketching rambles in the country, and resorted diligently to all the
+horse and cattle fairs held in the neighborhood of Paris. On the latter
+occasions she invariably wore male attire; a precaution she found it
+necessary to adopt, as a convenience, and still more, as a protection
+against the annoyances that would have rendered it impossible for her
+to mingle in such gatherings in feminine costume. In her masculine
+habit Rosa had so completely the look of a good-hearted, ingenuous
+boy, that the graziers and horse-dealers, whose animals she drew,
+would frequently insist on “standing treat” in a _chopine_ of wine, or
+a _petit verre_ of something stronger, to the “clever little fellow”
+whose skillful portrayal of their beasts had so much delighted them;
+and it sometimes required all her address and ingenuity to escape
+from their well-meant persecutions. Her good looks, too, in the
+assumed character of a youth of the sterner sex, would sometimes make
+sad havoc in the susceptible hearts of village dairy-maids. Some
+laughable incidents might be related under this head. In her subsequent
+explorations of the romantic regions at either foot of the Pyrenees,
+the passion with which she has unwittingly inspired the black-eyed
+Phœbes of the south has more than once proved a source of serious
+though comical embarrassment to the artist, desirous above all things
+to maintain impenetrably the secret of her disguise.
+
+The young artist’s studies were not confined to the exterior forms of
+her models. She procured the best anatomical treatises and plates,
+with casts and models of the different parts of the human frame, and
+studied them thoroughly; she then procured legs, shoulders, and heads
+of animals from the butchers, carefully dissecting them, and thus
+obtaining an intimate knowledge of the forms and dependencies of the
+muscles whose play she had to delineate.
+
+Now that Rosa has arrived at the fame her swelling child-heart
+prophesied to itself before she had ascertained the path that should
+lead to the fulfillment of her aspirations, the richest and noblest of
+her countrymen are proud to place at her disposal the finest products
+of their farms and studs; while mules, donkeys, sheep, goats, pigs,
+dogs, and rare poultry are offered to her from one end of Europe to
+the other. But it is certain that the poverty and obscurity which,
+during her first years of effort, compelled her to frequent _abattoirs_
+and cattle-markets in search of subjects for her pencil were really
+of unspeakable service in forcing her to make acquaintance with a
+multitude of types under a variety of action and condition, such as
+she could never have seen in any other way, and in giving her a
+breadth of conception, variety of detail, and truthfulness to nature,
+which a more limited range of experience could not have supplied.
+
+Through all her varied studies, Raymond Bonheur was his daughter’s
+constant and only teacher. M. Léon Cogniet, whose pupil she is
+erroneously said to have been, merely took a friendly interest in her
+progress, and warmly encouraged her to persevere. She never took a
+lesson of any other teacher than her father and nature.
+
+Bonheur, with his family, now occupied small six-story rooms in the
+Rue Rumfort. His two sons had also devoted themselves to art under his
+auspices, Auguste being a painter, and Isidore a sculptor. The loving
+family, merry and hopeful in spite of poverty, labored diligently
+together in the same little studio. From daylight till dusk Rosa was
+always at her easel, singing like a linnet, the busiest and merriest
+of them all. In the evening, the frugal dinner dispatched and the lamp
+lighted, she would spend several hours in drawing illustrations for
+books, and animals for prints and for albums; or in moulding little
+groups of oxen, sheep, etc., for the figure-dealers--thus earning an
+additional contribution to the family purse.
+
+Rosa delighted in birds, of which she had many in the studio; but it
+grieved her to see them confined. To her great joy, one of her brothers
+contrived a net, which he fastened to the outer side of the window,
+so that they could be safely let out of their cages. She had also a
+beautiful sheep, with long silky wool, the most docile and intelligent
+of quadrupeds, which she kept on the leads outside their windows, the
+leads forming a terrace, converted by her into a garden, gay with
+honeysuckles, cobeas, convolvulus, nasturtiums, and sweet-peas. As the
+sheep could not descend six flights of stairs, yet needed occasional
+exercise and change of diet, Isidore used to place it gravely on his
+shoulders, and carry it down to a neighboring croft, where it browsed
+on the fresh grass to its heart’s content, after which he would carry
+it back to its aerial residence. Thus carefully tended, the animal
+passed two years contentedly on the terrace, affording to Rosa and her
+brothers an admirable model.
+
+It was in the Fine Arts Exhibition of 1841 that Rosa Bonheur made her
+first appearance before the critical Areopagus of Paris, attracting
+the favorable notice both of connoisseurs and public, by two charming
+little groups of a goat, sheep, and rabbits. The following year she
+exhibited three paintings: “Animals in a Pasture,” “A Cow lying in a
+Meadow,” and “A Horse for Sale,” which attracted still more notice, the
+first being specially remarkable for its exquisite rendering of the
+atmospheric effects of evening, and its blending of poetic sentiment
+with bold fidelity to fact.
+
+From this period she appeared in all the Paris exhibitions, and in
+many of those of the provincial towns, her reputation rising every
+year, and several bronze and silver medals being awarded to her
+productions. In 1844 she exhibited, with her paintings, “A Bull” in
+clay, one of the many proofs she has given of powers that would have
+raised her to a high rank as a sculptor, had she not, at length, been
+definitively drawn, by the combined attractions of form and color,
+into the ranks of the painters. In the following year she exhibited
+twelve paintings--a splendid collection--flanked by the works of her
+father and her brother Auguste, then admitted for the first time. In
+1846 her productions were accompanied by those of her father and both
+her brothers, the younger of whom then first appeared as a sculptor.
+The family group was completed in a subsequent exhibition by the
+admission of her younger sister, Julietta, who had returned to Paris,
+and had also become an artist. In 1849 her magnificent “Cantal Oxen”
+took the gold medal. Horace Vernet, president of the committee of
+awards, proclaimed the new laureat in presence of a brilliant crowd of
+amateurs, presenting her with a superb Sèvres vase in the name of the
+government; the value of a triumph which placed her ostensibly in the
+highest rank of her profession being immeasurably enhanced in her eyes
+by the unbounded delight it afforded to her father.
+
+Raymond Bonheur, released from pecuniary difficulty, and rejuvenated
+by the joy of his daughter’s success, had accepted the directorship of
+the government school of design for girls, and resumed his palette with
+all the ardor of his younger days. But his health had been undermined
+by the fatigues and anxieties he had borne so long, and he died of
+heart disease in 1849, deeply regretted by his family. Rosa, who had
+aided him in the school of design, was now made its directress. She
+still holds the post, her sister, Madame Peyrol, being the resident
+professor, and Rosa superintending the classes in a weekly lesson.
+
+Her already brilliant reputation was still farther enhanced by the
+appearance, in 1849, of her noble “Plowing Scene in the Nivernais,”
+ordered by the government, and now in the Luxembourg Gallery; of the
+“Horse-market,” in 1853, the preparatory studies for which occupied her
+during eighteen months; and the “Hay-making,” in 1855. The last two
+works created great enthusiasm in the public mind.
+
+More fortunate than many other great artists, whose merits have been
+slowly acknowledged, Rosa Bonheur has been a favorite with the public
+from her first appearance. Her vigorous originality, her perfect
+mastery of the technicalities and mechanical details of her art, and
+the charm of a style at once fresh and simple, and profoundly and
+poetically true, ensured for her productions a sympathetic appreciation
+and a rapid sale. She had produced, up to June, 1858, thirty-five
+paintings; and many more, not exhibited, have been purchased by private
+amateurs. In these the peculiar aspect of crag, mountain, valley, and
+plain--of trees and herbage; the effects of cloud, mist, and sunshine,
+and of different hours of the day--are as profoundly and skillfully
+rendered as are the outer forms and inner life of the animals around
+which the artist, like nature, spreads the charm and glory of her
+landscapes. She has already made a fortune, but has bestowed it
+entirely on others, with the exception of a little farm a few miles
+from Paris, where she spends a great deal of her time. Such is her
+habitual generosity, and so scrupulous is her delicacy in all matters
+connected with her art, that it may be doubted whether she will ever
+amass any great wealth for herself. Her port-folios contain nearly a
+thousand sketches, eagerly coveted by amateurs; but she regards these
+as a part of her artistic life, and refuses to part with them on any
+terms. A little drawing that accidentally found its way into the hands
+of a dealer, a short time since, brought eighty pounds in London.
+Rosa had presented it to a charity, as she now and then does with her
+drawings. Demands for paintings reach her from every part of the
+world; but she refuses all orders not congenial to her talent, valuing
+her own probity and dignity above all price.
+
+The award of the jury in 1853--in virtue of which the authoress of
+“The Horse-market” was enrolled among the recognized masters of the
+brush, and as such exempted from the necessity of submitting her works
+to the examining committee previous to their admission to future
+exhibitions--entitled her, according to French usage, to the cross of
+the Legion of Honor. This decoration was refused to the artist by the
+emperor _because she was a woman_!
+
+The refusal, repeated after her brilliant success of 1855, naturally
+excited the indignation of her admirers, who could not understand why
+an honor that would be accorded to a certain talent in a man should be
+refused to the same in a woman. But, though Rosa was included in the
+invitation to the state dinner at the Tuileries, always given to the
+artists to whom the Academy of Fine Arts has awarded its highest honor,
+the refusal of the decoration was maintained, notwithstanding numerous
+efforts made to obtain a reversal of the imperial decree.
+
+A visitor describes the studio of this world-renowned artist. At the
+southern end of the Rue d’Assas--a retired street, half made up of
+extensive gardens, the tops of trees alone visible above the high stone
+walls--just where, meeting the Rue de Vaugirard, it widens into an
+irregular little square, surrounded by sleepy-looking, old-fashioned
+houses, and looked down upon by the shining gray roofs and belfry of
+an ancient Carmelite convent--is a green garden-door, surmounted by
+the number “32.” A ring will be answered by the barkings of one or two
+dogs; and when the door is opened by the sober-suited serving-man, the
+visitor finds himself in a garden full of embowering trees. The house,
+a long, cozy, irregular building, standing at right angles with the
+street, is covered with vines, honeysuckles, and clematis. A part of
+the garden is laid out in flower-beds; but the larger portion--fenced
+off with a green paling, graveled, and containing several sheds--is
+given up to the animals kept by the artist as her models. There may be
+seen a horse, a donkey, four or five goats, sheep of different breeds,
+ducks, cochinchinas, and other denizens of the barn-yard, all living
+together in perfect amity and good-will.
+
+On fine days the artist may be found seated on a rustic chair inside
+the paling, busily sketching one of these animals, a wide-awake or
+sun-bonnet on her head. If the visitor comes on a Friday afternoon, the
+time set apart for Rosa’s receptions, he is ushered through glass doors
+into a hall, where the walls are covered with paintings, orange-trees
+and oleanders standing in green tubs in the corners, and the floor
+(since the artist crossed the Channel!) covered with English oil-cloth.
+From this hall a few stairs, covered with thick gray drugget, lead to
+the atelier, on Fridays turned into the reception-room.
+
+This beautiful studio, one of the largest and most finely proportioned
+in Paris, with its greenish-gray walls, and plain green curtains to
+lofty windows that never let in daylight--the room being lighted
+entirely from the ceiling--has all its wood-work of dark oak, as are
+the book-case, tables, chairs, and other articles of furniture--richly
+carved, but otherwise of severe simplicity--distributed about the room.
+The walls are covered with paintings, sketches, casts, old armor,
+fishing-nets, rude baskets and pouches, poles, gnarled and twisted
+vine-branches, picturesque hats, cloaks, and sandals, collected by
+the artist in her wanderings among the peasants of various regions;
+nondescript draperies, bones and skins of animals, antlers and
+horns. The fine old book-case contains as many casts, skeletons, and
+curiosities as books, and is surrounded with as many busts, groups in
+plaster, shields, and other artistic booty, as its top can accommodate;
+and the great Gothic-looking stove at the upper end of the room is
+covered in the same way with little casts and bronzes. Paintings of all
+sizes, and in every stage of progress, are seen on easels at the lower
+end of the room, the artist always working at several at a time. Stands
+of port-folios and stacks of canvas line the sides of the studio; birds
+are chirping in cages of various dimensions, and a magnificent parrot
+eyes you suspiciously from the top of a lofty perch. Scattered over
+a floor as bright as waxing can make it, are skins of tigers, oxen,
+leopards, and foxes--the only species of floor-covering admitted by
+the artist into her workroom. “They give me ideas,” she says of these
+favorite appurtenances; “whereas the most costly and luxurious carpet
+is suggestive of nothing.”
+
+But the suggestion of picturesque associations is not the only service
+rendered by these spoils of the animal kingdom. One sultry Friday
+afternoon, one of her admirers, going earlier than her usual reception
+hour, found her lying fast asleep under the long table at the upper end
+of the studio, on her favorite skin, that of a magnificent ox, with
+stuffed head and spreading horns; her head resting lovingly on that of
+the animal. She had come in very tired from her weekly review of the
+classes at the School of Design, and had thrown herself down on the
+skin, under the shade of the table, to rest a few moments. There was so
+much natural grace and simplicity in her attitude, such innocence and
+peacefulness in her whole aspect, and so much of the startled child in
+her expression, as, roused by the opening and shutting of the door, she
+awoke and started to her feet, that the picture seemed as beautiful as
+any created by the pencil.
+
+Here Rosa Bonheur receives her guests with the frankness, kindness,
+and unaffected simplicity for which she is so eminently distinguished.
+In person she is small, and rather under the middle height, with
+a finely-formed head, and broad rather than high forehead; small,
+well-defined, regular features, and good teeth; hazel eyes, very clear
+and bright; dark-brown hair, slightly wavy, parted on one side and cut
+short in the neck; a compact, shapely figure; hands small and delicate,
+and extremely pretty little feet. She dresses very plainly, the only
+colors worn by her being black, brown, and gray; and her costume
+consists invariably of a close-fitting jacket and skirt of simple
+materials. On the rare occasions when she goes into company--for she
+accepts very few of the invitations with which she is assailed--she
+appears in the same simple costume, of richer materials, with the
+addition merely of a lace collar. She wears none of the usual articles
+of feminine adornment; they are not in accordance with her thoughts and
+occupations. At work she wears a round pinafore or blouse of gray linen
+that envelops her from the neck to the feet. She impresses one at first
+sight with the idea of a clear, honest, vigorous, independent nature;
+abrupt, yet kindly; original, self-centred, and decided, without the
+least pretension or conceit; but it is only when you have seen her
+conversing earnestly and heartily, her enthusiasm roused by some topic
+connected with her art, or with the great humanitary questions of the
+day; when you have watched her kindling eyes, her smile at once so
+sweet, so beaming, and so keen, her expressive features irradiated,
+as it were, with an inner light, that you perceive how very beautiful
+she really is. To know how upright and how truthful she is, how
+single-minded in her devotion to her art, how simple and unassuming,
+fully conscious of the dignity of her artistic power, but respecting it
+rather as a talent committed to her keeping than as a quality personal
+to herself, you must have been admitted to something more than the
+ordinary courtesy of a reception-day. While, if you would know how
+noble and how self-sacrificing she has been, not only to every member
+of her own family, but to others possessing no claim on her kindness
+but such as that kindness gave them, you must learn it from those who
+have shared her bounty, for you will never know a word of it from
+herself.
+
+Her dislike to being written about will prevent many interesting
+particulars in regard to her from becoming known; but, if they ever
+come to light, they will show her life replete with noble teachings,
+and that the great painter whose fame will go down to coming ages was
+as admirable a woman as she was gifted as an artist; that her moral
+worth was no less transcendent than her genius.
+
+Rosa Bonheur is an indefatigable worker. She rises at six, and paints
+until dusk, when she lays aside her blouse, puts on a bonnet and
+shawl of most unfashionable appearance, and takes a turn through the
+neighboring streets alone, or accompanied only by a favorite dog.
+Absorbed in her own thoughts, and unconscious of every thing around
+her, the first conception of a picture is often struck out by her in
+these rapid, solitary walks in the twilight.
+
+Living solely for her art, she has gladly resigned the cares of her
+outward existence to an old and devoted friend, Madame Micas, a widow
+lady, who, with her daughter, resides with her. Mademoiselle Micas
+is an artist, and her beautiful groups of birds are well known in
+England. She has been for many years Rosa’s most intimate companion.
+Every summer the two artists repair to some mountain district to
+sketch. Arrived at the regions inhabited only by the chamois, they
+exchange their feminine habiliments for masculine attire, and spend
+a couple of months in exploring the wildest recesses of the hills,
+courting the acquaintance of their shy and swift-footed tenants, and
+harvesting “effects” of storm, rain, and vapor as assiduously as those
+of sunshine. Though Rosa is alive to the beauties of wood and meadow,
+mountain scenery is her especial delight. Having explored the French
+chains and the Pyrenees, in the autumn of 1856 she visited Scotland,
+and made numerous sketches in the neighborhood of Glenfallock, Glencoe,
+and Ballaculish. Struck by the beauty of the Highland cattle, she
+selected some choice specimens of these, which she had sent down to
+Wexham Rectory, near Windsor, where she resided, and spent two months
+in making numerous studies, from which she produced two pictures:
+“The Denizens of the Mountains” and “Morning in the Highlands.” Her
+preference for the stern, the abrupt, and the majestic over the soft,
+the smiling, and the fair, makes Italy, with all its glories, less
+attractive to her than the ruder magnificence of the Pyrenees and the
+north.
+
+Among mountains the great artist is completely in her element; out of
+doors from morning till night, lodging in the humblest and remotest of
+road-side hotels, or in the huts of wood-cutters, charcoal-burners,
+and chamois-hunters, and living contentedly on whatever fare can be
+obtained. In 1856, being furnished by families of distinction in the
+Béarnais and the Basque provinces with introductions, her party pushed
+their adventurous wanderings to the little station of Peyronère, the
+last inhabited point within the French frontier, and thence up the
+romantic defiles of the Vallée d’Urdos, across the summit of the
+Pyrenees. Their letters procured them a hospitable reception at each
+halting-place, with a trusty guide for the next march. In this way they
+crossed the mountains, and gained the lonely _posada_ of Canfan, the
+first on the Spanish side of the ridge, where, for six weeks, they saw
+no one but the muleteers with their strings of mules, who would halt
+for the night at the little inn, setting out at the earliest dawn for
+their descent of the mountains.
+
+The people of the _posada_ lived entirely on curdled sheep’s milk,
+the sole article of food the party could obtain on their arrival.
+At one time, by an early fall of snow, they were shut out from all
+communication with the valley. Their threatened starvation was averted
+by the exertions of Mademoiselle Micas, who managed to procure a
+quantity of frogs, the hind legs of which she enveloped in leaves,
+and toasted on sticks over a fire on the hearth. On these frogs they
+lived for two days, when the hostess was induced to attempt the
+making of butter from the milk of her sheep, and even to allow the
+conversion of one of these animals into mutton for their benefit. Their
+larder thus supplied, and black bread being brought for them by the
+muleteers from a village a long way off, they gave themselves up to
+the pleasures of their wild life and the business of sketching. The
+arrival of the muleteers, in their embroidered shirts, pointed hats,
+velvet jackets, leathern breeches, and sandals, was always a welcome
+event. Rosa paid for wine for them, and they, in return, performed
+their national dances for her, after which they would throw themselves
+down for the night upon sheepskins before the fire, furnishing subjects
+for many picturesque _croquis_. As the _posada_ was a police-station,
+established there as a terror to smugglers, the little party felt
+perfectly safe, notwithstanding its loneliness.
+
+Rosa was much pleased with her Scotch tour. She brought away a
+wonderful little Skye terrier, named “Wasp,” of the purest breed,
+and remarkably intelligent, which she holds in great affection. She
+has learned for its benefit several English phrases, to which “Wasp”
+responds with appreciative waggings of the tail.
+
+Rosa Bonheur has avowed her determination never to marry. Determined
+to devote her life to her favorite art, she may be expected to produce
+a long line of noble works that will worthily maintain her present
+reputation; while the virtues and excellences of her private character
+will win for her an ever-widening circle of admiration and respect.
+
+
+
+
+                            CHAPTER XVIII.
+
+                        THE NINETEENTH CENTURY.
+
+ The Practice of Art in America.--Number of women Artists
+ increasing.--Prospect flattering.--Imperfection of Sketches of
+ living Artists.--Rosalba Torrens.--Miss Murray.--Mrs. Lupton.--Miss
+ Denning.--Miss O’Hara.--Mrs. Darley.--Mrs. Goodrich.--Miss
+ Foley.--Miss Mackintosh and others.--Mrs. Ball Hughes.--Mrs.
+ Chapin.--Sketch of Mrs. Duncan.--The Peale Family.--Anecdote of
+ General Washington.--Mrs. Washington’s Punctuality.--Miss Peale
+ an Artist in Philadelphia.--Paints Miniatures.--Copies Pictures
+ from great Artists.--She and her Sister honorary Members of the
+ Academy.--Her prosperous Career.--Paints with her Sister in
+ Baltimore and Washington.--Marriage and Widowhood.--Return to
+ Philadelphia.--Second Marriage.--Happy Home.--Mrs. Yeates.--Miss Sarah
+ M. Peale.--Success.--Removal to St. Louis.--Miss Rosalba Peale.--Miss
+ Ann Leslie.--Early Taste in Painting.--Visits to London.--Copies
+ Pictures.--Miss Sarah Cole.--Mrs. Wilson.--Intense Love of Art.--Her
+ Sculptures.--Her impromptu Modeling of Emerson’s Head.--Mrs. Cornelius
+ Dubois.--Her Taste for the Sculptor’s Art.--Groups by her.--Studies in
+ Italy.--Her Cameos.--Her Kindness to Artists.--Miss Anne Hall.--Early
+ Love of Painting.--Lessons.--Copies old Paintings in Miniature.--Her
+ original Pictures.--Her Merits of the highest Order.--Groups in
+ Miniature.--Dunlap’s Praise.--Her Productions numerous.--Mary
+ S. Legaré.--Her Ancestry.--Mrs. Legaré.--Early Fondness for Art
+ shown by the Daughter.--Her Studies.--Little Beauty in the Scenery
+ familiar to her.--Colonel Cogdell’s Sympathy with her.--Success
+ in Copying.--Visit to the Blue Ridge.--Grand Views.--Paintings
+ of mountain Scenery.--Removal to Iowa.--“Legaré College.”--Her
+ Erudition and Energy.--Her Marriage.--Herminie Dassel.--Reverse of
+ Fortune.--Painting for a Living.--Visit to Vienna and Italy.--Removal
+ to America.--Success and Marriage.--Her social Virtues and
+ Charity.--Miss Jane Stuart.--Mrs. Hildreth.--Mrs. Davis.--Mrs.
+ Badger’s Book of Flowers.--Mrs. Hawthorne.--Mrs. Hill.--Mrs.
+ Greatorex.--Mrs. Woodman.--Miss Gove.--Miss May.--Miss Granbury.--Miss
+ Oakley.
+
+
+In America the practice of art by woman is but in its commencement.
+Although many names of female artists are now familiar to the public,
+and the number is rapidly increasing, few have had time to accomplish
+all for which they may possess the ability. The prospect, however, is
+one most flattering to our national pride.
+
+The sketches of living American women who are pursuing art are chiefly
+prepared from materials furnished by their friends. They are given in
+simplicity, and may appear imperfect, but we hope indulgence may be
+extended to them where they are inadequate to do justice to the subject.
+
+Rosalba Torrens is mentioned by Ramsay, in his History of South
+Carolina, as a meritorious landscape-painter. Praise is also bestowed
+on Eliza Torrens, afterward Mrs. Cochran. Miss Mary Murray painted in
+crayons and water-colors in New York, and produced many life-sized
+portraits, which gained her celebrity. Madame Planteau painted in
+Washington about 1820, and was highly esteemed.
+
+Dunlap mentions Mrs. Lupton as a modeler. She presented a bust of
+Governor Throop to the National Academy of Design in New York, of
+which she was an honorary member. Many of her paintings elicited high
+commendation. She executed many busts in clay, of her friends. There
+was hardly a branch of delicate workmanship in which she did not
+excel, and her literary attainments were varied and extensive. She
+was an excellent French scholar, and a proficient in Latin, Italian,
+and Spanish, besides having mastered the Hebrew sufficiently to read
+the Old Testament with ease. In English literature she was thoroughly
+versed, and was an advanced student in botany and natural history.
+
+She was the daughter of Dr. Platt Townsend, and was married early
+in life. Mr. Lupton, a gentleman of high professional and literary
+attainments, resided in the city of New York. After his death his
+widow devoted herself to study, that she might be qualified to educate
+her young daughter, and, after the loss of this only child, pursued
+knowledge as a solace for her sorrows. Her talents and accomplishments,
+her elevated virtues and charities, and her attractive social qualities
+drew around her a circle of warm and admiring friends. She lived a
+short time in Canada, and died at the house of a relative on Long
+Island.
+
+Miss Charlotte Denning, of Plattsburgh, is spoken of as a clever
+miniature-painter, and also Miss O’Hara, in New York. Miss Jane Sully
+(Mrs. Darley), the daughter of the celebrated artist, is mentioned as
+an artist of merit. Mrs. Goodrich, of Boston, painted an excellent
+portrait of Gilbert Stuart, which was engraved by Durand for the
+National Portrait Gallery. Her miniatures have great merit, and are
+marked by truth and expression.
+
+Margaret Foley was a member of the New England School of Design, and
+gave instruction in drawing and painting. She resided in Lowell, and
+was frequently applied to for her cameos, which she cut beautifully.
+Miss Sarah Mackintosh was accustomed to draw on stone for a large glass
+company, and other ladies designed in the carpet factory at Lowell and
+in the Merrimack print-works, showing the ability of women to engage in
+such occupations.
+
+Several have made a livelihood by the business of engraving on wood,
+and drawing for different works.
+
+Mrs. Ball Hughes, of Boston, the wife of the sculptor, supported her
+family by painting and by giving lessons in the art. Mrs. Chapin had a
+large drawing school in Providence, and, with facility in every style,
+is said to be admirable in crayons. Many others might be mentioned, but
+it does not comport with the design of this work to record even the
+names of _all_ who deserve the tribute of praise.
+
+
+                     ANNA C. PEALE (MRS. DUNCAN).
+
+Several ladies of the Peale family have been distinguished as artists,
+and are mentioned in the histories of painting in America. The
+parents of the subject of this sketch were Captain James Peale and
+Mary Claypoole. Her maternal ancestors, the Claypooles, came to this
+country with William Penn, and were among the earliest settlers in
+Philadelphia. They claimed direct descent from Oliver Cromwell, whose
+daughter Elizabeth married Sir John Claypoole.
+
+James Peale had great celebrity as a painter, and excelled both in
+miniatures and oil portraits. He was not only remarkable for success
+in his likenesses, but had the faculty of making them handsome withal,
+so that he was called among his acquaintances “the flattering artist.”
+This pleasing effect he gave, not by altering the features, but by
+happy touches of expression; and it was one secret of his eminent
+success. He painted, from actual sittings, several portraits of General
+Washington and Mrs. Washington. One, a miniature, is now in the
+possession of his eldest daughter.
+
+On one occasion, when Washington was sitting for his portrait in Mr.
+Peale’s painting-room, he looked at his watch, and said,
+
+“Mr. Peale, my time for sitting has expired; but, if three minutes
+longer will be of any importance to you, I will remain, and make up the
+time by hastening my walk up to the State House (where Congress was in
+session). I know exactly how long it will take me to walk there; and it
+will not do for me, as President, to be absent at the hour of meeting.”
+
+Mrs. Washington was as remarkable for punctuality as her illustrious
+husband. At one time, during the general’s absence, he wrote to her to
+get Mr. James Peale to paint her portrait in miniature, and to send it
+to him. Mrs. Washington wrote a note to the artist, saying that her
+presence at home was indispensable when the general was away, and it
+would not be convenient for her to attend at his painting-room. She
+requested him, therefore, to come to her house for the sittings, and
+offered to accommodate herself to any hour when it would suit him to be
+away from his studio. In his reply Mr. Peale appointed seven o’clock in
+the morning. When he left his home to keep the engagement for the first
+sitting, it occurred to him that the lady might not be quite ready to
+see him at so early an hour. He walked on, accordingly, more slowly
+than usual. Mrs. Washington met him with the observation, “Mr. Peale, I
+have been in the kitchen to give my orders for the day; have read the
+newspaper, and heard my niece her lesson on the harp; yet have waited
+for you twenty minutes.”
+
+The gentleman, of course, felt exceedingly mortified, and remarked
+that if his engagement had been with General Washington he should have
+felt the importance of being punctual to the minute; but he thought it
+necessary to allow a lady a little more time.
+
+“Sir,” replied Mrs. Washington, “I am as punctual as the general.” It
+may be imagined that Mr. Peale took care to be at the house the next
+day at the time appointed.
+
+Dunlap, in his sketch of the artist, mentions his son and two
+daughters as having adopted their father’s profession. There were
+_three_ daughters who did thus, out of five who showed talent for art,
+viz., Anna, Sarah, and Margaretta. The son, James Peale, showed, from
+early youth, a remarkable talent for landscape-painting. His sketches
+from nature were admirable. For many years, though not a professional
+artist, he contributed an exquisite picture to every opening of the
+annual exhibition of the Academy of the Fine Arts, in Philadelphia.
+
+Anna was born in Philadelphia, and from childhood showed extraordinary
+talent for art. When about fourteen years of age, she copied in
+oil-colors two paintings by Vernet; and these, sent to public auction,
+brought her thirty dollars, then esteemed a good price for first
+efforts. Stimulated by this reward of her labor, she resolved to
+persevere, and in time became able to command an independence. Her
+father had a large family to support by his profession of portrait and
+miniature painting, and his daughter looked forward with pleasure to
+the thought of being a help instead of a burden to him. It was not,
+however, until two years after that she was able seriously to apply
+herself to the art. One other attempt only she made in oil-colors; a
+small fruit-piece, from nature. Her father thought miniature-painting
+on ivory the most suitable employment for a lady, and urged her to make
+a trial of her powers in that branch. She had learned much by standing
+behind his chair, hours and hours at a time, and watching his progress.
+He took great pains in teaching her, pointing out the peculiar touches
+that produced his best effects, by giving a charm to the expression.
+
+Not only was Miss Peale assiduous in the study of her father’s
+exquisite miniatures, but she copied several executed by distinguished
+artists in that line. One, from a painting by the celebrated Duchésne,
+a portrait of Napoleon, was sold to a gentleman in Philadelphia for
+one hundred and fifty dollars. Her ambition to attain to excellence,
+now fairly kindled, nerved her to industry and enterprise. She painted
+a miniature of Washington from a portrait, which was purchased of her
+father by one of his friends and brother officers of the Revolution,
+Colonel Allen M‘Clain. The first miniature portraits from life which
+she undertook were those of Dr. Spencer H. Cone and his venerable
+mother. These, with one or two others, were presented at the annual
+exhibition of the Academy of the Fine Arts. She and her sister, Miss
+Sarah M. Peale, were elected honorary members of this institution. This
+sister had adopted portrait-painting in oil as her profession.
+
+The artistic career thus commenced went on most prosperously. Although
+she owed nothing to any public notice of her talents, Miss Anna Peale
+soon found abundant occupation in painting miniature likenesses. Her
+health, however, suffered under her incessant labors, and she was
+compelled to put a higher price on her work in order to reduce the
+number of applications. She was so frequently solicited to paint the
+likenesses of children, and found them such troublesome subjects, that
+she charged double price for them.
+
+From the commencement of Miss Peale’s painting to her sister’s
+entrance on the arena as a portrait-painter, for some years, it is
+believed, she was the only professional lady artist in Philadelphia.
+The sisters, after having commenced their labors, passed their time
+alternately in Philadelphia and Baltimore; in the latter city receiving
+unbounded attention and encouragement from families of the highest
+respectability. They were not only well received as artists, but were
+welcomed as friends and hospitably entertained. They were much caressed
+by the family of the venerable Charles Carroll of Carrollton. Miss
+Sarah painted in oil a portrait of his daughter, Mrs. Caten.
+
+The sisters afterward went to Washington to paint the portrait of
+General La Fayette, who sat for it at their request. Anna spent the
+winter of 1819 in the Federal city with her uncle, Charles M. Peale,
+who went there for the purpose of painting the portraits of many
+distinguished members of Congress. They worked in the same studio.
+General Jackson was one of their sitters. Miss Peale retained his
+portrait, and has it still in her possession. President Monroe also had
+his likeness taken, and the artists were often hospitably entertained
+at the “White House” by the President and his amiable wife. During the
+time of her stay in Washington, Miss Peale had her time filled up with
+commissions; she painted several of the members of Congress, among whom
+were Henry Clay and Colonel R. M. Johnson.
+
+In the following year Miss Peale again visited Washington. She painted
+a miniature likeness of that remarkable character, John Randolph of
+Roanoke. It is now in her possession. So incessant was her application
+to work, that during the summer she was obliged to travel for the
+recovery of her health, and to give rest to her eyes. Several times
+they were attacked with inflammation, and at one time she had cause to
+dread the total loss of sight. Some time after this period she visited
+Boston, where she painted several portraits. Daniel Webster sat twice
+for a miniature, which she never quite finished.
+
+In 1829 Miss Peale received the addresses of Rev. Dr. William
+Staughton, a Baptist clergyman of much learning and distinction. He
+was about that time elected president of the Theological College at
+Georgetown, Kentucky. They were married August 27th, 1829, and left
+Philadelphia for the scene of the husband’s future labors. While
+they were in the city of Washington, Dr. Staughton was taken ill. He
+died early in December, in a little more than three months after the
+marriage. The widow returned to Philadelphia the following spring. She
+resumed her profession, and painted with as great success as before.
+
+Her second marriage, with General William Duncan, a gentleman highly
+esteemed in social life, may be said to have closed her career as an
+artist, though her love for art can never be lost. In her happy home,
+surrounded by accomplished relatives, and beloved by a large circle of
+friends, she looks back with pride to the days when she toiled to woo
+the Muse of Painting, and still acknowledges the truthful remark of the
+German poet:
+
+“He who can not apprehend the Beautiful has no heart for the Good.”
+
+The only person to whom Mrs. Duncan ever gave lessons in
+miniature-painting was her niece, Mary Jane Simes, now the wife of Dr.
+John Yeates, of Baltimore. This lady is an artist of no small celebrity.
+
+Miss Sarah M. Peale excelled not only in oil portraits but in
+still-life pieces. She has resided for the last ten years in St. Louis,
+whither she was induced to go by the invitation of numerous friends.
+She found there such encouragement and success, with such warm regard
+from her friends, that she has not as yet found leisure to leave her
+engrossing pursuits for a visit to her native city. Her varied talents
+and amiable character are justly appreciated, and she has gathered
+around her a large and estimable circle. She possesses a fine talent
+for music in addition to her other accomplishments.
+
+Mrs. Rembrandt Peale is highly spoken of as a painter in oil-colors.
+
+Miss Rosalba Peale is an amateur artist, and is said to have been the
+first lady member of any Academy of Art in America.
+
+
+                              ANN LESLIE.
+
+The name of Leslie has been placed by a painter of eminent merit among
+the most distinguished of this century, and his sister has contributed
+to its fame. She was born in Philadelphia; her parents, Robert Leslie
+and Lydia Baker, went to London in 1793, when she was an infant, and
+returned in 1799. She showed a taste for painting in childhood, but did
+not take it up as a regular employment till 1822, at which time she was
+again in London, on a visit to her brother. She copied several of his
+pictures, and two or three by Sir Joshua Reynolds, besides painting
+portraits of her friends. She returned in 1825 to Philadelphia, with
+her sister, Mrs. Henry Carey, and her brother-in-law, but paid another
+visit to London four years afterward. Several copies she made from
+pictures were engraved for the Atlantic Souvenir. One of “Sancho and
+the Duchess” was pronounced equal to the original in execution. Her
+skill was great in imitating coloring, but she was accustomed to make
+the outlines mechanically.
+
+Her life was passed in cheerful and contented activity. She resided
+several years in New York, where she occupied herself chiefly in
+copying paintings. She died in the summer of 1857.
+
+Miss Sarah Cole, the sister of the celebrated artist, had a great
+deal of talent, and not only copied paintings, but produced original
+compositions. She was born in England, but spent most of her life in
+the United States. She died in 1858.
+
+
+                             MRS. WILSON.
+
+Mrs. Lee mentions Mrs. Wilson of Cincinnati as having displayed much
+original talent in sculpture. The following account is from a friend’s
+letter:
+
+“She is the wife of a physician of Cincinnati, and was born, I believe,
+in or near Cooperstown, New York. Her first impressions of persons
+and things are expressed in her conversation. She is a perfect child
+of nature, impulsive, but wonderfully perceptive, and with so much
+freshness that all persons of mind are attracted to her. Her infancy
+and youth were very much shadowed by domestic sufferings, originating,
+at first, in the loss of a large property by her father, who in
+consequence removed to the West. He died when she was quite young. She
+married Dr. Wilson, a most excellent person, of Quaker family. All
+circumstances were such, that an early revelation or development was
+not made of her artistic powers. In visiting a sculptor’s studio the
+desire first awoke; an intelligent friend encouraged and sympathized
+with her, and Mrs. Wilson procured the materials. Her feeling was so
+intense that it could not be repressed. Her husband was her first
+subject. She worked with so much energy that sometimes she would
+faint away, and on one of these occasions he said, ‘If you are not
+more moderate, I will throw that thing out of the window.’ But it was
+finished, proving a perfect likeness, and she chiseled it in stone. It
+is in her parlor at Cincinnati, a most beautiful bust, and an admirable
+likeness, and seems like a miracle, considering it was her first
+attempt.
+
+“Another marvelous work is the figure of her son. He threw himself on
+the floor one morning in an attitude at once striking and picturesque.
+To copy it required a perfectly correct eye, or a knowledge of anatomy.
+She courageously attempted it; the attitude was repeated, and her
+success was triumphant. It is only a cast, and the cast does not do
+justice to the finish of her work, but she has not been able to procure
+a block of marble for the copy. The effect is wonderful for its spirit
+and the accuracy of its anatomy. She has commenced other subjects, but
+some of them are not finished, and to others accidents have happened.
+
+“She has a family of children, and is a devoted mother. We think
+_stone_ will have but little chance with those beings of flesh and
+blood whose minds and hearts she is carefully modeling. Perhaps family
+cares may be the true secret why female sculptors are so rare; but
+we congratulate this lady that she has the true perception of the
+beautiful, and feel quite sure it will mitigate the suffering from
+delicate health, and scatter fragrant flowers and healing herbs in the
+sometimes rugged paths of duty.”
+
+A gentleman acquainted with Mrs. Wilson mentioned an incident that
+occurred on a journey to the Mammoth Cave of Kentucky. Struck with
+the aspect of a distinguished person in the company--Mr. Emerson--the
+sculptress gave directions to stop near a bank of soft red clay, and,
+putting out one hand to grasp a sufficient portion of the material,
+with the other she signed to her subject to remain motionless. In a few
+moments she had modeled a very creditable likeness of the author.
+
+
+                             MRS. DUBOIS.
+
+Mrs. Cornelius Dubois, now residing in New York, and devoted to the
+charitable institution of the Nursery and Child’s Hospital, has shown
+much talent for sculpture and cameo-cutting. Mrs. Lee describes her
+as having discovered, accidentally, about 1842, a taste for modeling,
+in the following manner: “Her father had his bust taken. Before the
+casting, he asked his daughter her opinion of it as a likeness. She
+pointed out some defects which the artist corrected in her presence,
+upon which she exclaimed, ‘I could do that!’ and requested the sculptor
+to give her some clay, from which she modeled, with but little labor,
+a bust of her husband, and was eminently successful in the likeness.
+She then decided to take lessons, but illness having interfered with
+her plans, she abandoned the intention, and worked on by herself, with
+merely the instruction from the sculptor to keep her clay moist until
+her work was completed.
+
+“When she recovered her health sufficiently, she continued to mould,
+and, among other works, produced the likenesses of two of her little
+children, the group of Cupid and Psyche, a copy; and a novice, an
+original piece. She also carved a head of the Madonna in marble; a
+laborious and exciting work, which injured her health to such a degree
+that her physician interdicted her devotion to the arts.
+
+“She then went to Italy, where she desired the first artist in cameos
+to give her lessons. When he saw some that she had cut, he told her
+that he could teach her nothing; she had only to study the antiques.
+
+“Her works in cameos are ‘St. Agnes and her Lamb,’ ‘Alcibiades,’
+‘Guido’s Angel,’ ‘Raphael’s Hope,’ and the ‘Apollo.’ She took over
+thirty likenesses in cameo, requiring only an hour’s sitting, after
+which they were completed.
+
+“Notwithstanding the care of a large family, the superintendence of
+the education of her daughters, and the sad drawback of ill health,
+her energy has never failed her. She has always extended a helping
+hand and a smile of encouragement to young artists, one of whom was in
+Brown’s studio; another is the sculptor of the ‘Shipwrecked Mother,’
+who alludes to her kindness in his short autobiography.
+
+“But, while ascending the ladder to fame, her progress was arrested by
+ill health, and she now lives only to feel, as she says, how little she
+has done compared to what she might do could she devote herself to the
+art. Anxious to impart to others this great gift, and to stimulate her
+countrywomen to the development of any latent talent they may possess,
+she formed a class of young ladies, and most disinterestedly devoted a
+certain portion of her time to their instruction for several months.
+
+“While all who know her admire the artist for her talents, her
+unceasing energy, and philanthropic exertions, they behold in her the
+good wife, mother, and friend, and the elegant and accomplished woman,
+presiding over the social circle. Her heart remains true to the gentle
+influences of nature, while her genius is ever responsive to immortal
+Art.”
+
+
+                              ANNE HALL.
+
+Anne Hall was born in Pomfret, Connecticut. She was the third daughter
+of Dr. Jonathan Hall, a physician of distinction. Her talent for art
+was early developed, and her father, who loved painting, endeavored
+to foster the promise of her childhood. A visitor having presented
+her with a box of colors and pencils, she began to use them; and her
+father, who was pleased with her progress, procured for her a box of
+colors from China. She had a brother who admired and valued pictures,
+and whose praise encouraged her to continue her childish attempts.
+He supplied her with such materials as she needed for drawing and
+painting. Every hint she received from artists was turned to account,
+and she gave herself to her favorite occupation with enthusiasm. She
+delighted in imitating nature; and fruits, birds, flowers, and even
+fish and insects were subjects for her pencil; but she took especial
+pleasure in producing likenesses of her friends. Living in a retired
+part of the country, she had little access to paintings of value for
+a long time; but, being sent on a visit to a relative in Newport,
+Rhode Island, she received some instruction in painting on ivory from
+Mr. Samuel King, who had been an early teacher of Alston, and also of
+Malbone. Miss Hall gained less knowledge from her master’s lessons,
+however, than from copying some paintings of the old masters which her
+brother afterward sent home from Cadiz and other places in Spain. These
+were faithfully copied on ivory in miniature. “A Mother and a Sleeping
+Child,” still in her possession, shows her progress at this time. “A
+Mother in Tears,” copied from a painting on ivory, was much admired
+as evidence of fidelity in copying and skill in coloring. Studying
+the pictures procured by her brother, she learned to appreciate their
+excellences, while, by comparing them with nature, she was enabled to
+avoid the formality of a mere copyist. She began now to give form and
+coloring to the conceptions of her imagination, and attempted original
+composition.
+
+Miss Hall took some lessons in oil-painting from Alexander Robertson in
+New York, but has chiefly devoted herself to painting in water-colors
+on ivory. Her merits have been acknowledged by the most distinguished
+artists in New York and different parts of the United States to be of
+the highest order. Among her miniature copies of oil pictures by old
+masters, two from Guido were particularly noticed as executed with
+surprising vigor and a rich glow of coloring. Her groups of children
+from life were done with masterly skill, and finished with a taste and
+delicacy which a woman’s hand only could exhibit. Her portraits in
+miniature were acknowledged to possess exquisite delicacy and beauty.
+The soft colors seem breathed on the ivory rather than applied with the
+brush. A miniature group often sold for five hundred dollars.
+
+Dunlap mentions one of her compositions as “marked with the beautiful
+simplicity of some of Reynolds’s or Lawrence’s portraits of children,
+evincing a masterly touch and glowing in admirable coloring.”
+
+Miss Hall was unanimously elected a member of the National Academy of
+Design in New York. Her portrait of a lovely Greek girl, from life,
+was engraved, and the rare beauty of the painting was universally
+acknowledged. The floating silken waves of hair have an unrivaled
+effect. A group of two girls and a boy is admirable in composition,
+color, and expression. Miss Hall’s “management of infant beauty”
+is, indeed, unsurpassed; her flowers and children, Dunlap observes,
+“combine in an elegant bouquet.”
+
+One of the best of her original compositions is a group of a mother and
+child--Mrs. Jay and her infant. The first, clasping the babe to her
+bosom, has a Madonna-like beauty; the child is perfect in attitude and
+expression. Another group of a mother and two young children, the widow
+and orphans of the late Matthias Bruen, has a most charming expression.
+One of the children was painted as a cherub in a separate picture,
+much valued by artists as a rare specimen of skill. Miss Hall has also
+painted the portraits in miniature of many persons distinguished in the
+best social circles of New York. Several of her groups have been copied
+in enamel in France, and thus made indestructible. Three children of
+Mrs. Ward, with a dog and bird; a child holding a grape-vine branch;
+with portraits of Mrs. Crawford, widow of the sculptor, Mrs. Divie
+Bethune, and the daughters of Governor King, may be mentioned among
+numerous works, a single one of which has sufficient merit to establish
+the author’s claim to the reputation she has long enjoyed, of being the
+best of American miniaturists.
+
+
+                  MARY SWINTON LEGARÉ (MRS. BULLEN).
+
+The family of Legaré (once spelled L’Egarée) is of the old stock of
+French Huguenots who furnished the best blood of Carolina. Madame
+Legaré, an honored ancestress of our subject, being a firm Huguenot,
+immediately after the revocation of the Edict of Nantes sent to America
+her only child, Solomon, then seventeen years old; parting with him,
+as she believed, forever in this life, that he might be saved from
+peril, and not be tempted to abandon his faith. This boy--called by
+his descendants “The Huguenot”--went first to Canada, and in 1685
+to Charleston, South Carolina. He became the ancestor of a numerous
+posterity, of which, during the Revolution, thirteen bearing the name
+were patriot soldiers, active in the cause of American liberty.
+
+On the death of her husband, Madame Legaré left her native France and
+came to America. Here she found her son married, and the father of nine
+children. She had given him up for religion’s sake; God restored him to
+her arms, able to minister to her declining years. Her grandson, the
+great-grandfather of Hugh and Mary Legaré, died in 1774, at the age of
+seventy-nine. Yet, when the Colonies entered into a compact for mutual
+defense, he resolutely refused to be put on the list of the “aged and
+noncombatant,” saying he was able to “shoulder his musket with any
+man,” besides managing a charger equal to any trooper; he “would not be
+insulted by being laid aside.” Thus our heroine had a great-grandfather
+and two grandfathers, besides other relatives, in the patriot army
+of the Revolution, where youths of sixteen and eighteen often fought
+beside their grandsires.
+
+The father of Miss Legaré married a lady whose grandfather, Alexander
+Swinton, of a Scottish family, was sent from England, about 1728, as
+surveyor-general of the province of South Carolina. He lost a large
+estate by the villainy of executors and guardians; but after his death,
+Hugh Swinton, his son, was taken to Scotland by his uncle, and educated
+as became a young gentleman of birth and fortune, being married to
+a descendant of that John Hayne who fled from the persecution of
+the Puritans by Charles II. and his bishops, and fixed his home in
+Carolina. Thus, on both sides, a heritage of honor and religious faith
+is derived from her ancestors by the lady who fills a place in our
+humble annals.
+
+The name of Hugh Swinton Legaré is endeared to all South Carolinians,
+the more so as his genius and literary attainments commanded celebrity
+on both sides of the Atlantic. His sister’s talents are not inferior
+to his, though she has filled no place in the national councils nor
+at foreign courts, but in a quiet and uneventful life has made her
+impression on the social and intellectual advancement of the day. The
+youngest of three children who survived the father, she was born in
+Charleston, South Carolina, where her childhood and youth were spent.
+Mrs. Legaré, left a widow before she had completed her twenty-eighth
+year, devoted her time and means entirely to the education of her
+little ones. She was a woman of extraordinary mental powers, and her
+mind had been sedulously cultivated. Her ideas of education were broad
+and comprehensive, and her efforts were directed to the training of her
+children in such a manner as to make their lives exemplary, useful, and
+happy, as well as to develop their intellects. How well she succeeded
+the honorable career of all her children testifies. The noble character
+and life of her eldest daughter, Mrs. Bryan, and the brilliant fame
+achieved by the son, add evidence to the fact that she was one of those
+mothers whose offspring rise up to call her blessed. Mrs. Legaré died
+on the 1st of January, 1843, in the seventy-second year of her age.
+
+It was not strange that the children should grow up cherishing a deep
+and intense love for so excellent a mother. Mary, an infant when bereft
+of her father, very early showed a fondness for study, and a special
+predilection for the languages and the fine arts. Even before she
+was able to express emotions of admiration or delight, she evinced a
+remarkable sensibility both to melody and color. When less than three
+years old, she would be affected to tears or moved to joyous mirth by
+different musical sounds. Beautiful pictures had for her young fancy
+irresistible fascination at an age when she could hardly be supposed
+able to recognize the objects they represented. Her mother frequently
+observed of her little Mary that, when she showed signs of impatience
+or weariness, or fretted for want of amusement, all that was necessary
+to soothe her discontent or charm her into happiness was to furnish her
+with paper and a pencil. The child would amuse herself for hours with
+her drawings. Her decided talents for music and painting--coloring in
+particular--were soon perceived by this tender mother, who determined
+to give her daughter every possible aid in the cultivation of tastes
+so congenial to her own, Mrs. Legaré being herself accomplished in no
+ordinary degree in both these lady-like pursuits.
+
+Miss Legaré had resolved to make herself mistress of the languages even
+before she could read and write English with any great proficiency.
+She had in these studies, and other branches of scholarship, the best
+teachers that could be procured. Her mother was her first instructor
+in music. But it was otherwise in the art to which she had determined
+especially to devote herself; no efficient teacher of drawing could be
+found. Although remuneration for lessons was liberal--thirty dollars
+per term being paid--it was almost impossible to find any one capable
+of giving proper instruction. The young girl was therefore obliged to
+practice unaided the art she began to love with increased enthusiasm,
+and her progress was still more retarded by the want of models or
+scenes in nature that might take her fancy. The low country of South
+Carolina--affording the only landscapes she had ever seen--abounds in
+flat and swampy districts. There is much beauty for an unaccustomed
+eye in the bleached wilderness of pine-land, with its stately, solemn
+groves, through which the wind surges with ocean-like murmur; but it
+is not of the kind available for the artist. Nor is that of the swamp,
+with its immeasurable extent of wood and impenetrable undergrowth,
+through which may be seen at intervals the dark, turbid water soaking
+its way through masses of tangled weeds, the slimy abode of reptiles,
+or the hiding-place of the water-fowl. There are green morasses choked
+with vegetation, into which the sunbeams never penetrate; or over
+the quagmire, rank with decay, rise giant trees, twined with thick
+creepers, and burying the matted brush beneath them in black shadow.
+The trees are often loaded with the gray hanging moss that forms the
+ornament of woods in the low lands. The mixture of gloom and beauty, of
+luxuriance and horror, is a striking novelty to the Northern visitor.
+The ragged thickets, too, are alternated with islands of lovely
+verdure; the water-lily decks the dark lakelet with its broad leaves
+and white flowers; and graceful vines festoon the evergreens, mingling
+bright blossoms with their leaves of sombre verdure.
+
+Such scenes presented little to tempt the copyist, yet, notwithstanding
+her difficulties and discouragements in painting, Miss Legaré continued
+to struggle on toward the idea of perfection in her untutored
+imagination. Her brother Hugh was wont to remark that “her passion
+lay there,” in the painter’s art. She found not much sympathy in this
+chosen pursuit, till some time in the year 1827, when she became
+acquainted with a gentleman who possessed a similar taste, cultivated
+in a high degree by superior knowledge of art. This was Colonel John
+S. Cogdell, who at that time had considerable celebrity as an amateur
+painter. Miss Legaré submitted her efforts to his careful criticism,
+and received from him the instruction she needed. She has attributed
+her subsequent success to his aid. He procured for her study the
+finest new pictures that could be obtained. Among the artists whose
+works were now introduced to her, Doughty became, to her fancy, the
+beau ideal of excellence. Even when a child she had been accustomed to
+turn away in disgust, with a “’Tis not pretty, mamma,” from flaring
+or exaggerated colors in a picture. Doughty’s subdued coloring, and
+soft, dreamy style, kindled her imagination, and aroused her ardent
+emulation. “Could I but paint one picture like Doughty’s!” she would
+often exclaim; and it may be said her earliest initiation into the
+school of Nature, and into an apprehension of her seductive beauties,
+was by seeing the works of this eminent American landscape-painter,
+whom his country allowed to languish in bitter penury, for want of the
+appreciation his genius should have commanded. Miss Legaré’s first
+attempt to copy one of his paintings succeeded beyond the most sanguine
+expectations of herself and her friends. Colonel Cogdell encouraged her
+still more by saying, “You have an eye for color, which must insure you
+success in copying nature.”
+
+In truth, the young artist did not long remain satisfied with spending
+all her energies merely in copying the works of others. Though she
+had never visited any other region than the low forest country of her
+native state, she endeavored to create scenes by combining various
+objects into a single composition. Landscapes and rustic scenes in
+every variety were her delight; yet, having never seen a mountain,
+nor the country in any aspects different from the monotonous views in
+her neighborhood, how was she to produce an original picture? How do
+justice in any way to the powers of which she felt conscious? It was
+not so easy for a lady to travel. In the South particularly, she would
+be hampered in many ways; and “Mrs. Grundy” would have devoted to death
+by torture any young girl who could have done so heinous a thing as
+take a journey of observation by herself! Miss Legaré, therefore, was
+shut in to contemplation of the boundless ocean and the swamp forest
+almost as limitless. Dark scenes and deep shadows, with warm glowing
+skies became features in her paintings, and her trees of great variety,
+clear, deep water, and skies were pronounced by critics superior to
+those of the artists she most admired. She adopted in a measure the
+style of Ruysdael, mingled, in the more delicate shades, with the
+warmth of Cuyp.
+
+In the summer of 1833 her longing wish was gratified. She went,
+accompanied by her mother, to spend the warm season amid the glorious
+mountain scenery of the Blue Ridge in North Carolina. This region has
+been thought to surpass in magnificence and majesty any mountainous
+district in the Atlantic States. Miss Legaré was far more delighted
+with these mountains than with the scenery of Lake George and the
+Hudson, which she had visited the year before, finding it, as well
+as the Alleghany range, to disappoint her expectations. But when, on
+her approach to Asheville, her eyes rested on the exhaustless variety
+of form and tint, blended into soft harmony, on the distant Blue
+Ridge, the beauty and sublimity of the scene filled her with emotions
+she had no language to express. There was awful grandeur as well as
+touching loveliness in the view. Pisgah and surrounding peaks towering
+skyward--the summit covered with vapor that glowed with gorgeous
+colors, like a drapery of scarlet and gold--the vast mass played on by
+the mellow purple and violet tints peculiar to lofty mountains--the
+delicate azure mingling with fairy lights of golden violet--all
+softened into harmony by an atmosphere so transparent, so Claude-like
+in its purity, that it seemed the movement of a bird could be discerned
+at a distance of forty or fifty miles! Miss Legaré here realized, for
+the first time, what few out of Italy can realize, the naturalness of
+Claude’s landscapes; the exquisite art of his unequaled coloring, which
+gives to his delineations of Alpine scenery so wonderful an effect.
+
+Miss Legaré’s intense enjoyment of the beauties of nature in this
+favored region during a three months’ residence gave her an invincible
+repugnance to the work of copying the productions of any human artist.
+She always painted in oil; and, having brought no materials with her,
+could not transfer to her sketches the colors she so admired while on
+the spot. But memory had faithfully treasured these delicious pictures,
+and on her return to Charleston she lost no time in putting them on
+canvas. “A View on the Suwannee,” now in possession of the widow of
+Colonel Cogdell, was pronounced by him a master-piece. Another view
+on the French Broad, illustrating the distinguishing characteristics
+of the scenery of that river, was purchased in 1834 by the proprietors
+of the Art Union in New York. The first scene that had so struck Miss
+Legaré was painted on too large a scale. It was, however, much admired;
+and the same subject, represented in smaller compass, is esteemed a
+finer picture.
+
+In Miss Legaré’s landscapes she gives to her coloring and combinations
+as much idealizing as truth to nature will admit. An artist, who was
+delighted both with her music and her painting, observed of the latter
+to her brother Hugh, “It is natural, but more beautiful than nature; it
+is poetical.” Another, when Hugh remarked that she must go to Italy,
+replied, “No, your sister studies our own wild nature--rich, romantic,
+glowing under a tropical sun, luxuriant when touched with frost; if she
+go to Italy, or study the old landscape-painters, she may give a finer
+finish, but it will be artificial.” These artistic criticisms gave her
+encouragement; and when she repeated to Mr. Cogdell what was said in
+praise of her works, he would say, triumphantly, “I told you so, but
+you would not believe me!”
+
+Her rich foregrounds, transparent water, and distant mountains, as
+well as her skies and foliage, have been highly praised by Sully and
+other eminent artists. She owed to Mr. Cogdell her introduction to the
+science of perspective, having been accustomed in early efforts to be
+guided by the eye alone. A knowledge of anatomy was of use, as she
+always introduced figures into her landscapes, painted with fidelity
+and spirit. She excels, besides, in the delineation of animals, wild
+and domestic, especially dogs, cows, and sheep. A Spanish pointer,
+painted nearly of life size, was so perfect in anatomy that Dr. Sewell
+of Washington pronounced it a study for a student of that branch. “The
+Hounds of St. Bernard” is an admirable painting. The piteous, appealing
+expression in the face of one that is represented howling for aid
+struck even every child who saw it. A little girl exclaimed, “How sorry
+that dog is! he is afraid the people won’t come.”
+
+Besides animals, Miss Legaré has painted portraits; but this branch
+never enlisted her enthusiasm--that was for landscapes.
+
+On the appointment of her brother as a member of President Tyler’s
+cabinet in 1841, Miss Legaré accompanied him to Washington. Her life
+of calm enjoyment was soon disturbed by sorrow. She was bereaved of
+mother, sister, and brother within the space of a year. She had long
+cherished a purpose of visiting the Western country, and in June, 1849,
+went to Iowa. Finding the country very productive and well suited to
+farming purposes, she sent for some of the children of her deceased
+sister. They came with their families to the new home, and formed
+a colony of twenty-one persons. The scenery in Iowa, though often
+beautiful, is tame compared to the mountainous country of the Atlantic
+states. Green fields, luxuriant woods, flower-bordered streams,
+and groves carpeted with wild grass, forming a charming variety of
+landscape, are presented; but there are few scenes that startle with
+their magnificence or grandeur. Miss Legaré found, in the new cares
+that surrounded her, and the habits of life so different from those to
+which she had been accustomed, such a pressure of occupation, that her
+beloved art was for a time abandoned. The Western housekeeper usually
+finds little time for the pleasures of the imagination; but she was
+not one to forget the best interests of others, particularly of her
+own sex. She established an institution called “Legaré College,” for
+the liberal education of women, at West Point, in Lee County, Iowa.
+Her talents and taste, her varied and uncommon learning and energy, as
+well as her means, were devoted to the support of this institution;
+but its aim was too far in advance of the age in Iowa, or, rather, its
+operations were impeded by that utilitarian spirit which has set its
+heavy, ungainly foot on every high aspiration in this country, and has
+prevented the progress of woman toward improvement that might enlarge
+her sphere of usefulness.
+
+A writer who is intimately acquainted with Miss Legaré--now Mrs.
+Bullen--thus speaks of her accomplishments:
+
+“The literature of the world, its science and its art, are with her
+as household things. They flow from her eloquent tongue as music from
+the harp of the minstrel. No pent-up Utica confines her powers--no
+Aztec theory of woman cripples her labors, or impoverishes her mind
+or her policy. A Mississippi feeling, and theory, and action actuate
+her, and we may all look for corresponding results.” Her influence in
+the community where she resides has directed attention to both art and
+literature.
+
+Mrs. Bullen intends resuming the pencil she has for years almost
+entirely laid aside. She has completed a design for a painting to be
+called “The Squatter’s Home.” It shows a wagon under the shade of a
+Western group of tall trees, which serves for the sleeping-place of the
+emigrant family. The mother is washing beside a stream; the children
+are gathering strawberries.
+
+
+                           HERMINIE DASSEL.
+
+Mrs. Dassel was a native of Königsberg, Prussia. Her father’s name was
+Borchard; he was a banker, and at one time a man of fortune, which
+enabled him to secure to his children an excellent education. He lost
+his property in 1839, in consequence of financial troubles in America;
+the liquidation of his affairs reduced his possessions to a small farm,
+depriving his family of teachers, servants, horses and carriages,
+and all the comforts which they had enjoyed. Upon the elder children
+devolved the duties of housekeeping, and the cultivation of the farm to
+some extent, as well as the instruction of the younger members of the
+family. At this time Herminie devoted herself to the art of painting
+as a profession, hoping to derive from it a support for herself and
+family. She would attend to her household duties in the morning, and
+then, with port-folio in hand, wander off over the dusty or muddy road
+to the city, and again return to attend to the flowers and cabbages,
+and the making of cheese and butter. She soon had the satisfaction of
+receiving a commission for a full-sized portrait of a clergyman; this
+she painted in the church, with her model on the altar, the country
+folk standing about, astonished and wondering that such a tiny little
+girl could accomplish such a marvel.
+
+She soon went to Düsseldorf, attracted thither by the pictures of
+Sohn, which she saw in an exhibition in her native city. She studied
+with this artist four years, supporting herself entirely by her own
+exertions. Her pictures found ready sale, consisting of such subjects
+as “Children in the Wood,” “Peasant Girls in a Vineyard,” “Children
+going to the Pasture with Goats,” etc.
+
+After her return home she applied herself again to portrait-painting,
+in order to obtain money sufficient for a tour to Italy, which was
+the great end of her ambition. She was fortunate enough to be able
+to accumulate in one year a thousand dollars. Out of this sum she
+furnished her brother with an amount large enough to secure his
+promotion to a doctor’s degree, as she wanted to have him accompany her
+as a traveling companion.
+
+A journey to Italy was much opposed by all her relatives; a girl so
+young, fresh, and diminutive could not protect herself; she would
+inevitably encounter serious misfortunes. But her mind was made up; she
+packed her things, took leave of her friends, and one morning started
+off on the way to Vienna, directing her brother to follow her. She was
+never in want of friends; every where persons took an interest in her;
+without money one day, it was sure to come on the next; and her faith
+was never shaken by any accident or hardship. In Vienna she began her
+studies, seeking models in the streets, and taking them to her room.
+From Vienna she passed into Italy. Of her studious life in Italy many
+sketches bear witness.
+
+The breaking out of the revolution in 1848 obliged Herminie to leave
+Italy, and as the route to Germany was unsafe, and she feared becoming
+a burden to her friends, she resolved to go to the United States. An
+opportunity presented itself to travel in company with a family in
+whose house she lived after her brother had been called home by the
+government. She rolled up her sketches, put them in a tin box, and
+repaired to Leghorn. When about to pay her passage, the draft she
+presented was refused. She sat weeping over the disappointment, with
+letters before her from friends in Rome and Germany, imploring her
+to abandon this suicidal plan of emigration; representing strongly
+the dangers of the journey, the hardships she would encounter in a
+foreign land, without money and without friends. She came down to
+supper. A traveler just arrived, observing her eyes red with weeping,
+was led to show an interest in her; she related her troubles, upon
+which the stranger examined the draft, and, finding it good, gave her
+the cash for it. This gentleman was an Italian, and she continued in
+correspondence with him. The next day she was on board a vessel bound
+for this country.
+
+She arrived in February, 1849. The only letter of introduction she
+brought was to Mr. Hagedorn, of Philadelphia, in whom she subsequently
+found a friend and protector. She landed in New York, and at once
+began to paint. Her first pictures, representations of Italian life,
+exhibited in the Art Union, were much admired, and some of them were
+purchased by that institution. She found no difficulty in making
+friends.
+
+Five months after her arrival she married Mr. Dassel. After her
+marriage she led a happy life, with cares and sorrows incidental to the
+care of a family, and to an arduous profession. She triumphed over all,
+however, and realized all the comforts which belong to success.
+
+Mrs. Dassel was most successful in portraits in oil of children
+and pastel-portraits. Her painting of “Effie Deans” attracted much
+attention. Her latest works are copies of Steinbruck’s “Fairies”
+and the “Othello” in the Düsseldorf Gallery, which are unusually
+successful works of this class. She made steady progress in her art,
+and would have doubtless attained a prominent position had she lived to
+develop her powers by practice and study.
+
+We should not be doing justice to this noble woman not to allude to the
+social virtues which endeared her to so many friends. With nothing to
+rely upon but her own exertions, with serious illness in her family,
+she was never so poor in time or money as not to interest herself in
+behalf of others more unfortunate than herself. Countless instances
+are known of her serviceable kind-heartedness. She exerted herself at
+the time of the dreadful shipwreck of the Helena Sloman, and obtained
+by personal efforts, in a few days, the sum of seven hundred dollars;
+and her ministrations among the poor were constant during the severe
+winter of 1853. She has, it is true, many peers in similar acts of
+benevolence, but few who practiced deeds of this kind in a position so
+little calculated to develop them.
+
+Mrs. Dassel died on the 7th December, 1857, and was buried in Greenwood.
+
+Jane Stuart was the youngest child of Gilbert Stuart, the eminent
+portrait-painter. Like many of her sisters in art, she inherited the
+genius she discovered in early life; but it was not till after her
+father’s death that the talent she had shown found development in the
+practice of art. She has resided for a long time at Newport, Rhode
+Island, in the enjoyment of the celebrity her talents have acquired.
+
+Mrs. Hildreth of Boston deserves mention, especially for her portraits
+of children in crayon. Miss May painted landscapes in Allston’s style.
+Mrs. Orvis has been mentioned as a flower-painter of remarkable skill.
+Hoyt remarked that he knew nothing better in coloring than her autumn
+leaves and wild flowers. In this style, Mrs. Badger, of New York, has
+acquired reputation by her book of “The Wild Flowers of America,”
+published in 1859. The drawings were all made and colored from nature
+by herself.
+
+Mrs. Hawthorne of Boston has painted many beautiful pieces. An
+“Edymion,” which was greatly admired, she presented to Mr. Emerson.
+She also modeled the head of Laura Bridgman. Mrs. Hill is a
+highly-successful miniature-painter.
+
+Mrs. Greatorex is a landscape-painter of merit, and is rapidly
+acquiring distinction. She has a deep love of wild mountain and lake
+scenery, dark woods, and rushing waters; and her productions are marked
+by the vigor of tone and dashing, impetuous freedom of touch especially
+adapted to that kind of subjects. This felicitous boldness she has in a
+remarkable degree, and her works are marked by truthfulness as well as
+strength. She has painted many pieces of romantic scenery in Scotland
+and Ireland. Her amiable character, her ready sympathy and benevolence,
+have interested many friends in her success.
+
+Mrs. George Woodman, the eldest daughter of Mr. Durand, has painted
+some excellent landscapes; also Mrs. Ruggles. Miss Gove’s crayon heads
+have been much noticed and admired. Miss Caroline May’s landscapes have
+proved her claim to the double wreath of artist and authoress. Miss
+Granbury’s flowers have attracted attention in the Academy exhibitions.
+Some pretty interior scenes were in the exhibition of 1859, painted by
+Miss Juliana Oakley. It is necessary to omit many names of artists who
+have not yet had experience enough to constrain public acknowledgment
+of the genius they possess.
+
+
+
+
+                             CHAPTER XIX.
+
+                        THE NINETEENTH CENTURY.
+
+ MRS. LILY SPENCER.--Early Display of Talent.--Removal to New
+ York.--To Ohio.--Out-door Life.--Chase of a Deer.--Encounter
+ with the Hog.--Lifting a Log.--Sketch on her bedroom
+ Walls.--Encouragement.--Curiosity to see her Pictures.--Her
+ Studies.--Removal to Cincinnati.--Jealousy of Artists.--Lord
+ Morpeth.--Lily’s Marriage.--Return to New York.--Studies.--Her
+ Paintings.--Kitchen Scenes.--Success and Fame.--Her Home and
+ Studio.--Louisa Lander.--Inheritance of Talent.--Passion for
+ Art.--Development of Taste for Sculpture.--Abode in Rome.--Crawford’s
+ Pupil.--Her Productions.--“Virginia Dare.”--Other Sculptures.--Late
+ Works.--Mary Weston.--Childish Love of Beauty and Art.--Devices
+ to supply the Want of Facilities.--Studies.--Departure from
+ Home.--Is taken back.--Perseverance amid Difficulties.--Journey
+ to New York.--Sees an Artist work.--Finds Friends.--Visit to
+ Hartford.--Return to New York for Lessons.--Marriage.--Her
+ Paintings.--Miss Freeman.--Variously gifted.--Miss Dupré.--The Misses
+ Withers.--Mrs. Cheves.--Mrs. Hanna.
+
+
+                           LILY M. SPENCER.
+
+Mrs. Spencer’s high position among American artists is universally
+recognized in the profession. In her peculiar style, her executive
+talent is probably unsurpassed in the country. She has encountered many
+difficulties in her path to success, and a glance at her history will
+not be without encouragement to those who possess a portion of her
+energy and perseverance.
+
+Her parents, whose name is Martin, were born in France, but removed
+to England soon after their marriage. They were persons of education,
+refinement, and good social standing. Mr. Martin taught French in
+academies in Plymouth and Exeter, and gave lectures at his own house on
+scientific subjects, especially optics and chemistry. Mrs. Martin at
+one time gave instruction in a ladies’ seminary in London. Lily owed
+all her proficiency to her parents’ judicious training, and never went
+to a school. Her talent for drawing began early to exhibit itself.
+One day, when she was about five years old, she got at some diagrams
+her father had prepared for a lecture on optics, and drew an eye so
+correctly that her turn for art was at once perceived.
+
+She was the eldest of four children, and was not six years of age when
+her parents removed to New York, where Mr. Martin was induced, by Dr.
+Hosack and others, to open an academy. Mr. John Van Buren was one of
+his pupils. Lily’s drawings were much coveted by the little scholars,
+who begged them from her, and gave in return the most flattering
+expressions of admiration.
+
+When between eight and nine, she was taken to the old Academy of
+Design. There she selected the “Ecce Homo,” as a special subject for
+imitation. The girl-pupils laughed at her taste, and Lily, abashed,
+burst into tears. Mr. Dunlap, then a teacher, came and asked what was
+the matter. When informed, he reproved the girls, and predicted that
+the young stranger would be remembered when they were all forgotten.
+
+Her power of copying whatever pleased her childish fancy increased,
+though she did not then appreciate the necessity of a patient study
+of the elementary principles of art. Her health was at this time so
+delicate that her parents feared she would not live to reach maturity.
+The desire to afford her the advantage of country air and exercise,
+with the want of very attractive prospects for their enterprise in New
+York, determined them to go to the West. They purchased a farm in Ohio,
+a few miles from Marietta, where they soon had a picturesque Swiss
+cottage, with a beautiful garden, and a mineral closet filled with the
+presents of Mr. Martin’s former pupils.
+
+Lily was enchanted with the change from a city life, and with the
+liberty she enjoyed of roaming at will through woods and fields, for,
+her health being the paramount object, no restraint was placed on the
+child. Her time was passed in working in her garden, playing and racing
+with other children, hunting for insects, shells, and minerals, often
+wet up to the waist in the search, while her drawing was forgotten.
+Thus constantly, like Rosa Bonheur, in the open air, she rapidly
+regained strength and health. One day, when about thirteen years old,
+she was walking in the woods with her father. A deer, frightened from
+his covert, dashed by them to leap a fence. Lily wanted a pet, and
+instantly ran after the animal. As he sprang over the fence she caught
+his hind legs and clung to them, while her father’s dog throttled the
+captive. Some men came up directly, and, seeing the girl with her face
+covered with blood, killed the deer, notwithstanding her entreaties
+that he might be spared.
+
+On another occasion they were killing hogs at Mr. Martin’s place. A
+powerful young porker fled foaming and champing from the slayers of his
+brethren, and got over a fence into the orchard. Lily ran to stop his
+flight, and the desperate animal made at her. She tried to get a stick
+to defend herself, but her feet slipped on the apples that strewed
+the ground, and she fell, in the very gripe of the hog. The maddened
+creature might have injured her fatally, but her faithful dog sprang
+upon him, and diverted his rage to another enemy. Lily saw his teeth
+buried in the poor dog’s shoulder, and, resolved not to abandon her
+deliverer, struck the hog a violent blow and ran; the foe, still held
+by the dog, in swift pursuit. She was overtaken close to a drain, into
+which the three combatants tumbled together. At this juncture the men
+came running to the spot with three or four dogs, and rescued both her
+and her preserver, that to the last would not relinquish his hold of
+the porker. Lily’s first care was to pull into place the poor dog’s
+dislocated shoulder.
+
+An illustration of her impulsive nature, and readiness to give
+assistance where it was needed, is an incident that occurred a few
+months later. Six or seven men were burning logs in a field. She saw
+them from the house making signals that they wanted one more hand to
+lift a log. Seizing a crowbar, the young girl ran to the spot, placed
+it under the log, and helped to raise it to the burning pile.
+
+Her love of sketching soon began to revive. In her fourteenth year she
+took a fancy to see the effect of a new style of costume which she
+thought would be very becoming to herself. She drew a lady’s figure,
+thus attired, with black crayons and coarse chalk, on the wall of her
+bedroom. Pleased with her creation, it occurred to her that the lady
+ought to be attended by admiring beaux, and she added the figures of
+two gentlemen. The group was delineated one day when the other members
+of her family were absent, and, fearing that her mother would be
+displeased at her for daubing the walls, she hung her dresses over the
+sketch, so as to screen it from observation.
+
+The next day her young brothers were playing ball in her room, and
+chanced to discover the group on the wall. Full of boyish mischief,
+they decided that the richly-dressed lady would make a fine target,
+and, in spite of their sister’s remonstrances, they commenced throwing
+their balls at her. Lily, in great distress at the menaced destruction
+of her work, complained to her mother; and instead of being reprimanded
+for defacing the wall, was told to go on with her sketch, while the
+boys were reproved, and forbidden to enter her room. Encouraged by the
+praise she received, Lily worked on diligently. She drew a colonnade
+behind her figures, then added other groups, representing persons
+enjoying themselves at a place of fashionable amusement. The background
+was a landscape of hill and valley, rock and sea. This picture being
+much admired, she went on covering the walls of her room from floor
+to ceiling with the creations of her romantic imagination. Columns
+and statues, fountains and grottoes, appeared in her scenes of luxury
+and magnificence; and her landscapes were as charming as the forms
+with which she enlivened them. In every panel was a distinct picture.
+All her leisure hours, after milking the cows and hoeing the corn,
+were devoted to this amusement. It was true of her, as Halleck says
+it was doubtful of his Wyoming maiden, that she worked in the field
+“with Shakspeare’s volume in her bosom borne;” with Sismondi also, and
+volumes of history from her father’s splendid library.
+
+The farmers in the neighborhood, and the ladies and gentlemen of
+Marietta, came to see the curious sketches, both on the walls and on
+canvas, of which they had heard. Saturday afternoons were appointed
+for the reception of visitors. The fame of Lily’s talents began to
+spread rapidly, and she was mentioned with praise in several newspaper
+notices. At her father’s persuasion she tried to study perspective and
+anatomy, but it was more agreeable to her impetuous nature to sketch
+from her own glowing fancy, than to pore over the dry bones and plates
+of different parts of the human frame. In coloring, also, she would
+trust to her intuitive perceptions rather than to a regular course of
+study. Her father procured her muslin for her experiments, and, after
+covering many yards, she became fully aware of her own deficiencies,
+which she resolved to conquer. Her unwillingness to be taught arose
+from the self-reliance of an independent character, and not from an
+inflated idea of her own acquirements.
+
+Her parents became more and more solicitous to give her all the
+advantages they could procure; and a letter from a wealthy gentleman
+of Cincinnati, describing the opportunities that would be offered for
+studying in that city, determined them to leave the farm and remove
+thither.
+
+Miss Martin’s pictures were exhibited in Cincinnati, and attracted the
+attention of connoisseurs. They were large, as her figures of life
+size best enlisted her own sympathies. Her battle with the world now
+commenced in earnest. The jealousy of rival artists was awakened by the
+certainty that a rising genius had come among them. Flippant critics
+pleased others and their own vanity by decrying her productions. But
+she continued to paint, and sometimes had good fortune in disposing
+of her pictures, practicing her art with undiminished industry and
+enthusiasm, even while discouraged by the want of patronage.
+
+On one occasion she was in company with Lord Morpeth. Addressing him as
+“Mr. Morpeth,” she was reminded apart by her father that she ought to
+say “my lord.” “No, indeed,” replied the young lady; “I never saw a man
+I would call ‘my lord’ yet.”
+
+Miss Martin was married in Cincinnati to Mr. Spencer. When surrounded
+by the cares of a young family she continued to paint, but her style
+changed. At first her pictures had been poetical and semi-allegorical.
+She liked to embody some suggestive idea, or a whole history, in a
+group, as in several of her scenes from Shakspeare. Her “Water Sprite,”
+representing the escape of Spring from Winter, is of this class. After
+she became a mother, her taste was more for bits of domestic life,
+and she found matter-of-fact pictures more salable than her cherished
+ideals.
+
+After living some seven years in Cincinnati, Mrs. Spencer returned with
+her family to New York, stopping a year in Columbus, Ohio, where she
+painted portraits and fancy-pieces. In New York she visited the Academy
+for the purpose of improving herself by drawing after the antique,
+often going in the evening, as her labors and cares absorbed her during
+the day, and sitting among the male art-students. One, who noticed the
+quiet, modest-looking girl at work, undertook to point out the best
+models, but soon discovered he was trying to teach his superior. She
+was made a member of the Academy. Her “May Queen” and “Choose Between”
+were much praised in the Art Union Exhibition. “The Jolly Washerwoman,”
+sold by that institution, became celebrated. It was painted impromptu
+from a scene in the artist’s own kitchen. A connoisseur was so much
+pleased with one of her pictures that he insisted on paying more than
+was asked for it.
+
+“The Flower Girl” and “Domestic Felicity,” exhibited in Philadelphia,
+elicited general admiration, and proved Mrs. Spencer’s possession of
+the highest order of talent. A connoisseur remarked that the latter
+picture excelled any other production that had appeared in the gallery
+since its first opening. Its vigor and freshness were as remarkable as
+its rich and harmonious coloring, while the drawing and composition
+were pronounced admirable. It represented a mother and father bending
+over their sleeping children, and several artists observed that they
+knew of no one who could surpass the painting of the mother’s hand.
+The managers of the Art Union in Philadelphia were so delighted with
+this picture that a few of their number privately subscribed to
+purchase it, the rules not allowing directors to expend the funds
+except for paintings selected by the prizeholders. It was afterward
+sold to an association in the West. The Western Art Union purchased
+several of Mrs. Spencer’s works, and had one engraved for their annual
+presentation plate.
+
+Mrs. Spencer found her kitchen scenes so popular that she adopted
+that comic, familiar style in many of her paintings. “Shake Hands?”
+represents a girl making pastry, and holding out her floured hand with
+a humorous smile. This manner the artist has been obliged to adhere
+to on account of the ready sale of such pictures, while the subjects
+that better pleased her own taste have been neglected. Yet she has
+contrived to introduce a moral into every one of her comic pieces.
+“The Contrast” embodies a touching story. It is in two pictures: one
+showing a pampered, petulant little dog, barking at some intruder from
+his velvet cushion surrounded by silken draperies; the other, a meagre,
+skin-and-bone animal, creeping through the pitiless snow-storm in
+search of food for its young ones. Mrs. Spencer excels in her pictures
+of different animals.
+
+Some time ago Mrs. Spencer made a series of original designs--twenty
+or thirty--illustrative of scenes in the volumes of “The Women of the
+American Revolution.” All these have not yet been published. Perhaps
+more of her paintings have been engraved than of any American artist.
+All are of her own composition, and most of them are domestic scenes.
+One called “Pattycake” shows a young mother, with her baby on her lap,
+teaching it to clap its hands; another, “Both at Play,” represents a
+father teasing his little girl by holding an air-balloon just out of
+her reach. These are done in the highly-finished German style adopted
+by Mrs. Spencer. She usually takes her own children for models.
+
+“The Captive” exhibits a slave in market, her master lifting the veil
+that concealed her charms. Its touching expression is admirable.
+“Reading the Legend” shows a lovely lady listening to a reading within
+view of a noble castle; but we do not like the taste of either the
+costume or the attitude of the reader.
+
+Mrs. Spencer encountered serious difficulties in New York before she
+acquired the fame she now enjoys. In 1858 she purchased a lovely place
+in a retired part of Newark, New Jersey, where she now resides with
+her happy family. Her studio is at the foot of her garden, a large
+building, with its walls covered by sketches, casts, etc., where the
+artist labors assiduously. Visitors from distant cities come here to
+see her paintings, and she usually has several in progress at the same
+time. “The Gossips,” a large painting _de genre_, with ten figures of
+women and children, has attracted much attention. The scene represents
+the yard of a tenement-building, where women are engaged in washing,
+preserving fruit, cooking, and other sorts of work. They have gathered
+into a group to listen to some tale of scandal from a stranger, with a
+basket of bread; and the children are getting into mischief the while.
+A little boy has fallen into the bluing-tub of clothes, while a younger
+girl is laughing violently at his mishap; a dog has laid hold of the
+meat a boy has forgotten to look after, and a cat in the window is
+skimming the pan of milk. The peaches in a basket in the foreground
+look as if they might be picked out and eaten, so rich and fresh is
+the coloring. The effect of light on one of the female figures is
+exquisitely beautiful. The whole picture is highly finished, and its
+merits are enough to make a reputation for any artist.
+
+Mrs. Spencer’s pictures may be seen in many of the shops where works of
+art are for sale, and the prints engraved from them are very numerous.
+She has now a prospect of independence and success before her, and may
+achieve triumphs greater than any she has yet accomplished.
+
+
+                            LOUISA LANDER.
+
+This young lady is a native of Salem, Massachusetts, and descended from
+some of the oldest and most respected families of that good old town.
+She is a daughter of Edward Lander and Eliza West, whose father was
+claimed as a relative, while on a visit to London, by Sir Benjamin West.
+
+Mrs. Lander’s maternal grandfather, Elias Haskel Derby, sent the first
+American ship to India, giving the first impetus to our commerce with
+that country. His were the first American vessels seen at the Cape of
+Good Hope and the Isle of France. Captain Richard Derby, his father,
+was noted in the Revolutionary struggle. He bought and presented to
+the town of Salem the cannon which Colonel Leslie attempted to seize.
+When he demanded the arms, at the head of his regiment, Captain
+Derby’s reply was, “Find them, and take them if you can; they will
+never be surrendered!” and his courage preserved the treasure. He was
+instrumental, too, in inciting his fellow-townsmen to the exploit of
+raising the drawbridge and sinking the boats--the first repulse of the
+British in the commencement of hostilities.
+
+Colonel F. W. Lander, the Pacific Railroad explorer, is the brother
+of the subject of our sketch. In various branches of her family has
+artistic talent shown itself. Her grandmother and her mother were
+remarkable for their fondness for art, and gave evidence thereof
+in works of their own. In the old family mansion, where Louisa’s
+childhood was spent, are carvings upon the walls and over the lofty
+doors, designed by her grandmother, and executed under her directions.
+Similar designs, evincing both taste and skill, decorated the mahogany
+furniture; and the canopies and coverings of the furniture were
+embroidered by the lady, according to the fashion of the day, her own
+fancy supplying the beautiful designs. It can hardly be said when
+commenced the artist-life of the young girl brought up under such
+influences. She was, as a child, singularly grave and thoughtful;
+serious and reserved at all times, and decided in her judgment, which
+was always according to the dictates of sound sense. A love of art,
+which might be called an ardent passion, possessed her nature from her
+earliest years. On one occasion--the first time she had an opportunity
+of seeing a work of real merit--she stood quiet and absorbed in
+admiration. Her sister, who had been pointing out the peculiar touches
+of skill, turned to ask her opinion, and saw her face bathed in tears.
+This was a surprising demonstration for a child who had been scarcely
+ever known to exhibit emotion, and whose self-control was so uncommon
+that her manner usually appeared cold. It seems as if art alone could
+arouse the full ardor and energy of her spirit.
+
+When a very little child, at different times, she modeled two heads
+for broken dolls. One was made of light sealing-wax, and the modeling
+of both was so wonderfully accurate that her mother would not allow
+the child to play with them, but kept them as curiosities. On another
+occasion Louisa brought one of her drawings from school, so admirably
+executed, especially in the face, that her relatives thought the touch
+a happy accident, and were inclined to disbelieve her assertions that
+she had meant to produce the very effect given to her picture.
+
+After her talent for sculpture had been fairly developed, she resolved
+on the devotion of her life to that branch of art. Her intense
+perception and enjoyment of the beautiful, awakened a thirst within her
+which could only be slaked at the fountain-head; and, driven forth, as
+it were, by this longing, she left her happy home in Salem--her circle
+of beloved relatives and congenial friends--to go among untried scenes,
+fixing her abode in Rome. There she speedily acquired a reputation
+which drew around her friends interested in the progress and triumph of
+genius. She was a pupil of the lamented Crawford--the only one he ever
+consented to admit into his studio, for he had discerned in her early
+efforts the promise of future eminence. She evinced, from the first, a
+remarkable power in portraits, catching the most delicate and subtle
+shades of likeness. One of her productions is a bust of Governor Gore,
+executed from two oil portraits; a difficult piece of work, as the
+portraits were not alike, having been taken at different periods of his
+life. The bust was pronounced an excellent likeness by Chief Justice
+Shaw and others who remember the governor. Miss Lander finished it in
+marble for the Harvard Library. It is to be placed in Gore Hall, in
+Cambridge.
+
+This talent for likenesses is observable in the first efforts of Miss
+Lander. When very young, before she had attempted modeling, she carved
+from an old alabaster clock, with a penknife, several heads and faces
+in bas-relief. These were noticed by a friend, who gave her a bit of
+shell and some gravers, and at once, without the least instruction, she
+carved a head in cameo. Likenesses of her mother and other friends were
+made, and pronounced very striking. Her first modeling was a bas-relief
+portrait of her father; it was followed by a bust of her brother, the
+late chief-justice of Washington Territory.
+
+Her work “To-day,” was seen in ambrotype, on her arrival in Rome, by
+Crawford, and his admiration of it perhaps induced him to receive her
+as his pupil. The figure is an emblem of our youthful country. The
+head is crowned with a chaplet of morning glories; the drapery is the
+American flag, fastened at the breast and the shoulder with the stars.
+Its look forward typifies progress in so spirited a manner that, at
+first sight, one might be startled by the apparent movement of life. A
+flower falling from the hair on the neck behind, adds to this effect of
+motion. Power and spirit are prominent characteristics of the work.
+This, with her “Galatea,” a figure full of grace and tenderness, was
+modeled before Miss Lander went to Italy. She had also finished a fine
+bust of her father, a perfect likeness, and exquisitely chiseled in
+marble.
+
+After Miss Lander went to Rome, she executed many portrait busts, among
+them a fine one of Hawthorne, and a bas-relief of Mountford. A letter
+from Rome described, as seen in her studio, “A charming statuette
+of Virginia Dare,” about three feet in height. This child was the
+granddaughter of John White, governor of the Colony of Virginia at the
+period of one of the early disastrous expeditions of Sir Walter Raleigh.
+
+“About the month of August, in 1587, Mrs. Dare, daughter of the
+governor, was delivered of a daughter in Roanoke, who was baptized the
+next Lord’s-day by the name of Virginia, being the first English child
+born in the country. Before the close of August, the governor, at the
+earnest solicitation of the whole colony, sailed for England to procure
+supplies. An unfortunate turn of affairs at home prevented another
+expedition from reaching Virginia until 1590, when, upon arrival, it
+was found that the houses of the former settlers were demolished,
+though still surrounded by a palisade, and a great part of the stores
+was discovered buried in the ground; but no trace was ever found of
+the unfortunate colony. Bancroft says that, when the governor sailed
+for England, he left the infant and her mother as hostages, and it is
+presumed that they were carried into captivity by the Indians, as,
+after this, European features could be traced in the Indian lineaments.
+
+“Miss Lander represents her Virginia as brought up an Indian princess,
+displaying in her erect attitude and beautiful form the fearless
+dignity and grace that such a life would impart. The head and face
+are very fine, exhibiting the thoughtfulness and spirituality that
+would naturally be derived from the dreamy recollections of her early
+life. The figure is semi-nude; the drapery, a light fishing-net, is
+charmingly conceived and executed, being worn like an Indian blanket;
+and the ornaments are wampum beads. This design, possessing the charm
+of novelty and historic interest, shows that we have in our own country
+rich subjects of sculpture, without resorting to the old heathen
+mythology.”
+
+Miss Lander afterward made a life-size statue of Virginia in marble.
+Her reclining statue of “Evangeline” forms a fine contrast to this;
+“the one full of force and energy, all life and motion; the other so
+still and tranquil in her sweet, profound slumber. She is represented
+at the moment when, worn out with her wanderings, she sleeps under the
+cedar-tree by the river-side,
+
+  “‘For this poor soul had wandered,
+  Bleeding and barefooted, over the shards and thorns of existence.’
+
+Her deep repose is not so much slumbering as like one in a trance. In
+the marble this is shown exactly by her attitude, as though she had
+dropped from utter weariness; her drapery hangs heavily about her,
+and still more heavily falls her hand; the whole figure is expressive
+of deep rest--almost painful it would be but for the beautiful face,
+lighted up by ‘the thought in her heart’ that her lover is near, and
+that
+
+  “‘Through those shadowy aisles Gabriel had wandered before her,
+  Every stroke of the oar now brings him nearer and nearer
+  (Now she slept beneath the cedar-tree).
+  Such was the vision Evangeline saw as she slumber’d beneath it;
+  Fill’d was her heart with love, and the dawn of an opening heaven
+  Lighted her soul in sleep with the glory of regions celestial.’
+
+Very beautiful she is; and, as I gazed upon her, I seemed to hear
+the dash of Gabriel’s oar, as he glided along behind ‘a screen of
+palmettos,’ unseeing and unseen, and was ready to exclaim,
+
+  “‘Angel of God, is there none to awaken the maiden?’”
+
+Another work by Miss Lander is “Elizabeth, the Exile of Siberia,”
+a spirited yet feminine figure, “very pretty in its picturesque
+costume--the short cloak, Russian boots, and closely-fitting cap.”
+
+This gifted young artist has finished a statuette of “Undine.” It is a
+drooping figure, with expression full of sadness, just rising from the
+fountain to visit earth for the last time. The base of the fountain is
+surrounded by shells forming water-jets; Undine is in the central one,
+and the drapery falls from her hand into water as it drops. She has
+also finished a “Ceres Mourning for Proserpine.” The goddess is leaning
+upon a sheaf of wheat; her hands and head are drooping, as if she were
+planning her daughter’s escape. “A Sylph,” just alighted--an airy,
+floating figure, her puzzled attention fixed on a butterfly--is another
+of Miss Lander’s creations.
+
+
+                             MARY WESTON.
+
+The history of this lady illustrates the development, amid unfavorable
+circumstances, of that self-reliant energy which often forms a
+marked characteristic of the natives of New England. The spirit of
+independence, when joined, as in her case, to feminine gentleness and
+grace, is ennobling to any woman, and its working is both interesting
+and instructive.
+
+Mary Pillsbury was born in Hebron, New Hampshire. Her father was a
+Baptist clergyman, holding the strictest tenets of Calvinism. In
+her humble home among the mountains, though surrounded by nature’s
+wild beauty, the child found nothing to suggest to her an idea of
+what art could accomplish. Nevertheless, she saw objects with an
+artistic perception, and loved especially to study faces. When taken
+to church, she would sit gazing at those around her, and wishing
+that in some way--of which as yet she had no conception--she could
+copy their features. One day, when between seven and eight, she
+noticed a beautiful woman, and, returning home, went quietly to
+her father’s study--creeping in, as it was locked, through two
+panes of a window, to which she climbed by a chair on the bed--in
+search of a slate and pencil. With this she began to make a sketch
+of the face that had charmed her. She made the oval outline, but
+could not give the expression about the mouth and eyes. With a keen
+sense of disappointment she relinquished the hopeless task. But the
+artist-passion was awakened within her.
+
+She loved to read books relating to artists better than any thing else,
+though fond of study in general, and her partiality for sketching
+was indulged whenever she had opportunity. Having observed the work
+of a profile-cutter who chanced to come into the neighborhood, she
+persevered in attempts at portraits, and practiced cutting them out of
+leaves and paper. She had a beautiful young sister, and often prevailed
+on her to sit, improving day by day in her untutored efforts, till at
+last she was able, by the eye, to take a correct likeness.
+
+Her next achievement was copying the figures and decorations of Indian
+chiefs, who not unfrequently came into the little village. A servant
+girl, fifteen years old, who was employed in her father’s family, knew
+how to sketch houses, and this knowledge was willingly imparted to
+little Mary. Her pictures, though rude in design and execution, were in
+great demand among her schoolfellows; but Mrs. Pillsbury thought the
+study of painting would interfere with more important branches, and
+that a thorough English education should first be acquired. The young
+girl, however, could not be prevented from watching the drawing-lessons
+of other scholars. She would practice at home; and so earnest was her
+application that it was not long before she produced a drawing agreed
+on all sides to be superior to the exercises of the regular pupils.
+
+For the colors of her flowers Mary used beet-juice, extract of bean
+leaves prepared by herself, etc., till the welcome present of a box of
+paints made her independent of such contrivances. The romantic scenery
+surrounding her home had now a new charm. Day after day she would
+wander about the fields and woods, sketching, and indulging in visions
+of an artistic life. When twelve years old, one day she accompanied her
+parents to Sutton, in New Hampshire. A protracted meeting was held,
+and her father was to preach. Paying little attention to the doctrines
+promulgated, as formerly Mary occupied herself in scanning new faces in
+the rural assemblage. Near the place of meeting was the colossal figure
+of the Goddess of Liberty, richly arrayed, and painted in colors by a
+Free-will Baptist preacher. She obtained a seat close to the window
+during one of the services, and carefully studied what appeared to her
+a perfect triumph of art. After she went home she produced a clever
+sketch of it. From this time goddesses of liberty multiplied in her
+hands, and became famous in the school and neighborhood. One of them
+was actually put into a magazine. So creditable were they considered,
+that a rather unscrupulous young girl of her acquaintance presented one
+to her lover as her own work; and when he challenged her to produce
+another, she came to persuade Mary to make it for her.
+
+Caring little for the sports and pleasures of her age, it was Mary’s
+habit to shut herself up in her father’s study, and, seated upon the
+shelves, to read over and over again the biographies of great men
+and distinguished women. She kept in advance of all the school-girls
+meanwhile, and improved in her drawing during the hours stolen from
+her spinning-tasks and the duties involved in taking care of the other
+children. She entered now on the reading of the standard and classical
+works contained in her father’s library, and a new world seemed opening
+before her. Ambitious longings and dreams broke on the monotony of her
+lonely life. She resolved to become an artist like those persons of
+whom she had read, and compel appreciation from the world. But the mode
+of accomplishing her wishes perplexed her. She saw that it would be
+necessary to leave home and try her fortune among strangers; but she
+loved to picture the day when she would return, laden with honors and
+a rich reward for her labors--when her family would be proud of her
+success.
+
+When about fourteen, she determined to take the first step toward the
+goal she panted to reach. Secretly she quitted her home, taking with
+her only a change of dress, and set out to walk through the forest
+to Hopkinton, on the way to Concord, where she intended to take up
+her abode temporarily, to earn a little money by her labor, and then
+establish herself as an artist. She walked thirty miles that day, and
+very late at night came to a small house in the country, at which she
+stopped, requesting permission to warm and rest herself. The simple
+people appeared surprised to see so young a girl traveling alone and
+so far from home. They inquired into the particulars of her story with
+curious interest, and earnestly pressed her to stay all night. She
+consented, and supper was prepared for her, after which she went to
+sleep, wearied with the day’s fatiguing journey.
+
+On waking the next morning a strangely familiar voice struck her ear.
+She dressed hastily, and went down into the parlor, where she found
+her uncle, who had come that far in search of her. Both wept at the
+unexpected meeting; but when she had recovered from her confusion, Mary
+begged to be permitted to go on to Concord. This was decidedly refused,
+and, reluctant and mortified at the failure of her romantic enterprise,
+she was obliged to consent to be taken home.
+
+She was received with tears and embraces by her family, and no word of
+reproach, nor even a distant allusion to her disobedience, followed
+her attempt to escape from the restraint of parental authority. The
+family seemed to be sensible that she had been hardly dealt with; for
+the dreams of youthful hope have significance, and nature’s bent should
+not be too rudely thwarted. From this time more indulgence was shown to
+her frequent neglect of work in which she felt no pleasure, and to her
+devotion to books. She engaged in her studies more ardently than ever.
+
+Mr. Pillsbury was not rich, and his daughter had the prospect of
+being ultimately obliged to depend on her earnings for a subsistence.
+It was her desire to enter as soon as possible on the life whose
+hardships she expected to encounter and overcome. She wished to go
+beyond the mountains, into the beautiful world on the other side. To
+her imagination the soft and roseate tints reposing on those far-off
+summits were emblematic of the delights in store for her. But her
+parents opposed her wishes, and urged her to remain with them, for some
+years at least.
+
+She was about nineteen when, on a visit to Lynn, she saw a portrait
+painted by a lady, which seized her attention amid a collection of
+indifferent pictures. The longing to be a painter again possessed her
+so strongly that she felt it an irresistible passion. Her first plan
+was to accompany the lady to Washington and take lessons, but this
+scheme was abandoned. About a year after this she went to Boston.
+Passing a shop window, she saw a fine painting, that once more
+enkindled the flame of artist ambition in her soul. Her determination
+was formed. With the sanguine hopes of youth, she fancied that a year’s
+preparation would enable her to paint professionally. She accordingly
+devoted herself to the practice of her art with that view. Her friends
+ridiculed the idea of her becoming an artist for a livelihood, and
+predicted the failure of her scheme without powerful patronage.
+
+But this kind of opposition no longer discouraged her, though she was
+much hampered by the want of time. The winter was rapidly approaching,
+and she felt that it should not pass without some advance in her
+beloved studies. She now resolved to go to some place southward where
+she could see an artist work, and to paint cheap pictures for her own
+support, living plainly in the country till her lessons were completed.
+It seemed that she must either do this or die.
+
+Without consulting any one, with only twelve dollars in her possession,
+she left Boston in the early morning train, leaving her trunk behind,
+and taking only a basket with a few changes of clothes. The undertaking
+was not without prayers for a blessing from the Providence who watches
+over all human affairs. Her father needed all the aid she could give
+him; he had suffered much, and sickness in his family had crippled his
+narrow resources. The thought of all this, and what she might do were
+she permitted to work out her own ideas, had tortured Mary and rendered
+her desperate. In the ardor of her determination now, obstacles seemed
+nothing; she was resolved to succeed.
+
+An old man who occupied a seat opposite her in the car noticed her,
+and asked many questions. When they stopped at Providence, his evident
+curiosity annoyed and alarmed her so much that she ran with all her
+speed to the boat bound for New York. On the way she talked with the
+stewardess, and asked if she knew any respectable house in the city
+where she could obtain board. The stewardess was ignorant of New York,
+but inquired of the clerk, and he directed Miss Pillsbury to the house
+of Professor Gouraud, a then famous dancing-master.
+
+On repairing to this place she learned that the professor did not
+receive boarders, but was recommended to look for a house in Canal
+Street. Here it occurred to her to go to a milliner’s shop; she knew
+there must be many girls there, respectable, though poor, and thought
+that she might hear of a lodging through some of them. She received a
+direction to the house of an old lady, whither she went. On being asked
+for references, she frankly owned that she had none, and, as the best
+explanation she could offer, related her story. The landlady had heard
+through a pious friend in Boston--Mrs. Colby, a lady well known for
+benevolence--of the strange girl who wanted to be a painter, and she
+willingly received the wanderer.
+
+The next day Miss Pillsbury found out that an artist lived in the
+neighborhood, and went to him to see how oil-colors were used. She was
+allowed to watch him while painting a portrait. Afterward she went to
+Dechaux, who then kept a small store for colors; and, provided with the
+implements of art, she went to work in earnest. The little grandson of
+her landlady was her first subject, and she painted a good likeness of
+him, which was taken in part payment for board. Even the artist was
+surprised at her success, and prophesied that she would do well after a
+year’s study.
+
+After she had been a week in New York, her hostess advised Mary to
+go to Hartford, Connecticut, and gave her a letter to the Rev. Henry
+Jackson of that place. She went there, and was kindly received. While
+there, she painted a little boy, and produced an astonishing likeness.
+She had to prepare her own canvas, and grind her paints on a plate with
+a case-knife. In about a week after her arrival in Hartford, Squire
+Rider and his wife, of Willington, came on a visit to Mr. Jackson. They
+were so much pleased with the pictures Mary had produced, that they
+invited her to return home with them and paint the members of their
+family at five dollars a head. She was to prepare the canvas, while
+they would find paints.
+
+Mrs. Colby, in the mean time, had written to Mr. Jackson, requesting
+him to advance money on her account to Miss Pillsbury, should it be
+necessary; but Mary had no need of more than she could earn. She
+wrote to Boston for her trunk, and received it. Her parents, by this
+time, had learned her whereabouts, and no longer opposed her wish for
+independence.
+
+She made portraits of all the Riders, and of thirty other persons in
+Willington. Among her sitters were members of the family of Jonathan
+Weston, Esq. Several persons raised a sum by subscription to pay for
+the portrait of Miranda Vinton, the Burmese missionary. Miss Pillsbury
+had many offers of a home, and invitations to spend her time in
+different families, but she preferred living entirely for her art.
+
+Returning to Hartford, she painted a few more portraits. Mr. Weston’s
+daughter became her particular friend, and Mary was always warmly
+welcomed by her in her father’s house.
+
+The young lady’s uncle, Mr. Weston, of New York, came to pay his
+brother a visit, and took a great interest in Mary’s paintings. He
+urged her to come to New York, and improve herself by lessons and
+study. After his departure, she became once more possessed by an
+intense desire to revisit the city, and find some method of making more
+rapid progress. She received a letter from the gentleman’s daughter,
+inviting her to come at once to New York, where she could profit by the
+instruction of experienced artists. The prospect was an alluring one,
+but Miss Pillsbury felt that she could not afford to give herself the
+luxury of such lessons. She said this in her reply to the letter of
+invitation.
+
+Shortly afterward another letter came from Miss Weston, urging her
+coming more earnestly. Her father, she said, would procure her a
+teacher, and would make arrangements for the winter. She was pressed to
+make her home at his house; and, should she not be successful in her
+undertaking, he pledged himself to see her safely back to her friends.
+
+This tempting offer was accepted. During the winter Miss Pillsbury
+devoted herself to copying paintings. Ere long she must have made the
+discovery that another feeling, besides the wish to foster genius, had
+led Mr. Weston to be so anxious for her presence. Suffice it to say
+that in three months she became his wife, with the understanding that
+she was to pursue the profession she had chosen without restraint.
+
+For a few years Mrs. Weston exercised her skill in painting under
+circumstances tending to distract her attention. She became the mother
+of two children, and the care of them occupied most of her time.
+Several of her copies have great merit. Her large picture of the “Angel
+Gabriel and Infant Saviour,” from Murillo, is in the possession of Mr.
+Henry Stebbins, who married the daughter of Mr. Weston. She made a very
+fine copy of Titian’s “Bella Donna” and Guercino’s “Sibylla Samia.”
+That of “Beatrice Cenci” has been pronounced an admirable copy. She
+also painted a “Fornarina.”
+
+One evening, at a watering-place, at the first ball Mrs. Weston
+had ever attended, she was struck by the appearance of a lady who
+passed her, leaning on her husband’s arm. The lovely features of this
+stranger, her pure and brilliant complexion, her eyes beaming with
+cheerful goodness, and an indefinable grace in all her movements,
+impressed the artist as if she had seen a vision. Some years afterward
+she met Mrs. Coventry Waddell, and recognized in her the charming
+ideal who had been enshrined in her memory. Her portrait of this lady
+belongs to Mr. George Vansandvoord, of Troy.
+
+Mrs. Waddell’s appreciation of Mrs. Weston’s abilities, and her
+friendship, proved a valuable aid to the sometimes discouraged artist.
+
+Mrs. Weston’s flesh tints are especially natural and beautiful, and
+she gives a high finish to her copies of paintings. Those from the old
+masters, and others, have such wonderful fidelity that her achievements
+in this line would alone suffice to make a reputation. “A Witch Scene,”
+from Teniers, is admirable. One of her own compositions is “A Scene
+from Lalla Rookh,” and she has painted both landscapes and portraits
+from nature. She still resides in New York.
+
+
+                 ANNA MARY FREEMAN (MADAME GOLDBECK).
+
+has a high rank among miniature-painters in this country. She is the
+daughter of an American painter, though she was born in Manchester,
+England, where her parents resided for some years. She came to the
+United States when very young, and early devoted herself to the
+pursuits of art, from which she has for ten years derived her support.
+She is gifted in various ways; she has written some excellent poetry
+and stories, and is known as an accomplished elocutionist, having
+given readings in New York and elsewhere with success. Her powers as a
+painter, however, have been exercised most profitably.
+
+Julia du Pré, a native of Charleston, South Carolina, was educated
+at Mrs. Willard’s school in Troy, New York. On leaving the school,
+she accompanied her mother and sister to Paris. Mrs. du Pré wished to
+cultivate to the utmost her daughter’s talents for music and painting,
+and gave her the advantage of the best foreign masters. They had been
+three years in France when a sudden reverse deprived them of their
+ample fortune; yet, with reduced means, they remained a year longer,
+that Julia might devote herself to the study of painting in oil. On
+their return to Charleston, Mrs. du Pré and her daughters opened a
+school for young ladies, which was attended with success. The continual
+occupation of teaching, however, deprived Julia of time and opportunity
+for the severe study necessary to perfect herself in the art to which
+she had wished to devote her life. Every hour of leisure she could
+command was given to portrait-painting, and to making copies of admired
+works. Many of these were executed with great skill, and drew praise
+from Sully and other eminent critics. One of her best portraits is
+that of Count Alfred de Vigny, who had been intimate with her family
+during their residence in Paris. Miss du Pré also made a fine copy from
+Parmegiano, of a Virgin and Child, and a Dido on the Funeral Pile, from
+Giulio Romano. These, and other paintings, gained her considerable
+repute as an artist. She married Henry Bonnetheau, a miniature-painter
+of acknowledged merit, and continues to reside in Charleston. She spent
+the summer of 1856 in Paris, for the sake of improving herself in
+pastel-painting, and has lately finished some exquisite works in that
+style. “The Love-letter,” in the possession of her brother-in-law, Dr.
+Dickson of Philadelphia, “The Liaisons,” and “L’Espagnole” have been
+highly praised among these.
+
+Mrs. Bonnetheau’s gifts are crowned with the loveliest traits of
+woman’s character. She is esteemed and beloved by a large circle of
+friends in Charleston, among whom are some of the best educated men in
+this country.
+
+The Misses Withers, of Charleston, South Carolina, paint in oil and
+water colors, and cut cameos with much ability and skill. They have
+also modeled groups and figures with success, and are devoted to these
+branches of art.
+
+Mrs. Charlotte Cheves is an amateur artist who might have gained
+celebrity had her life been given to the study of painting. She was
+Miss M‘Cord, and was born in Columbia, South Carolina. She married Mr.
+Langdon Cheves, and resides on his rice plantation nearly opposite
+Savannah. She paints miniatures on ivory, some of them excellent
+likenesses, and finished with great delicacy. She has also painted
+pictures in oil, and excels in pastels and pencil-sketches. She is a
+musician, too, and possesses a very fine voice.
+
+Ellen Cooper, the youngest daughter of the celebrated Dr. Thomas
+Cooper, was a native of Columbia, South Carolina. She had a fine taste
+and much skill in painting and ornamental work, and was remarkable for
+intellectual culture and knowledge of general literature. She lived
+some years in Mobile with her sister, and there married Mr. James
+Hanna, who took her to reside on his sugar plantation near Thibodeaux,
+in Louisiana. She died in October, 1858. Her sister is one of the most
+accomplished amateur artists in the Southern States.
+
+About seven years ago a School of Design for Women was started by
+Miss Hamilton, which, supported by voluntary contributions, met with
+encouraging success. It has now been adopted by the trustees of the
+Cooper Institute, and a sum is allowed annually for the support of
+teachers. The attendance of pupils in 1859 has been double that of any
+former year.
+
+MARY ANN DOUGLAS, now Mrs. Johnson, is a native of Westfield,
+Massachusetts, where she at present resides. She was married at
+eighteen, and had been a wife four years before her artist-life
+commenced. While a prisoner in her room, on account of sickness, she
+amused herself by copying a landscape in oil-colors. The success of
+this attempt opened to her a new source of activity and pleasure.
+She devoted herself to the study of painting, and labored with such
+earnestness and fidelity that her efforts were crowned with success
+beyond her anticipations. Her attention was directed especially to
+portraits. For the last four or five years she has worked in crayon
+almost exclusively, and has found employment abundantly remunerative.
+A visit to New London, Connecticut, was prolonged to nine months’
+stay, so great was the popularity of her works in that place; and
+during a trip into Central New York she painted many portraits in oil
+at excellent prices. Her indefatigable patience in the execution of
+details, the fidelity of her likenesses, and the delicate perfection of
+finish in her pictures, are remarkable. In the relations of social life
+Mrs. Johnson has shown herself amiable and self-sacrificing. She has
+not an acquaintance who does not rejoice in the triumphs so worthily
+won in spite of many discouragements.
+
+
+
+
+                              CHAPTER XX.
+
+                        THE NINETEENTH CENTURY.
+
+ EMMA STEBBINS.--Favorable Circumstances of her early Life to the Study
+ of Art.--Specimens of her Skill shown in private Circles.--Receives
+ Instruction from Henry Inman.--Correctness of her Portraits.--“A
+ Book of Prayer.”--Revives Taste for Illuminations.--Her crayon
+ Portraits.--Copies of Paintings.--Cultivates many Branches of
+ Art.--Becomes a Sculptor.--Abode in Rome.--Instruction received from
+ Gibson and Akers.--Late Work from her Chisel.--“The Miner.”--HARRIET
+ HOSMER.--Dwelling of the Sculptor Gibson in Rome.--His Studio
+ and Work-room.--“La Signorina.”--The American Sculptress.--Her
+ Childhood.--Physical Training.--School-life.--Anecdotes.--Studies
+ at Home.--At St. Louis.--Her Independence.--Trip on the
+ Mississippi.--“Hesper.”--Departure for Rome.--Mr. Gibson’s
+ Decision.--Extract from Miss Hosmer’s Letter.--Original
+ Designs.--Reverse of Fortune.--Alarm.--Resolution.--Industry, Economy,
+ and Success.--Late Works.--Visit of the Prince of Wales.
+
+
+                            EMMA STEBBINS.
+
+Few lady artists of this or any country have been surrounded with
+circumstances more favorable to the development of genius. Her
+childhood was passed among those who possessed culture and refined
+taste, and she was familiar with the elegant adornments of life. She
+learned early to embody the delicate creations of her fancy in song
+or pictures, as well as to imitate what pleased her. Her family and
+nearest circle of friends were ready--as is not always the case--to
+appreciate and encourage her efforts. But, though she had no early
+difficulties to struggle with, the steep and rugged path to eminent
+success could not be smoothed by the hand of affection, and she has
+gone through all the lessoning and exercise of powers demanded for
+the achievement of greatness, as well from those favored of fortune as
+those to whom the capricious goddess has proved a step-dame.
+
+Miss Stebbins is a native of the city of New York, where, till within
+a few years, she employed the rare skill she had acquired in different
+branches of art for the gratification of her friends or for charitable
+purposes. Several artists noticed in the beautiful specimens which
+were shown in various circles as her work the evidence of more than
+ordinary talent. Among these was Henry Inman, the distinguished
+painter. He invited the young girl to visit his studio, and offered
+to give her instruction in oil-painting. She had never before taken
+lessons, and was pleased with the prospect of study. She improved
+under the directions of her teacher, and to this aid some of her
+friends attributed the masterly correctness and grace displayed in her
+portraits, and for which afterward her crayon sketches were so much
+admired.
+
+One of Miss Stebbins’s early works was a volume to which she gave the
+title, “A Book of Prayer.” It contains some beautiful specimens of her
+poetry, but is chiefly remarkable for its exquisite illuminations.
+It was one of the first among the efforts to revive that style of
+illustration; and the originality, grace, and beauty of the designs,
+with the delicate and elaborate finish of the execution, made it quite
+a curiosity of art. Some other books were illuminated by Miss Stebbins
+in the same manner.
+
+The love of art in the child of genius “grows by what it feeds on,”
+and claims an undivided devotion to its pursuits. Perhaps no kind of
+knowledge is so fascinating when its fruits are tasted. Miss Stebbins
+found no charm in the social pleasures at her command which could draw
+her attention from painting. She finally resolved on an exclusive
+consecration of her talents to art, making it the sole business of her
+life. She determined to go to Rome.
+
+Several of her crayon portraits, executed in Rome, received the highest
+encomiums from acknowledged judges in that city. A copy she made of the
+“St. John” of Du Bœuf, and one from a painting in the gallery of the
+Louvre, representing a “Girl Dictating a Love-letter,” were noted among
+her oil-paintings. Her “Boy and Bird’s Nest” was done in the style of
+Murillo. Her pastel-painting of “Two Dogs” has been highly praised.
+
+Almost every branch of the imitative art has been at different periods
+cultivated by Miss Stebbins, and her success proves the scope and
+versatility of her talent. Besides painting in oil and water colors,
+she has practiced drawing on wood and carving wood, modeling in clay,
+and working in marble. It is probably in the difficult art of sculpture
+that she will leave to America the works by which she will be most
+widely known.
+
+She profited, like Miss Hosmer, by the counsels and supervision of
+Gibson, and the careful instruction of Akers. A work from her chisel,
+in the spring of 1859, commanded the highest suffrages. Mr. Heckscher,
+a large proprietor of coal-mines in the United States, had requested
+Miss Stebbins to execute for him two typical statues--one of Industry,
+the other of Commerce. The figure of Industry is completed, and has
+been represented by the artist, with graceful taste, as a miner. A
+critic says:
+
+“The figure is that of an athletic, admirably-proportioned youth,
+who bears upon his right shoulder the pick, and in the front of his
+picturesque slouched hat the miner’s lamp. The weight of the body is
+thrown easily and naturally upon the right leg, and the left hand rests
+with the carelessness of manly strength upon a block of marble, drilled
+and hewn in the manner of a mass of coal. The symmetrical vigor of
+the figure, admirable as it is, is not more admirable than the lofty,
+ingenuous beauty of the classic head and face, poised in an attitude
+equally unforced and striking, upon the graceful, well-rounded throat.
+The drapery of the full shirt, open at the neck and close-gathered
+about the waist, is managed with particular skill; and while the whole
+figure reminds one strikingly of one of those magnificent Gothic kings
+whose images stand in the vestibule of the _Museo Borbonico_, at
+Naples, the spirit and air of it are purely modern and American. It is,
+in truth, one of the most felicitous combinations of every-day national
+truth with the enduring and cosmopolite truth of art ever seen, and it
+is a work which does equal credit to the sex and the country of the
+artist.”
+
+Miss Stebbins has taken up her residence permanently in Rome, amid
+those surroundings and associations sought by artists of all nations as
+most favorable to their progress. She has been for some time engaged in
+modeling in clay several groups which, though as yet unfinished, have
+been criticised favorably by connoisseurs and friends.
+
+
+                            HARRIET HOSMER.
+
+In the Via Fontanella at Rome--a street close upon the beautiful
+Piazza del Popolo, and running at a right angle from the Babuino to
+the Corso, a few steps out of the Babuino on the left--is a large,
+rough, worm-eaten door, which has evidently seen good service, and
+from the appearance of which no casual and uninitiated passer-by would
+suspect the treasures of art it conceals and protects. A small piece
+of whip-cord, with a knot as handle, issues from a perforated hole,
+by means of which--a small bell being set in motion--access is gained
+to the studio of England’s greatest living master of sculpture, John
+Gibson.
+
+The threshold crossed, the visitor finds himself at once in the midst
+of this artist’s numerous works. In a large barn-like shed, with a
+floor of earth, on pedestals of various materials, shapes, and sizes,
+stand the beautiful Cupid and Butterfly, the wounded Amazon, Paris and
+Proserpine gathering flowers, the charming groups of Psyche borne by
+the Zephyrs, of Hylas and the Water Nymphs, and the noble basso-relievo
+of Phaeton and the Hours leading forth the horses of the Sun, with,
+perhaps, a bust or figure in progress by the workman whose duty it is
+to keep the studio and attend to the numerous visitors. Facing the door
+of entry just described is its counterpart, opening into a fairy-like
+square plot of garden, filled with orange and lemon trees and roses,
+and, in the spring, fragrant with violets blue and white, Cape jasmine,
+and lilies of the valley; while, in a shady recess, and fern-grown nook
+trickles a perpetual fountain of crystal-clear water. The sun floods
+this tiny garden with his golden light, flecking the trellised walks
+with broken shadows, and wooing his way, royal and irresistible lover
+as he is, to the humbler floral divinities of the place, sheltered
+beneath their own green leaves, or in the superb shade of the acanthus.
+Lovely is the effect of this rich glow of sunlight as one stands in the
+shade of the studio, perfumed with the sweet blossoms of the South;
+lovely the aspect both of nature and of art, into the presence of
+which we are so suddenly and unexpectedly ushered from the ugly, dirty
+street without. Having gazed our fill here, we step into the garden,
+and, turning to the right, if we be favored visitors, friends, or the
+friends of friends, we are next ushered into the sanctum of the master
+himself, whom we shall probably find engaged in modeling, and from whom
+we shall certainly receive a kind and genial welcome, granting always
+that we have some claim for our intrusion upon his privacy.
+
+This room, long and narrow, is boarded, and has some pretensions to
+comfort; but throughout the whole range of studios the absence of care
+and attention will strike the eye, more especially as it is the present
+fashion in Rome to render the studios both of painter and sculptor as
+comfortable and habitable as possible. From Mr. Gibson’s own room we
+are taken into another rough shed, where the process of transformation
+from plaster to marble is carried on, and where frequent visitors can
+not fail to discover the vast difference which exists in skill and
+natural aptitude among the numerous workmen employed.
+
+As the different processes of sculpture are but little known, it may
+not be out of place here to throw some light upon them. The artist
+himself models the figure, bust, or group, whatever it may be, in clay,
+spending all his skill, time, and labor on this first stage. When
+complete--and many months, sometimes even years of unwearied study
+are given to the task--a plaster cast is taken from the clay figure,
+from which cast the workmen put the subject into marble, the artist
+superintending it, and reserving to himself the more delicate task
+of finishing. Thorwaldsen, speaking of these processes, says, “that
+the clay model may be called creation, the plaster cast death, and the
+marble resurrection.” Certain it is that the clay model and the marble
+statue, when each has received the finishing stroke, are more closely
+allied, more nearly identical, one with the other, than either is with
+the plaster cast. So alive are sculptors to the fact of the injury done
+to their works by being seen in plaster casts, that they bestow great
+pains in working them over by hand to restore something of the fineness
+and sharpness which the process of modeling has destroyed. So impressed
+with this is Powers, the American sculptor, that, with the ingenuity
+and inventive skill of his country, he has succeeded in making a
+plaster hard almost as marble, and which bears with equal impunity the
+file, chisel, and polisher.
+
+There are in Rome workmen devoted to the production of certain
+portions of the figure, draped or undraped; for instance, one man is
+distinguished for his ability in working the hair, and confines himself
+to this specialty; while another is famous for his method of rendering
+the quality of flesh, and a third is unequaled in drapery. Very rarely
+does it happen that the artist is lucky enough to find all these
+qualities combined in one man, but it does occasionally happen; and Mr.
+Gibson is himself fortunate in the possession of a workman whose skill
+and manipulative power, in all departments, are of the highest order.
+A Roman by birth, the handsome and highly organized Camillo, with his
+slight figure, and delicate, almost effeminate hands, is a master of
+the mallet and chisel, and, from the head to the foot, renders and
+interprets his model with artistic power and feeling. The man loves
+his work, and the work repays his love, as when does it not, from the
+sublime labors of genius to the humblest vocation of street or alley?
+
+To return from our digression; leaving the workroom, we cross one side
+of the small garden, and by just such another rough door as the two
+we have already passed through in the first studio, we enter another
+capacious, barn-like apartment, the centre of which is occupied by the
+colored Venus, so dear to Mr. Gibson’s heart that, though executed to
+order, year after year passes on, and he can not make up his mind to
+part with it. Ranged around the walls of this capacious studio are
+casts of the Hunter, one of the earliest and most vigorous of Mr.
+Gibson’s works; of the Queen, of the colossal group in the House of
+Lords, and sundry others. Having inspected these at our leisure, and
+viewed the Venus from the most approved point, probably under the eye
+of the master, who never tires of expatiating on the great knowledge
+of the ancients in coloring their statues, a curtain across the
+left-hand corner of the studio is lifted, and the attendant inquires
+if “la signorina” will receive visitors. The permission given, we
+ascend a steep flight of stairs, and find ourselves in a small upper
+studio, face to face with a compact little figure, five feet two in
+height, in cap and blouse, whose short, sunny brown curls, broad brow,
+frank and resolute expression of countenance, give one at the first
+glance the impression of a handsome boy. It is the first glance only,
+however, which misleads one. The trim waist and well-developed bust
+belong unmistakably to a woman, and the deep, earnest eyes, firm-set
+mouth, and modest dignity of deportment show that woman to be one of no
+ordinary character and ability.
+
+Thus, reader, we Have brought you face to face with the subject of this
+sketch, Harriet Hosmer, the American sculptress.
+
+Born at Watertown, Mass., in the year 1831, Harriet Hosmer is the
+only surviving daughter of a physician, who, having lost wife and
+child by consumption, and fearing a like fate for the survivor, gave
+her horse, dog, gun, and boat, and insisted upon an out-doors life as
+indispensable to health. A fearless horsewoman, a good shot, an adept
+in rowing, swimming, diving, and skating, Harriet Hosmer is a signal
+instance of what judicious physical training will effect in conquering
+even hereditary taint of constitution. Willingly as the active,
+energetic child acquiesced in her father’s wishes, she contrived, at
+the same time, to gratify and develop her own peculiar tastes; and
+many a time and oft, when the worthy doctor may have flattered himself
+that his darling was in active exercise, she might have been found in
+a certain clay-pit, not very far from the paternal residence, making
+early attempts at modeling horses, dogs, sheep, men and women, or any
+object which attracted her attention. Both here, and subsequently at
+Lenox, she made good use of her time by studying natural history, and
+of her gun by securing specimens for herself of the wild creatures of
+the woods, feathered and furred; dissecting some, and with her own
+hands preparing and stuffing others. The walls of the room devoted to
+her special use in “the old house at home,” are covered with birds,
+bats, butterflies and beetles, snakes and toads, while sundry bottles
+of spirits contain subjects carefully dissected and prepared by herself.
+
+Ingenuity and taste were shown in the use to which the young girl
+applied the eggs and feathers of the nests and birds she had pilfered.
+One inkstand, a very early production, evinces mechanical genius and
+artistic taste. Taking the head, throat, wings, and side feathers of a
+bluebird, she blew the contents from a hen’s egg, and set it on end,
+forming the breast of the bird by the oval surface of the egg, while
+through the open beak and extended neck entrance was gained to the
+cavity of the egg containing the ink.
+
+No one could look round this apartment, occupied by the child and
+young girl, without at once recognizing the force and individuality of
+character which have since distinguished her.
+
+Full of fun and frolic, numerous anecdotes are told of practical jokes
+perpetrated to such an excess that Dr. Hosmer was satisfied with the
+progress toward health and strength his child had made; and having
+endeavored, without success, to place her under tuition in daily and
+weekly schools near home, he determined to commit her to the care
+of Mrs. Sedgwick, of Lenox, Massachusetts. Thither the young lady,
+having been expelled from one school, and given over as incorrigible
+at another, was accordingly sent, with strict injunctions that health
+should still be a paramount consideration, and that the new pupil
+should have liberty to ride and walk, shoot and swim to her heart’s
+content. In wiser or kinder hands the young girl could not have been
+placed. Here, too, she met with Mrs. Fanny Kemble, whose influence
+tended to strengthen and develop her already decided tastes and
+predilections. To Mrs. Kemble we have heard the young artist gratefully
+attribute the encouragement which decided her to follow sculpture as a
+profession, and to devote herself and her life to the pursuit of art.
+
+Miss Hosmer’s school-fellows remember many pranks and exploits that
+showed her daring spirit and love of frolic. One of these was capturing
+a hawk’s nest from the top of a very high forest-tree, to which she
+climbed at the risk of her life. Her room was decorated, as at home,
+with grotesque preserved specimens, among which was a variety of
+reptiles, usually the horror of young ladies.
+
+An anonymous squib upon Boston and Bostonians was about this time
+attributed to Miss Hosmer. A practical joke upon a physician of Boston
+had been the immediate cause of her being sent to Lenox. Her health
+having given her father some uneasiness, the gentleman in question, a
+physician in large practice, was called in to attend her. The rather
+uncertain visits of this physician proved a source of great annoyance
+and some real inconvenience to his patient, inasmuch as they interfered
+with her rides and drives, shooting, and boating excursions. Having
+borne with the inconvenience some time, she requested the gentleman,
+as a great favor, to name an hour for his call, that she might make
+her arrangements accordingly. The physician agreed, but punctuality is
+not always at the command of professional men. Matters were as bad as
+ever. Sometimes the twelve o’clock appointment did not come off till
+three in the afternoon. One day, in particular, Dr. -------- was some
+hours after the time. A playful quarrel took place between physician
+and patient; and, as he rose to take his leave, and offered another
+appointment, Miss Hosmer insisted upon his giving his word to keep it.
+
+“If I am alive,” said he, “I will be here,” naming some time on a
+certain day.
+
+“Then, if you are not here,” was the reply, “I am to conclude that you
+are dead.”
+
+Thus they parted. The day and hour arrived, but no doctor made his
+appearance. That evening Miss Hosmer rode into Boston, and next morning
+the papers announced the decease of Dr. ------. Half Boston and its
+neighborhood rushed to the physician’s house to leave cards and
+messages of condolence for the family, and to inquire into the cause of
+the sudden and lamentable event.
+
+In 1850, being then nineteen, Harriet Hosmer left Lenox. Mrs.
+Sedgwick’s judicious treatment, and the motive and encouragement
+supplied by Mrs. Kemble, had given the right impetus to that activity
+of mind and body which needed only guiding and directing into
+legitimate channels. She returned to her father’s house, at Watertown,
+to pursue her art-studies, and to fit herself for the career she
+had resolved upon following. There was at this time a cousin of
+Miss Hosmer’s studying with her father, between whom and herself
+existed a hearty _camaraderie_. Together the two spent many hours in
+dissecting legs and arms, and in making acquaintance with the human
+frame, Dr. Hosmer having erected a small building at the bottom of
+his garden to facilitate these studies. Those were days of close
+study and application. Lessons in drawing and modeling--for which our
+young student had to repair to Boston, a distance of seven or eight
+miles--and anatomical studies with her cousin, were alternated with
+the inevitable rides and boating on which her father wisely insisted.
+The River Charles runs immediately before the house, and on this river
+Harriet Hosmer had a boat-house, containing a safe, broad boat, and
+a fragile, poetical-looking gondola, with silvered prow, the delight
+of her heart, and the terror of her less experienced and unswimming
+friends. The life of the young girl was at this period full of earnest
+purpose and noble ambition, and the untiring energy and perseverance
+which distinguish her now in so remarkable a degree were at this time
+evidenced and developed.
+
+Having modeled one or two copies from the antique, she next tried her
+hand on a portrait-bust, and then cut Canova’s bust of Napoleon in
+marble, working it entirely with her own hands that she might make
+herself mistress of the process. Her father, seeing her devoted to her
+studies, seconded them in every possible way, and proposed to send her
+to his friend, Dr. M‘Dowell, Professor of Anatomy in the St. Louis
+College, that she might go through a course of regular instruction,
+and be thus thoroughly grounded for the branch of art she had chosen.
+The young artist was but too glad to close with the offer; and, in the
+autumn of 1850, we find her at St. Louis, residing in the family of her
+favorite schoolmate from Lenox, winning the hearts of all its members
+by her frank, joyous nature, and steady application, and securing, in
+the head of it, what she heartily and energetically calls “the best
+friend I ever had.”
+
+Her independence of manner and character, joined to the fact of her
+entering the college as a student, could not fail to bring down
+animadversion, and many were the tales fabricated and circulated anent
+the young New Englander, who was said to carry pistols in her belt, and
+to be prepared to take the life of any one who interfered with her. It
+was, perhaps, no disadvantage, under the circumstances, to be protected
+by such a character. The college stood some way from the inhabited
+part of the town, and in early morning and late evening, going to and
+fro with the other students, it is not impossible that she owed the
+perfect impunity with which she set conventionality at defiance to the
+character for courage, and skill in the use of fire-arms which attended
+her.
+
+Dr. M‘Dowell, charmed with the talent and earnestness of his pupil,
+afforded her every facility in his power, giving her the freedom of the
+college at all times, and occasionally bestowing upon her a private
+lecture when she attended to see him preparing dissections for the
+public ones. Pleasant and encouraging it is to find men of ability
+and eminence so willing to help a woman when she is willing to help
+herself. The career of this young artist hitherto has been marked by
+the warm and generous encouragement of first-rate men, from Professor
+M‘Dowell to John Gibson, and pleasant it is to find the affectionate
+and grateful appreciation of such kindness, converting the temporary
+tie of master and pupil into the permanent one of tried and valued
+friendship. “I remember Professor M‘Dowell,” writes Miss Hosmer, “with
+great affection and gratitude, as being a most thorough and patient
+teacher, as well as at all times a good, kind friend.”
+
+Through the winter and spring of 1851, in fact, during the whole
+term, Harriet Hosmer prosecuted her studies with unremitting zeal
+and attention, and at the close was presented with a “diploma,” or
+certificate, testifying to her anatomical efficiency. During her stay
+at St. Louis, and as a testimony of her gratitude and regard, Miss
+Hosmer cut, from a bust of Professor M‘Dowell by Clevenger, a medallion
+in marble, life size, which is now in the museum of the College. It is
+perhaps worthy of note that Clevenger and Powers both studied anatomy
+under this professor.
+
+The “diploma” achieved, our young aspirant was bent upon seeing New
+Orleans before returning to her New England home. It was a season
+of the year not favorable for such travel, and, from some cause or
+another, she failed in inducing any of her friends to accompany her. To
+will and to do are synonymous with some; and so, Harriet Hosmer having
+set her mind upon an excursion down the Mississippi to the Crescent
+City, embarked herself one fine morning on board a steamer bound for
+New Orleans. The river was shallow, the navigation difficult; many a
+boat did our adventurous traveler pass high and dry; but fortune, as
+usual, was with her, and she reached her destination in safety. The
+weather was intensely warm, but, nothing daunted, our young friend
+saw all that was to be seen, returning at night to sleep on board the
+steamer as it lay in its place by the levee, and, at the expiration
+of a week, returning with it to St. Louis. Arrived there, instead of
+rejoining her friends, she took boat for the Falls of St. Anthony,
+on the Upper Mississippi, stopping, on the way, at Dubuque, to visit
+a lead mine, into which she descended by means of a bucket, and came
+very near an accident which must inevitably have resulted fatally; a
+catastrophe which, as no one knew where she was, would probably have
+remained a secret forever. At the Falls of St. Anthony, she went among
+the Indians, much to their surprise and amusement, and brought away
+with her a pipe, presented by the chief, in token of amity. She also
+achieved the ascent of a mountain never before undertaken by a female;
+and so delighted were the spectators with her courage and agility,
+that they insisted upon knowing her name, that the mountain might
+thenceforth be called after her. In a subsequent visit to St. Louis,
+Miss Hosmer found that her rustic admirers had been as good as their
+word, and “Hosmer’s Height” remains an evidence of “the little lady’s”
+ambition and courage.
+
+On her return to St. Louis, where her prolonged absence had created no
+little uneasiness, she remained but a short time, and, bidding farewell
+to her kind friends, retraced her steps homeward.
+
+This was in the autumn of 1851. No sooner had Harriet Hosmer reached
+home than she set to work to model an ideal bust of Hesper, continuing
+her anatomical studies with her cousin, and employing her intervals of
+leisure and rest in reading, riding, and boating. Now followed a period
+of earnest work, cheered and inspired by those visions of success,
+of purpose fulfilled, of high aims realized, which haunt the young
+and enthusiastic aspirant, and throw a halo round the youthful days
+of genius, lending a color to the whole career. As Lowell wisely and
+poetically says,
+
+  “Great dreams preclude low ends.”
+
+Better to aspire and fail than not aspire at all; better to know the
+dream, and the fever, and the awakening, if it must be, than to pass
+from the cradle to the grave on the level plane of content with things
+as they are. There may be aspiration without genius; there can not be
+genius without aspiration; and where genius is backed by industry and
+perseverance, the aspiration of one period will meet its realization in
+another.
+
+To go to Rome--to make herself acquainted with all its treasures of
+art, ancient and modern--to study and work as the masters of both
+periods had studied and worked before her--this was now our youthful
+artist’s ambition; and all the while she labored, heart and soul, at
+Hesper, the first creation of her genius, watching its growth beneath
+her hand, as a young mother watches, step by step, the progress of
+her first-born; kneading in with the plastic clay all those thousand
+hopes and fears which, turn by turn, charm and agitate all who aspire.
+At length, the clay model finished, a block of marble was sought
+and found, and brought home to the shed in the garden, hitherto
+appropriated to dissecting purposes, but now fitted up as a studio.
+Here, with her own small hands, the youthful maiden, short of stature
+and delicate in make, any thing but robust in health, with chisel and
+mallet blocked out the bust, and subsequently, with rasp and file,
+finished it to the last degree of manipulative perfection. Months and
+months it took, and hours and days of quiet toil and patience; but
+those wings of genius, perseverance and industry, were hers, and love
+lent zest to the work. It was late summer in 1852 before Hesper was
+fully completed.
+
+A critic in the New York Tribune thus wrote of this work:
+
+“It has the face of a lovely maiden, gently falling asleep with
+the sound of distant music. Her hair is gracefully arranged, and
+intertwined with capsules of the poppy. A star shines on her forehead,
+and under her breast lies the crescent moon. The hush of evening
+breathes from the serene countenance and the heavily-drooping
+eyelids.... The swell of the cheeks and the bust is like pure, young,
+healthy flesh, and the muscles of the beautiful mouth are so delicately
+cut, it seems like a thing that breathes.
+
+“The poetic conception of the subject is the creation of her own mind,
+and the embodiment of it is all done by her own hands--even the hard,
+rough, mechanical portions of the work. She employed a man to chop
+off some large bits of marble; but, as he was unaccustomed to assist
+sculptors, she did not venture to have him cut within several inches of
+the surface she intended to work.”
+
+“Now,” said she to her father, “I am ready to go to Rome.”
+
+“And you shall go, my child, this very autumn,” was the reply.
+
+Anxious as Dr. Hosmer was to facilitate in every way the career
+his daughter had chosen, there was yet another reason for going to
+Italy before winter set in. Study and nervous anxiety had made their
+impression upon a naturally delicate constitution, and a short, dry
+cough alarmed the worthy doctor for his child’s health.
+
+October of 1852 saw father and daughter on their way to Europe, the St.
+Louis diploma and daguerreotypes of Hesper being carefully stowed away
+in the safest corner of the portmanteau as evidences of what the young
+artist had already achieved, when, arrived at Rome, she should seek the
+instruction of one of two masters, whose fame, world-wide, alone could
+satisfy our aspirant’s ambition. So eager was her desire to reach Rome
+that a week only was given to England; and then, joining some friends
+in Paris, the whole party proceeded to Rome, arriving in the Eternal
+City on the evening of November 12, 1852.
+
+Within two days the daguerreotypes were placed in the hands of Mr.
+Gibson as he sat at breakfast in the Café Greco, a famous place of
+resort for artists.
+
+Now be it known, as a caution to women not to enter lightly upon any
+career, to throw it up as lightly upon the first difficulty which
+arises, that a prejudice existed in Rome against lady artists, from
+the pretensions with which some had repaired thither, and upon which
+they had succeeded in gaining access to some of the best studios and
+instruction from their masters, to throw those valuable opportunities
+aside at the first obstacle that arose. Mr. Gibson had himself, it
+was said, been thus victimized and annoyed, and it was represented to
+Miss Hosmer as doubtful in the extreme if he would either look at the
+daguerreotypes or listen to the proposal of her becoming his pupil.
+However, the daguerreotypes were placed before him; and, taking them
+into his hands--one presenting a full, and the other a profile view of
+the bust--he sat some moments in silence, looking intently at them.
+Encouraged by this, the young sculptor who had undertaken to present
+them proceeded to explain Miss Hosmer’s intentions and wishes, what she
+had already done, and what she hoped to do. Still Mr. Gibson remained
+silent. Finally, closing the cases,
+
+“Send the young lady to me,” said he, “and whatever I know, and can
+teach her, she shall learn.”
+
+In less than a week Harriet Hosmer was fairly installed in Mr. Gibson’s
+studio, in the up-stairs room already described. Ere long a truly
+paternal and filial affection sprung up between the master and the
+pupil, a source of great happiness to themselves, and of pleasure and
+amusement to all who know and value them, from the curious likeness,
+yet unlikeness, which existed from the first in Miss Hosmer to Mr.
+Gibson, and which daily intercourse has not tended to lessen.
+
+In one of her letters she says:
+
+“The dearest wish of my heart is gratified in that I am acknowledged by
+Gibson as a pupil. He has been resident in Rome thirty-four years, and
+leads the van. I am greatly in luck. He has just finished the model of
+the statue of the queen, and, as his room is vacant, he permits me to
+use it, and I am now in his own studio. I have also a little room for
+work which was formerly occupied by Canova, and perhaps inspiration may
+be drawn from the walls.”
+
+The first winter in Rome was passed in modeling from the antique, Mr.
+Gibson desiring to assure himself of the correctness of Miss Hosmer’s
+eye, and the soundness of her knowledge; Hesper evincing the possession
+of the imaginative and creative power. From the first, Mr. Gibson
+expressed himself more than satisfied with her power of imitating the
+roundness and softness of flesh, saying, upon one occasion, that he had
+never seen it surpassed and not often equaled.
+
+Her first attempt at original design in Rome was a bust of Daphne,
+quickly succeeded by another of the Medusa--the beautiful Medusa--and a
+lovely thing it is, faultless in form, and intense in its expression of
+horror and agony, without trenching on the physically painful.
+
+We have already spoken of the warm friend Miss Hosmer made for herself
+during her winter at St. Louis, in the head of the family at whose
+house she was a guest. This gentleman, as a God-speed to the young
+artist on her journey to Rome, sent her, on the eve of departure,
+an order to a large amount for the first figure she should model,
+leaving her entirely free to select her own time and subject. A statue
+of Œnone was the result, which is now in the house of Mr. Crow, at
+St. Louis, and which gave such satisfaction to its possessor and his
+fellow-townsmen, that an order was forwarded to Miss Hosmer for a
+statue for the Public Library at St. Louis, on the same liberal terms.
+Beatrice Cenci, which has won so many golden opinions from critics and
+connoisseurs, was sent to St. Louis in fulfillment of this order.
+
+The summers in Rome are, as every one knows, trying to the natives,
+and full of danger to foreigners. Dr. Hosmer, having seen his daughter
+finally settled, returned to America, leaving her with strict
+injunctions to seek some salubrious spot in the neighboring mountains
+for the summer, if indeed she did not go into Switzerland or England.
+Rome, however, was the centre of attraction; and, after the first
+season, which was spent at Sorrento, on the Bay of Naples, Miss Hosmer
+could not be prevailed upon to go out of sight and reach of its lordly
+dome and noble treasures of art. The third summer came, and, listening
+to the advice of her friends, and in obedience to the express wish of
+her father, she made arrangements for a visit to England. The day was
+settled, the trunks were packed; she was on the eve of departure, when
+a letter from America arrived, informing her of heavy losses sustained
+by her father, which must necessitate retrenchment in every possible
+way, a surrender of her career in Rome, and an immediate return home.
+
+The news came upon her like a thunderbolt. Stunned and bewildered,
+she knew not at the moment what to do. An only child, and hitherto
+indulged in every whim and caprice, the position was indeed startling
+and perplexing. The surrender of her art-career was the only thing
+which she felt to be impossible; whatever else might come, that could
+not, should not be. And now came into play that true independence of
+character which hitherto had shown itself mostly in wild freaks and
+tricks. Instead of falling back upon those friends whose means she
+knew would be at her disposal in this emergency, she dispatched a
+messenger for the young sculptor who had shown the daguerreotypes to
+Mr. Gibson, and who, himself dependent upon his professional exertions,
+was, she decided, the fittest person to consult with as to her own
+future career. He obeyed the hasty summons, and found the joyous,
+laughing countenance he had always known, pale and changed, as it
+were, suddenly, from that of a young girl to a woman full of cares and
+anxieties. He could scarcely credit the intelligence; but the letter
+was explicit; the summons home peremptory. “Go, I will not,” was her
+only coherent resolution; so the two laid their heads together. Miss
+Hosmer was the owner of a handsome horse and an expensive English
+saddle; these were doomed at once. The summer in Rome itself, during
+which season living there costs next to nothing, was determined upon;
+and during those summer months Miss Hosmer should model something
+so attractive that it should insure a speedy order, and, exercising
+strict economy, start thenceforth on an independent artist-career, such
+as many of those around her with less talent and training, managed
+to carry on with success. No sooner said than done; the trunks were
+unpacked; the friends she had been about to accompany departed without
+her; her father’s reverses were simply and straightforwardly announced,
+and she entered at once on the line of industry and economy she and her
+friend had struck out.
+
+It is said that friendship between a young man and a young woman is
+scarcely possible, and perhaps, under ordinary circumstances, where
+the woman has no engrossing interests of her own, no definite aim and
+pursuit in life, it may be so. Here, however, was a case of genuine and
+helpful friendship, honorable alike to the heads and hearts of both.
+Under the experienced direction of her friend, Miss Hosmer conducted
+her affairs with prudence and economy, and, at the same time, with due
+regard to health. The summer passed away, and neither fever nor any
+other form of mischief attacked our young friend. She worked hard, and
+modeled a statue of Puck, so full of spirit, originality, and fun, that
+it was no sooner finished than orders to put it into marble came in. It
+was repeated again and again, and, during the succeeding winter, three
+copies were ordered for England alone--one for the Duke of Hamilton.
+Thus fairly started on her own ground, Miss Hosmer met with that
+success which talent, combined with industry and energy, never fails to
+command.
+
+The winter in which the Cenci was being put into marble she was engaged
+in modeling a monument to the memory of a beautiful young Catholic
+lady, destined for a niche in the church of San Andréo delle Fratte,
+in the Vià Mercede, close upon the Piazza di Spagna. A portrait
+full-length figure of the young girl, life size, reclines upon a low
+couch. The attitude is easy and natural, and the tranquil sleep of
+death is admirably rendered in contradistinction to the warm sleep of
+life in the Cenci.
+
+Miss Hosmer was engaged during the winter of 1858 in modeling a
+fountain, for which she has taken the story of Hylas descending
+for water, when, according to mythology, he is seized upon by the
+water-nymphs and drowned. Hylas forms the crown of the pyramid, while
+the nymphs twined around its base, with extended arms, seek to drag
+him down into the water below, where dolphins are spouting jets which
+interlace each other. A double basin, the upper one supported by swans,
+receives the cascade.
+
+During the spring of 1859 Miss Hosmer worked upon her statue of
+Zenobia, bespoken in America. The young Prince of Wales visited her
+studio to see this unfinished work, which he greatly admired. He
+purchased a “Puck,” by her hand, to add to his collection. Miss Hosmer
+executed, as a side-piece to this, a “Will-o’-the-Wisp,” said even to
+be superior.
+
+
+
+
+                        NAMES OF WOMEN ARTISTS
+
+
+  A.
+                                                                   PAGE
+
+  Abarca, Donna Maria de, 86
+
+  Agnes, Abbess of Quedlinberg, 29
+
+  Airola, Angelica Veronica, 82
+
+  Aizelin, Madame, 239
+
+  Alboni, Rosa, 225
+
+  Alfieri, Carlotta Melania, 225
+
+  Alloin, Mademoiselle, 240
+
+  Amalasuntha, 28
+
+  Amherst, Lady, 186
+
+  Anaxandra, 26
+
+  Andross, Miss, 170
+
+  Angelica, 86
+
+  Anguisciola, Anna Maria, 48
+
+  “ Europa, 51
+
+  “ Helena, 48
+
+  “ Lucia, 51
+
+  “ Minerva, 48
+
+  “ Sofonisba, 49
+
+  Anna Amalia, of Brunswick, 136
+
+  Anna, Princess of Orange, 167
+
+  Anzon, Madame, 203, 237
+
+  Ardinghelli, Maria Angela, 225
+
+  Ardoino, Anna Maria, 79
+
+  Aristarite, 26
+
+  Armani, Vincenza, 45
+
+  Aromatari, Dorothea, 55
+
+  Aumont, Augustine, 239
+
+  Ava, 28
+
+  Aveiro, Duchess of, 86
+
+
+  B.
+
+  Badger, Mrs., 316
+
+  Ballain, Nanine, 236
+
+  Basseporte, Madeleine Françoise, 202
+
+  Beale, Mary, 123
+
+  Beauclerk, Lady Diana, 187
+
+  Beaurepas, Madame de, 190
+
+  Beckson, Miss, 190
+
+  Beer, Maria Eugenia de, 86
+
+  Beinaschi, Angela, 78
+
+  Bejar, Duchess of, 86
+
+  Bell, Miss, 190
+
+  Benavides, Maria Cueva, 87
+
+  Bennings, Liewina, 57
+
+  Benoit, Madame, 203
+
+  Benwell, Mary, 188
+
+  Bernasconi, Laura, 80
+
+  Bertaud, Marie Rosalie, 204
+
+  Blackwell, Elizabeth, 190
+
+  Blanchot, Geneviève, 201
+
+  Block, Joanna Koerten, 126
+
+  Boccherini, Anna, 224
+
+  Bohren, Mademoiselle, 138
+
+  Boizot, Louise Adelaide, 204
+
+  Bonheur, Julietta, 275
+
+  “ Rosa, 261
+
+  Borghini, Maria, 79
+
+  Bösenbacher, Mary Anna, 240
+
+  Breughel, Anna, 97
+
+  Brizio, Plautilla, 80
+
+  Broeck, Barbara Van den, 58
+
+  Brossard, Marie Geneviève, 202
+
+  Brun, Eugénie, 237
+
+  Brusasorci, Cecilia, 55
+
+  Bruyère, Madame, 203
+
+  Bruyn, Anna de, 97
+
+  Burini, Barbara, 225
+
+  Butlar, Madame von, 237
+
+
+  C.
+
+  Caballero, Angela Perez, 89
+
+  Caccia, Francesca, 82
+
+  “ Ursula, 82
+
+  Caffa, Maria la, 83
+
+  Calavrese, Maria, 42
+
+  Callirhoe, 24
+
+  Calypso, 26
+
+  Cantofoli, Ginevra, 72
+
+  Cantoni, Caterina, 55
+
+  Capet, Madame, 203
+
+  Carasquilla, Isabella, 88
+
+  Carlisle, Anna, 122
+
+  “ Countess of, 122
+
+  Carpenter, Mrs., 244
+
+  Carriera, Rosalba, 226
+
+  Casalina, Lucia, 82, 225
+
+  Cassana, Maria Vittoria, 82
+
+  Caxton, Florence, 244
+
+  Chalon, Christina, 167
+
+  Chapin, Mrs., 288
+
+  Charlotte of Austria, 136
+
+  Charlotte Matilda, Queen of Wurtemberg, 186
+
+  Charpentier, Madame, 203
+
+  “ Constance Marie, 236
+
+  Chéron, Élisabeth Sophie, 90
+
+  Cherubini, Caterina, 224
+
+  Cheves, Charlotte, 344
+
+  Cirene, 26
+
+  Cleyn, Penelope, 122
+
+  “ Magdalen, 122
+
+  “ Sarah, 122
+
+  Coello, Isabella Sanchez, 86
+
+  Cole, Sarah, 295
+
+  Collot, Mademoiselle, 201
+
+  Cooper, Ellen, 344
+
+  Copomazza, Luisa, 78
+
+  Corbeaux, Fanny, 243
+
+  Coriolani, Maria Teresa, 73
+
+  Cosway, Maria, 191
+
+  Coulet, Anne Philibert, 204
+
+  Crabbe, Anna, 121
+
+  Creti, Ersilia, 73
+
+  Criscuolo, Maria Angela, 55
+
+
+  D.
+
+  Damer, Anne Seymour, 170
+
+  Damini, Damina, 81
+
+  Danti, Teodora, 43
+
+  Dards, Mrs., 189
+
+  Dassel, Herminie, 312
+
+  Davin, Madame, 201, 236
+
+  Delany, Mrs., 186
+
+  Denning, Charlotte, 287
+
+  Deverzy, Adrienne Marie, 237
+
+  Dietrich, Maria Dorothea, 141
+
+  “ Rosina, 143
+
+  Dietsch Sisters, 141
+
+  Dolce, Agnes, 73
+
+  “ Maria, 73
+
+  Dolora, Anna Victoria, 225
+
+  Domenici, Maria, 81, 83
+
+  Dorsch, Susannah Maria, 138
+
+  Drax, Miss, 190
+
+  Drölling, Louise Adéone, 237
+
+  Dubois, Mrs. Cornelius, 297
+
+  Duchemin, Catherine, 90
+
+  Ducluzeau, Madame, 239
+
+  Du Pré, Julia, 342
+
+  Duquesnoy, Mademoiselle, 202
+
+  Durand, Flavia, 65
+
+
+  E.
+
+  Eimart, Maria Clara, 114
+
+  Elie, Madame, 236
+
+  Elizabeth of Austria, 226
+
+  Elizabeth Christina of Brunswick, 136
+
+  Elizabeth Ernestine Antonia, of Saxe-Meiningen, 136
+
+  Elizabeth, Princess, 186
+
+  “ Princess of Parma, 226
+
+  Ellenrieder, Maria, 241
+
+  Eyck, Margaretta von, 34
+
+
+  F.
+
+  Fanshawe, Catharine Mary, 190
+
+  Farnese, Isabella, 89
+
+  Fauveau, Felicie de, 247
+
+  Festa, Bianca, 224
+
+  “ Matilda, 224
+
+  Fiesca, Helen, 47
+
+  “ Tommasa, 47
+
+  Fischer, Anna Catharina, 114
+
+  “ Susannah, 114
+
+  Fitzgerald, Lady E., 170
+
+  “ Lady Henry, 186
+
+  Foley, Margaret, 287
+
+  Fontaine, Madame, 239
+
+  Fontana, Lavinia, 61
+
+  Fontana, Veronica, 73
+
+  Forestier, Marie Anne Julie, 236
+
+  Forgue, Apollonia de, 232
+
+  Fratellini, Giovanna, 83
+
+  Freeman, Anna Mary, 342
+
+  Freiberg, Baroness von, 241
+
+  Friedrich, Caroline Frederika, 142
+
+  Fuessli (Fuseli), Anna, 142
+
+  “ “ Elizabeth, 142
+
+  Fürst, Magdalena, 114
+
+
+  G.
+
+  Gabassi, Margerita, 82
+
+  Gabiou, Jeanne Elizabeth, 237
+
+  Galeotti, Anna, 224
+
+  Galizia, Fede, 60
+
+  Garri, Colomba, 225
+
+  Garzoni, Giovanna, 82
+
+  Gauthier, Elizabeth, 201
+
+  Gentilesca, Sofonisba, 55
+
+  Gentileschi, Artemisia, 66
+
+  Gérard, Madame, 202
+
+  “ Marguerite, 201
+
+  “ Susannah, 57
+
+  Ghisi, Diana, 43
+
+  Gibson, Susannah Penelope, 121
+
+  Gilarte, Magdalena, 87
+
+  Ginnassi, Caterina, 65
+
+  Giovannini, Bianca, 225
+
+  Glauber, Diana, 115
+
+  Godefroy, Eléonore, 237
+
+  “ Madame, 201
+
+  Godewyck, Margaretta, 98
+
+  Gois, Madame, 202
+
+  Goldbeck, Madame, 342
+
+  Goodrich, Mrs., 287
+
+  Gove, Miss, 316
+
+  Grace, Mrs., 189
+
+  Granbury, Miss, 316
+
+  Grandi, Paolina, 81
+
+  Grassi, Niccola, 80
+
+  Gray, Miss, 190
+
+  Greatorex, Mrs., 316
+
+  Grebber, Maria, 97
+
+  Greuze, Anna Gabrielle, 202
+
+  Greville, Lady Louisa de, 186
+
+  Guadalupe, Maria de, 86
+
+  Guillemard, Sophie, 237
+
+
+  H.
+
+  Hall, Anne, 299
+
+  Hamerani, Beatrice, 80
+
+  Hämsen, Catherine, 57
+
+  Hartley, Miss, 189
+
+  Hawthorne, Mrs., 316
+
+  Hay, Mrs. Benham, 244
+
+  Hayd, Marianna, 140
+
+  Hedwig, Sophie, Princess, 121
+
+  Heere, Margaret de, 57
+
+  Heinecke, Catharina Elizabeth, 141
+
+  Helena, 26
+
+  Herault, Antoinette, 90
+
+  “ Madelaine, 90
+
+  “ Marie Catherine, 201
+
+  Herbalin, Madame, 240
+
+  Heylan, Anna, 87
+
+  Hildegardis, 28
+
+  Hildreth, Mrs., 315
+
+  Hill, Mrs., 316
+
+  Hoadley, Mrs., 189
+
+  Hoffmann, Elizabeth, 97
+
+  Hogenhuizen, Elizabeth Georgina van, 168
+
+  Hollandina, Princess, 115
+
+  Hoppner, Mrs., 185
+
+  Hortemels, Mary Magdalen, 203
+
+  Hosmer, Harriet, 349
+
+  Howitt, Miss, 244
+
+  Hroswitha, 28
+
+  Hueva, Barbara Maria de, 222
+
+  Hughes, Mrs. Ball, 287
+
+  Hurembout, Susannah, 57
+
+
+  I.
+
+  Iberg, Eva von, 57
+
+
+  J.
+
+  Jacotot, Madame, 239
+
+  Jerichow-Baumann, Madame, 241
+
+  Johnson, Mary Ann, 345
+
+  Juliani, Caterina, 78
+
+  Juvenel, Esther, 113
+
+
+  K.
+
+  Kallo, 26
+
+  Kauffman, Angelica, 144
+
+  Keyzer, Clara de, 57
+
+  Killegrew, Anne, 124
+
+  Koher, Anna de, 104
+
+  Kora, 24
+
+  Krafft, Barbara, 241
+
+  Kugler, Madame, 203
+
+  Küsel, Christina, 114
+
+  “ Johanna Sibylla, 114
+
+  “ Magdalena, 114
+
+
+  L.
+
+  Ladd, Anna, 188
+
+  Lafond, Aurore Etienne, 237
+
+  Lafontaine, Rosalie de, 237
+
+  Lala, 27
+
+  Lamartine, Madame de, 239
+
+  Lamme, Placida, 114
+
+  Lander, Louisa, 326
+
+  Lange, Barbara Helena, 114
+
+  Langley, Betty, 190
+
+  Laodicia, 30
+
+  Lawrence, Mary, 190
+
+  Laya, 27
+
+  Lazzarini, Elisabetta, 81
+
+  Le Brun, Elizabeth, 206
+
+  Leconte, Marguerite, 203
+
+  Ledoux, Philiberte, 236
+
+  Lee, Anna, 190
+
+  Legaré, Mary Swinton, 301
+
+  Legris, Amélie, 239
+
+  Lenoir, Madame, 237
+
+  Leroulx, Madame, 236
+
+  Lescaille, Catharina, 97
+
+  Leslie, Ann, 294
+
+  Lesueur, Elise, 201
+
+  Linwood, Miss, 190
+
+  Liscewska, Anna Rosina, 140
+
+  Lister, Anna, 122
+
+  “ Susannah, 122
+
+  Liszeuska, Anna Dorothea, 143
+
+  Lodde, Alexia de, 165
+
+  Longhi, Barbara, 47
+
+  Losa, Isabella, 56
+
+  Lucan, Countess of, 187
+
+  Lupton, Mrs., 286
+
+
+  M.
+
+  Mackintosh, Sarah, 287
+
+  Manzolini, Anna, 225
+
+  Maratti, Maria, 225
+
+  Margaretta, 35
+
+  Margravine of Baden-Durlach, 136
+
+  Maria Anna, of Austria, 136
+
+  Marie d’Orleans, 238
+
+  Marmochini, Giovanna, 79
+
+  Martin, Miss, 190
+
+  Masson, Madelaine, 93
+
+  Matteis, Emmanuela, 225
+
+  “ Felice, 225
+
+  “ Maria Angiola, 225
+
+  May, Miss, 315
+
+  “ Caroline, 316
+
+  Mayer, Constance, 236
+
+  Mazzoni, Isabella, 42
+
+  Medici, Mary dei, 79
+
+  Memorata, Anna, 112
+
+  Menendez, Anna, 222
+
+  “ Clara, 222
+
+  Mengs, Anna Maria, 140
+
+  Menn, Dorothea, 138
+
+  Merian, Maria Sibylla, 116
+
+  Merrifield, Miss, 244
+
+  Messieri, Anna Teresia, 225
+
+  Metz, Gertrude, 142
+
+  Micas, Mademoiselle, 282
+
+  Michaud, Madame, 203
+
+  Mills, Mrs. Monckton, 244
+
+  Mirbel, Comtesse de, 239
+
+  Mirnaux, 203
+
+  Mogalli, Teresa, 224
+
+  Mongez, Angélique, 236
+
+  Montferrier, Louise de, 237
+
+  Monti, Eleonora, 225
+
+  Morata, Fulvia, 112
+
+  More, Mary, 122
+
+  Moritz, Anna, 168
+
+  Morland, Miss, 190
+
+  Moser, Mary, 181
+
+  Muratori, Teresa, 73
+
+  Murray, Elizabeth, 244
+
+  “ Mary, 286
+
+  Mutrie, Miss, 240
+
+  Myin, Cornelia van der, 168
+
+  Myn, Agatha van der, 188
+
+
+  N.
+
+  Natali, Madalena, 65
+
+  Naugis, Geneviève, 203
+
+  Neal, Elizabeth, 190
+
+  Nelli, Plautilla, 30, 42
+
+  Noel, Miss, 190
+
+  Nohren, Mademoiselle, 139
+
+  Nymegen, Susanna Maria, 168
+
+
+  O.
+
+  Oakley, Juliana, 316
+
+  O’Connell, Madame, 95
+
+  Oever, Alberta ten, 168
+
+  Ogle, Miss, 170
+
+  O’Hara, Miss, 287
+
+  Olympias, 26
+
+  Ommegank, Maria Jacoba, 168
+
+  Oosterwyck, Maria van, 104
+
+  Oostfries, Catharine, 104
+
+  Oppendorf Countess von, 141
+
+  Ozanne, Jane Frances, 90
+
+  “ Mary Ann, 90
+
+
+  P.
+
+  Paar, Princess Anna, 141
+
+  Pakman, Angelica Agnes, 97, 104
+
+  Palladini, Arcangela, 60, 79
+
+  Palomino, Francisca, 87
+
+  Panzacchi, Maria Helena, 73
+
+  Pappafava, Beatrice, 60
+
+  Parasole, Hieronima, 80
+
+  “ Isabella, 80
+
+  Parenti-Duclos, Anna, 224
+
+  Pasch, Ulrica Frederika, 165
+
+  Passe, Magdalen de, 58
+
+  Patin, Carlotta, 81
+
+  “ Gabriella, 81
+
+  Pazzi, Caterina de’, 55
+
+  Peale, Anna C., 288
+
+  “ Mrs. Rembrandt, 294
+
+  “ Rosalba, 294
+
+  “ Sarah M., 291, 293
+
+  Pellegrini, Ludovica, 55
+
+  Pepyn, Catherine, 95
+
+  Perez, Anna, 222
+
+  Perrot, Catherine, 90
+
+  Peters, Clara, 103
+
+  Pflauder, Rosina, 138
+
+  Pfründt, Anna Maria, 114
+
+  Piccini, Isabella, 79
+
+  Pinelli, Antonia, 65
+
+  Pisani, Livia, 224
+
+  Planteau, Madame, 286
+
+  Platt, Mrs., 185
+
+  Po, Teresa del, 65, 78
+
+  Pompadour, Madame de, 93
+
+  Pozzo, Isabella dal, 83
+
+  Preisler, Anna Felicitas, 139
+
+  “ Barbara Julia, 139
+
+  “ Helen, 114
+
+  “ Maria Anna, 139
+
+  Prestel, Maria Catharine, 189
+
+  Preu, Joanna Sabina, 114
+
+  Prieto, Maria, 222
+
+  “ Maria de Loreto, 88
+
+  Provis, Anna Jemima, 189
+
+
+  Q.
+
+  Quatrepomme, Isabella, 56
+
+  Querubini, Caterina, 89
+
+  Questier, Catharina, 99
+
+
+  R.
+
+  Raimondi, Madame, 43
+
+  Rastrum, Margaretta, 115
+
+  Ravemann, Madame, 115
+
+  Rayner, Louisa, 244
+
+  Read, Catherine, 190
+
+  Redi, Giovanna, 79
+
+  Renieri, Anna, 81
+
+  Reyschoot, Anna Maria von, 165
+
+  Rialto, Domenia Luisa, 81
+
+  Ricchi, Clena, 78
+
+  Riedel, Maria Theresa, 143
+
+  Rieger, Maria, 114
+
+  Rite, Isabel Maria, 223
+
+  Robert, Fanny, 237
+
+  Robineau, Claire, 237
+
+  Robusti, Marietta, 45
+
+  Rodiana, Onorata, 36
+
+  Roldan, Luisa, 87
+
+  Ronde, Lucrece Catherine de la, 201
+
+  Rosa, Aniella di, 75
+
+  Rose, Susan Penelope, 122
+
+  Rosée, Mademoiselle, 126
+
+  Ross, Elizabeth, 138
+
+  Rossi, Properzia di, 39
+
+  Rusca, Caterina, 60, 83
+
+  Ruysch, Rachel, 106
+
+  Ryberg, Elizabeth, 168
+
+  Ryding, C. M., 165
+
+  Ryk, Cornelia de, 167
+
+
+  S.
+
+  Salmeggia, Chiara, 83
+
+  Salviani, Rosalba Maria, 224
+
+  Salvioni, Rosalba, 88
+
+  Samon, Mrs., 170
+
+  Sanchez, Jesualda, 87
+
+  Sandrart, Susannah Maria von, 113
+
+  Sarmiento, Teresa, 86
+
+  Sartori, Felicità, 232
+
+  Sattler, Caroline, 202
+
+  Saville, Lady Dorothea, 186
+
+  Saxe-Meiningen, Princess of, 240
+
+  Scaligeri, Agnes, 83
+
+  “ Lucia, 83
+
+  Scarafaglia, Lucrezia, 72
+
+  Schalken, Maria, 98
+
+  Scheffer, Caroline, 168
+
+  Schild, Charlotte Rebecca, 138
+
+  Schott, Crescentia, 138
+
+  Schroeter, Caroline von, 242
+
+  Schurmann, Anna Maria, 99
+
+  Schwartz, Catherine, 57
+
+  Schwindel, Rosa Elizabeth, 138
+
+  Seghers, Anna, 57
+
+  Seidler, Louise Caroline, 241
+
+  Siddons, Mrs., 170
+
+  Silva, Maria de, 222
+
+  Silvestre, Susanna, 203
+
+  Simanowitz, Ludovika, 240
+
+  Simes, Mary Jane, 293
+
+  Simons, Maria Elizabeth, 168
+
+  Sirani, Anna Maria, 72
+
+  “ Barbara, 72
+
+  Sirani, Elisabetta, 68
+
+  Siries, Violanta Beatrice, 224
+
+  Siscara, Angelica, 225
+
+  Skeysers, Clara, 57
+
+  Smirke, Miss, 190
+
+  Smith, Barbara Leigh, 244
+
+  “ Elizabeth, 170
+
+  Smyters, Anna, 57, 188
+
+  Sonnenschein, Mademoiselle, 240
+
+  Sophia, Duchess of Coburg-Saalfeld, 136
+
+  Sophia, Princess, 115
+
+  Spencer, Countess Lavinia, 186
+
+  “ Lily M., 317
+
+  Spilberg, Adriana, 98
+
+  Spilimberg, Irene di, 44
+
+  Spilsbury, Mary, 190
+
+  Stebbins, Emma, 346
+
+  Steen, Susanna von, 104
+
+  Steenwyk, Madame, 97
+
+  Steinbach, Sabina von, 30
+
+  Stella, Claudine Bonzonnet, 90
+
+  Stoop, Mariana van der, 115
+
+  Stresor, Henriette, 90
+
+  Stuart, Jane, 315
+
+  Stuntz, Electrine, 241
+
+  St. Urbin, Marie Anne de, 201
+
+  Sully, Jane, 287
+
+  Surigny, Madame, 203
+
+
+  T.
+
+  Tarabotti, Augusta, 60
+
+  “ Caterina, 82
+
+  Tardieu, Elizabeth Clara, 203
+
+  Tassaert, Henriette Felicitas, 139
+
+  Temple, Lady, 186
+
+  Terburg, Gezina, 98
+
+  “ Maria, 98
+
+  Tesi, Teresa, 225
+
+  Tessala, Anna, 97
+
+  Tesselschade-Visscher, Anna, 98
+
+  “ Maria, 98
+
+  Theudelinda, 28
+
+  Thielen, Maria Theresa van, 131
+
+  Tibaldi, Maria Felice, 222, 224
+
+  “ Teresa, 224
+
+  Timarata, 25
+
+  Tintoretto, Marietta, 45
+
+  Tirlinks, Lewina, 57
+
+  Tischbein, Magdalena, 240
+
+  Torrens, Eliza, 286
+
+  “ Rosalba, 286
+
+  Tott, Countess of, 188
+
+  Traballesi, Agatha, 43
+
+  Treu, Catharina, 141
+
+  “ Mary Anna, 139
+
+  “ Rosalie, 139
+
+  Trevingard, Anna, 190
+
+  Triumfi, Camilla, 83
+
+  Triva, Flaminia, 60, 65
+
+  Troost, Sarah, 167
+
+  Truchsetz-Waldburg, Countess von, 141
+
+  Tussaud, Madame, 198
+
+
+  U.
+
+  Ulefeld, Eleonora Christina, 121
+
+  “ Helena Christina, 121
+
+  Utrecht, Constantia of, 58, 104
+
+
+  V.
+
+  Vajani, Anna Maria, 79, 82
+
+  Valdes Leal, Luisa, 88
+
+  “ Maria, 88
+
+  “ Maria de, 222
+
+  Van der Myn, Agatha, 188
+
+  Vandyck, Anna, 81
+
+  Vanetti, Laura, 225
+
+  Vanni, Violanta, 224
+
+  Varotari, Chiara, 81
+
+  Vasini, Clarice, 225
+
+  Velasco, Francisca Palomino y, 87
+
+  Venier, Ippolita, 232
+
+  Verbruggen, Susanna, 104
+
+  Verelst, Maria, 165
+
+  Vernet, Fanny, 203
+
+  Viani, Maria, 73
+
+  Victoria, of Anhalt-Bernburg, 136
+
+  Vieira, Catarina, 223
+
+  Vigri, Caterina, 35
+
+  Vill’ Ambrosa, Countess of, 86
+
+  Villers, Madame, 236
+
+  Vincent, Adelaide, 204
+
+
+  W.
+
+  Wasser, Anna, 129
+
+  Watson, Caroline, 189
+
+  Weis, Madame, 138
+
+  Werbronk, Jacoba, 143
+
+  Wermuth, Maria Juliana, 138
+
+  Weston, Joanna, 121
+
+  “ Mary, 332
+
+  Wieslatin, Maria, 114
+
+  Wilde, Maria de, 104
+
+  Wildorfer, Maria Elizabeth, 142
+
+  Wilmot, Mrs., 170
+
+  Wilson, Mrs., 295
+
+  Withers, the Misses, 344
+
+  Withoos, Alida, 103
+
+  Wolters, Henrietta, 167
+
+  Wontiers, Micheline, 95
+
+  Woodman, Mrs., 316
+
+  Wright, Mrs., 189
+
+  Wulfraat, Margaretta, 98
+
+
+  Z.
+
+  Zarcillo, Inez, 88
+
+  Ziesenis, Margaretta, 165
+
+  Zucchi, Catarina, 224
+
+
+                               THE END.
+
+
+
+
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+                          Transcriber’s Notes
+
+Errors in punctuation have been fixed.
+
+Page 93: “engraved and excuted” changed to “engraved and executed”
+
+Page 116: “stones, muscles” changed to “stones, mussels”
+
+Page 161: “Robusti Tintoretti” changed to “Robusti Tintoretto”
+
+Page 243: “Bibilical scholarship” changed to “Biblical scholarship”
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+      Women Artists In All Ages and Countries | Project Gutenberg
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+<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Women artists in all ages and countries, by E. F. (Elizabeth Fries) Ellet</p>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
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+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
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+country where you are located before using this eBook.
+</div>
+
+<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Women artists in all ages and countries</p>
+<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: E. F. (Elizabeth Fries) Ellet</p>
+<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 29, 2023 [eBook #69897]</p>
+<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
+  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK WOMEN ARTISTS IN ALL AGES AND COUNTRIES ***</div>
+<p><span class="pagenum" id="Page_1">[Pg 1]</span></p>
+
+
+
+<h1>WOMEN ARTISTS<br><span class="small">
+IN ALL AGES AND COUNTRIES.</span></h1>
+
+<p class="center p2">
+<span class="smcap">By</span><br><span class="big">MRS. ELLET,</span><br>
+AUTHOR OF “THE WOMEN OF THE AMERICAN REVOLUTION,” ETC.<br>
+</p>
+
+<p class="center p4">
+<span class="big">NEW YORK:</span><br>
+HARPER &amp; BROTHERS, PUBLISHERS,<br>
+FRANKLIN SQUARE.<br>
+</p>
+<p class="center">
+1859.<br>
+</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+
+
+<p><span class="pagenum" id="Page_2">[Pg 2]</span></p>
+<p class="center p2">
+Entered, according to Act of Congress, in the year one thousand eight hundred and fifty-nine, by<br>
+<span class="smcap">Harper &amp; Brothers</span>,<br>
+in the Clerk’s Office of the District Court of the Southern District of New York.<br>
+</p>
+
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_3">[Pg 3]</span></p>
+
+
+<p class="center">
+TO<br>
+<span class="big">MRS. COVENTRY WADDELL,</span><br>
+<span class="small">WHOSE ELEGANT TASTE AND APPRECIATION OF ART, AND WHOSE LIBERAL KINDNESS TO ARTISTS, HAVE FOSTERED AMERICAN GENIUS,<br>
+</span><br>This Volume is Inscribed<br>
+BY HER FRIEND</p><p class="right">THE AUTHOR.<br>
+</p>
+</div>
+<p><span class="pagenum" id="Page_4">[Pg 4]</span></p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_5">[Pg 5]</span></p>
+
+<h2 class="nobreak" id="PREFACE">PREFACE.</h2>
+</div><hr class="r5">
+
+
+<p>I do not know that any work on Female Artists—either grouping them or
+giving a general history of their productions—has ever been published,
+except the little volume issued in Berlin by Ernst Guhl, entitled “Die
+Frauen in die Kunstgeschichte.” In that work the survey is closed with
+the eighteenth century, and female poets are included with painters,
+sculptors, and engravers in the category of artists. Finding Professor
+Guhl’s sketches of the condition of art in successive ages entirely
+correct, I have made use of these and the facts he has collected,
+adding details omitted by him, especially in the personal history of
+prominent women devoted to the brush and the chisel. Authorities, too
+numerous to mention, in French, Italian, German, and English, have been
+carefully consulted. I am indebted particularly to the works of Vasari,
+Descampes, and Fiorillo. The biographies of Mdlles. Bonheur, Fauveau,
+and Hosmer are taken, with a little condensing and shaping, from late
+numbers of that excellent periodical, “The Englishwoman’s Journal.” The
+sketches of many living artists were prepared from materials furnished
+by themselves or their friends.</p>
+
+<p><span class="pagenum" id="Page_6">[Pg 6]</span></p>
+
+<p>It is manifestly impossible, in a work of this kind, to include even
+the names of all the women artists who are worthy of remembrance. Among
+those of the present day are many who have not yet had sufficient
+experience to do justice to their own powers, and any criticism of
+their productions would be premature and unfair.</p>
+
+<p>No attempt has been made in the following pages to give elaborate
+critiques or a connected history of art. The aim has been simply
+to show what woman has done, with the general conditions favorable
+or unfavorable to her efforts, and to give such impressions of the
+character of each prominent artist as may be derived from a faithful
+record of her personal experiences. More may be learned by a view
+of the early struggles and trials, the persevering industry and the
+well-earned triumphs of the gifted, than by the most erudite or
+fine-spun disquisition. Should the perusal of my book inspire with
+courage and resolution any woman who aspires to overcome difficulties
+in the achievement of honorable independence, or should it lead to
+a higher general respect for the powers of women and their destined
+position in the realm of Art, my object will be accomplished.</p>
+
+<p class="right">
+E. F. E.<br>
+</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_7">[Pg 7]</span></p>
+
+<h2 class="nobreak" id="CONTENTS">CONTENTS.</h2>
+</div>
+
+<hr class="r5">
+<table class="autotable">
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_I">CHAPTER I.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+THE EARLY AGES.
+</td></tr>
+<tr><td>
+  Women in Art.—Kind of Painting most practiced by them.—Feminine
+  Employments in early Ages.—The fair Egyptians.—Women
+  of Assyria and Babylon.—Grecian Women.—Sculpture and Painting
+  in Greece.—The Daughter of Dibutades.—The Lover’s Profile.—The
+  first Bas-relief.—Timarata.—Helena.—Anaxandra.—Kallo.—Cirene.—Calypso.—Other
+  Pupils of Grecian Art.—The Roman
+  Women.—The Paintress Laya.—Lala.—Influence of Christianity
+  on Art.—Adornment rejected by the early Christians.—Art degraded
+  for Centuries.—Female Influence among the Nations that
+  rose on the Ruins of Rome.—Wise and clever Princesses.—Anna
+  Comnena.—The first Poetess of Germany.—The first Editress of a
+  Cyclopædia.—The Art of Illuminating.—Nuns employed in copying
+  and painting Manuscripts.—Agnes, Abbess of Quedlinburg.—Princesses
+  at work.—Convent Sisters copying and embellishing religious
+  Works.—The Nuns’ Printing-press.—The first Sculptress,
+  Sabina von Steinbach.—Her Works in the Cathedral of Strasburg.—Elements
+  that pervade the Sculpture of the Middle Ages.—Painting
+  of the Archbishop crowning Sabina.
+</td><td class="tdr page">
+<a href="#Page_21">Page 21</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_II">CHAPTER II.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE FIFTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Commencement of the History of modern Art.—Causes of the Barrenness
+  of this Century in female Artists.—The Decline of Chivalry
+  unfavorable to their mental Development.—Passing away of the
+  Ideal and Supernatural Element in Art.—New Feeling for Nature.—New
+  Life and Action in Painting.—Portrayal of Feelings
+  of the Heart.—Release of Painting from her Trammels.—Severer
+  Studies necessary for Artists.—Woman excluded from the Pursuit.—Patronage
+  sought.—One female Artist representing each
+  prominent School.—Margaretta von Eyck.—Her Miniatures.—Extensive
+  Fame.—Her Decoration of Manuscripts.—Work in Aid of
+  her Brothers.—“The gifted Minerva.”—Single Blessedness.—Another<p><span class="pagenum" id="Page_8">[Pg 8]</span></p>
+  Margaretta.—Copies and illuminates MSS. in the Carthusian
+  Convent.—Eight folio Volumes filled.—Caterina Vigri.—Her
+  Miniature Paintings.—Founds a Convent.—“The Saint of
+  Bologna.”—Miraculous Painting.—The warrior Maiden Onorata.—Decorates
+  the Palace at Cremona.—Insult offered her.—She
+  kills the Insulter.—Flight in male Attire.—Soldier Life.—Delivers
+  Castelleone.—The mortal Wound.
+</td><td class="tdr page">
+<a href="#Page_32">32</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_III">CHAPTER III.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SIXTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  This Century rich in great Painters.—Not poor in female Artists.—Memorable
+  Period both in Poetry and Painting.—Fruits of the Labor
+  of preceding Century now discernible.—Female Disciples in all
+  the Schools of Italian Art.—Superiority of the Bolognese School.—Properzia
+  Rossi.—Her Beauty and finished Education.—Carving
+  on Peach-stones.—Her Sculptures.—The famous Bas-relief of Potiphar’s
+  Wife.—Properzia’s unhappy Love.—Slander and Persecution.—Her
+  Works and Fame.—Visit of the Pope.—Properzia’s
+  Death.—Traditional Story.—Isabella Mazzoni a Sculptor.—A female
+  Fresco Painter.—Sister Plautilla.—Her Works for her Convent
+  Church.—Other Works.—Women Painters of the Roman School.—Teodora
+  Danti.—Female Engravers.—Diana Ghisi.—Irene di Spilimberg.—Her
+  Education in Venice.—Titian’s Portrait of her.—Tasso’s
+  Sonnet in her Praise.—Poetical Tributes on her Death.—Her
+  Works and Merits.—Vincenza Armani.—Marietta Tintoretto.—Her
+  Beauty and musical Accomplishments.—Excursions in Boy’s
+  Attire with her Father.—Her Portraits.—They become “the Rage.”—Invitation
+  from the Emperor.—From Philip of Spain.—The Father’s
+  Refusal.—Her Marriage and Death.—Portrait of her.—Women
+  Artists of Northern Italy.—Barbara Longhi and others.—The
+  Nuns of Genoa.
+</td><td class="tdr page">
+<a href="#Page_38">38</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_IV">CHAPTER IV.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SIXTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  The six wonderful Sisters.—Sofonisba Anguisciola.—Her early
+  Sketches.—Painting of three Sisters.—Her Success in Milan.—Invitation
+  to the Court of Madrid.—Pomp of her Journey and
+  Reception.—The Diamond.—Paints the Royal Family and the
+  Flower of the Nobility.—Her Present to Pope Pius.—His Letter.—Her
+  Style.—Lucia’s Picture.—Sofonisba Governess to the Infanta.
+  Marriage to the Lord of Sicily.—His Death at Palermo.—The
+  Widow’s Voyage.—The gallant Captain.—Second Love and Marriage.—Her<span class="pagenum" id="Page_9">[Pg 9]</span>
+  Residence at Genoa.—Royal Visitors.—Loss of Sight.—Vandyck
+  her Guest.—Her Influence on Art in Genoa.—Her
+  Portrait and Works.—Sofonisba Gentilesca.—Her Miniatures of
+  the Spanish Royal Family.—Caterina Cantoni.—Ludovica Pellegrini.—Angela
+  Criscuolo.—Cecilia Brusasorci.—Caterina dei Pazzi.—Her
+  Style shows the Infusion of a new Element of religious
+  Enthusiasm into Art.—Tradition of her painting with eyes closed.—Her
+  Canonization.—Women in France at this period.—Isabella
+  Quatrepomme.—Women in Spain.—A female Doctor of Theology.—Change
+  wrought by Protestantism in the Condition of Woman.—Its
+  Influence on Art.—An English Paintress.—Lavinia Benic.—Catherine
+  Schwartz in Germany.—Eva von Iberg in Switzerland.—Women
+  Painters in the Netherlands.—Female Talent in
+  Antwerp.—Albert Durer’s Mention of Susannah Gerard.—Catherine
+  Hämsen.—Anna Seghers.—Clara de Keyzer.—Liewina
+  Bennings’ and Susannah Hurembout’s Visits to England.—The
+  Engraver Barbara.—The Dutch Engraver.—Constantia, the Flower
+  Painter.
+</td><td class="tdr page">
+<a href="#Page_48">48</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_V">CHAPTER V.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SEVENTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  New Ground presented for Progress.—Greater Diversity of Style.—Naturalism.—The
+  Caracci instrumental in giving to Painting the
+  Impetus of Reform.—Their Academy.—One opened by a Milanese
+  Lady.—The learned Poetess and her hundredth Birthday.—Female
+  Painters and Engravers.—Lavinia Fontana.—The hasty Judgment.—Lavinia
+  a Pupil of Caracci.—Character of her Pictures.—Honors
+  paid to her.—Courted by Royalty.—Her Beauty and Suitors.—A
+  romantic Lover.—Lavinia’s Paintings.—Close of the Period
+  of the Christian Ideal in Art.—Lavinia’s <i lang="fr" xml:lang="fr">Chef-d’Œuvre</i>.—Her
+  Children.—Professional Honors.—Her Death.—Female Disciples of
+  the Caracci School.—Pupils of Domenichino, Lanfranco, and Guido
+  Reni.—The churlish Guercino a Despiser of Women.—The Cardinal’s
+  Niece and Heiress.—Her great Paintings.—Founds a Cloister.—Artemisia
+  Gentileschi, a Pupil of Guido.—Her Portraits.—Visit
+  to England.—Favor with Charles I.—Luxurious Abode in Naples.—Her
+  Correspondence.—Judgment of her Pictures.—Elisabetta Sirani.—Her
+  artistic Character.—Her household Life.—Industry and
+  Modesty.—Her Virtues and Graces.—Envious Artists.—Defeat of
+  Calumny.—Her mysterious Fate.—Conjectures respecting it.—Funeral
+  Obsequies.—Her principal Works.—Her Influence on female
+  Artists.—Her Pupils.—Other Women Artists of Bologna.
+</td><td class="tdr page">
+<a href="#Page_59">59</a><span class="pagenum" id="Page_10">[Pg 10]</span>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_VI">CHAPTER VI.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SEVENTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  School of the Academicians after Caravaggio.—Unidealized Nature.—Rude
+  and violent Passions delineated.—Dark and stormy Side of
+  Humanity.—Dark Coloring and Shadows.—The gloomy and passionate
+  expressed in Pictures appeared in the Lives of Artists.—The
+  Dagger and Poison-cup common.—Aniella di Rosa.—The Pupil of
+  Stanzioni.—Character of her Painting.—Romantic Love and Marriage.—The
+  happy Home destroyed.—The hearth-stone Serpent.—Jealousy.—The
+  pretended Proof.—Phrensy and Murder.—Other
+  fair Neapolitans.—The Paintress of Messina.—The Schools of Bologna
+  and Naples embrace the most prominent Italian Paintings.—Commencement
+  of Crayon-drawing.—Tuscan Ladies of Rank cultivating
+  Art.—The Rosalba of the Florentine School.—Art in the
+  City of the Cæsars.—The Roman Flower-painter.—Engravers.—Medallion-cutters.—A
+  female Architect.—A Roman Sculptress.—Women
+  Artists of the Venetian School.—At Pavia.—The Painter’s
+  four Daughters.—Chiara Varotari.—Shares her Brother’s Labors.—A
+  skillful Nurse.—Her Pupils.—Other female Artists of
+  this time.—The Schools of Northern Italy.—Their Paintresses.—Giovanna
+  Fratellini.
+</td><td class="tdr page">
+<a href="#Page_74">74</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_VII">CHAPTER VII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SEVENTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Contrast between the Academicians and Naturalists, and between the
+  French and Spanish Schools of Painting.—Peculiarities of each.—Ladies
+  of Rank in Madrid Pupils of Velasquez.—Instruction of
+  the royal Children in Art.—The Engraver of Madrid.—Every City
+  in the South of Spain boasts a female Artist.—Isabella Coello.—Others
+  in Granada.—In Cordova.—The Sculptress of Seville.—Luisa
+  Roldan; her Carvings in Wood.—The Canons “sold.”—Invitation
+  to Madrid.—Sculptress to the King.—Other Women
+  Artists in Spain.—In France Woman’s Position more prominent
+  than in preceding Age.—Corruption of court Manners.—Unworthy
+  Women in Power.—Women in every Department of Literature.—Mademoiselle
+  de Scudery.—Madame de la Fayette.—Madame
+  Dacier.—Women in theological Pursuits.—Their Ascendency
+  in Art not so great.—Miniature and Flower Painters.—Engravers.—Elizabeth
+  Sophie Chéron.—A Leader in Enamel-painting.—Her
+  Portraits and History-pieces.—Her Merits and
+  Success.—Her Translations of the Psalms.—Musical and Poetical<span class="pagenum" id="Page_11">[Pg 11]</span>
+  Talents.—Honors lavished on her.—Love and Marriage at three-score.—Her
+  Generosity to the needy.—Verses in her Praise.—Historical
+  Tableaux.—Madelaine Masson.—The Marchioness de
+  Pompadour.
+</td><td class="tdr page">
+<a href="#Page_85">85</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_VIII">CHAPTER VIII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SEVENTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Two different Systems of Painting in the North.—The Flemish School
+  represented by Rubens.—The Dutch by Rembrandt.—Characteristics
+  of Rubens’ Style.—No female Disciples.—Unsuited to feminine
+  Study.—Some Women Artists of the first Part of the Century.—Features
+  of the Dutch School.—A wide Field for female
+  Energy and Industry.—Painting <i lang="fr" xml:lang="fr">de genre</i>.—Its Peculiarities.—State
+  of Things favorable to female Enterprise.—Early Efforts in
+  Genre-painting.—Few Women among Rembrandt’s immediate
+  Disciples.—Genre-painting becomes adapted to female Talent.—“The
+  Dutch Muses.”—Another Woman Architect.—Dutch Women
+  Painters and Engravers.—Maria Schalken and others.—“The
+  second Schurmann.”—Margaretta Godewyck.—The Painter-poet.—Anna
+  Maria Schurmann.—Wonderful Genius for Languages.—Early
+  Acquirements.—Her Scholarship and Position among the
+  learned.—A Painter, Sculptor, and Engraver.—Called “the Wonder
+  of Creation.”—Royal and princely Visitors.—Journey to Germany.—Embraces
+  the religious Tenets of Labadie.—His Doctrines.—Joins
+  his Band.—Collects his Followers, and leads them into
+  Friesland.—Poverty and Death.—Visit of William Penn to her.—Her
+  Portrait.—Her female Contemporaries in Art.—Flower-painting
+  in the Netherlands.—Its Pioneers.—Maria Van Oosterwyck.—Her
+  Birth and Education.—Early Productions.—Celebrated
+  at foreign Courts.—Presents from imperial Friends.—Enormous
+  Prices for her Pictures.—Royal Purchasers.—The quiet Artist
+  at work.—The Lover’s Visit.—The Lover’s Trial and Failure.—Style
+  of her Painting.—Rachel Ruysch.—The greatest Flower-painter.—Early
+  Instruction.—Spread of her Fame.—Domestic
+  Cares.—Professional Honors.—Invitations to Courts.—Her Patron,
+  the Elector.—Her Works in old Age.—Her Character.—Rarity
+  of her Paintings.—Personal Appearance.
+</td><td class="tdr page">
+<a href="#Page_94">94</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_IX">CHAPTER IX.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE SEVENTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Unfavorable Circumstances for Painting in Germany.—Effects of the
+  Thirty Years’ War.—The national Love of Art shown by the Signs<span class="pagenum" id="Page_12">[Pg 12]</span>
+  of Life manifested.—Influence of the Reformation.—Inferiority of
+  German Art in this Century.—Ladies of Rank in Literature.—A
+  female Astronomer.—The Fame of Schurmann awakens Emulation.—Distinguished
+  Women.—Commencement of poetic Orders.--Zesen, the Patron of the Sex.—Women who cultivated Art.—Paintresses
+  of Nuremberg.—Barbara Helena Lange.—Flower-painters
+  and Engravers.—Modeling in Wax.—Women Artists in
+  Augsburg.—In Munich.—In Hamburg.—The Princess Hollandina.—Her
+  Paintings.—Maria Sibylla Merian.—Early Fondness for
+  Insects.—Maternal Opposition.—Her Marriage.—Publication of
+  her first Work.—Joins the Labadists.—Returns to the Butterflies.—Curiosity
+  to see American Insects.—Voyage to Surinam.—Story
+  of the Lantern-flies.—Return to Holland.—Her Works published.—Republication
+  in Paris afterward.—Her Daughters.—Her
+  personal Appearance.—The Danish Women Artists.—Anna
+  Crabbe.—King’s Daughters.—The Taste in Art in Denmark and
+  England governed by that of foreign Nations.—Female Artists in
+  England.—The Poetesses most prominent.—Miniaturists.—Portrait-painters.—Etchers.—Lady
+  Connoisseurs.—The Dwarf’s
+  Daughter.—Anna Carlisle.—Mary Beale.—Pupil of Sir Peter
+  Lely.—Character of her Works.—Rumor of Lely’s Attachment to
+  her.—Poems in her Praise.—Mr. Beale’s Note-books.—Anne Killegrew.—Her
+  Portraits of the Royal Family.—History and still-life
+  Pieces.—Her Portrait by Lely.—Her Character.—Dryden’s Ode
+  to her Memory.—Her Poems published.—Mademoiselle Rosée.—The
+  Artist in Silk.—Wonderful Effects.—Her Works Curiosities.—The
+  Artist of the Scissors.—Her singular imitative Powers.—A
+  Copyist of old Paintings.—Her Cuttings.—Views of all kinds done
+  with the Scissors.—Royal and imperial Visitors.—Her Trophy for
+  the Emperor Leopold.—Poems in her Praise.—The Swiss Paintress
+  Anna Wasser.—Her Education and Works.—Commissions from
+  Courts.—Her Father’s Avarice.—Sojourn at a Court.—Return
+  home.—Fatal Accident.—Her literary Accomplishments.
+</td><td class="tdr page">
+<a href="#Page_110">110</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_X">CHAPTER X.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  General Expansion and Extension of Art-culture.—More Scope given
+  to the Tendencies originated in preceding Age.—Reminiscences of
+  past Glories of Art active during the first half of the Century.—The
+  Flemish and Italian Schools in vogue.—Eclecticism.—Influences
+  of the French School mingled with those of the great Masters.—The
+  Rococo Style.—The Aggregate of Woman’s Labor greater<span class="pagenum" id="Page_13">[Pg 13]</span>
+  than ever before.—Not accompanied by greater Depth.—Less
+  Individuality discernible.—The greatest artistic Activity among
+  Women in Germany.—In France next.—In Italy next.—In other
+  Countries less.—Rapid Growth of Art in Berlin.—In Dresden.—Scholarship
+  and literary Position of Women during the first half
+  of the Century.—Poets and their Inspirations.—Princesses the Patrons
+  of Letters.—Nothing new or striking in Art.—A Revolution
+  in the latter half of the Century.—Instruction in Art a Branch of
+  Education.—Dilettanti of high Rank.—Female Pupils of Painters
+  of Note.—Mengs and Carstens.—Carstens the Founder of modern
+  German Art.—His Style not adapted to female Talent.—A lovely
+  Form standing between him and Mengs.—A female Stamp-cutter.—An
+  Artist in Wax-work.—In Stucco-work.—In cutting precious
+  Stones.—Barbara Preisler.—Other female Artists.—Fashionable
+  Taste in Painting.—Marianna Hayd.—Miniaturists.—Anna Maria
+  Mengs.—Her Works.—Miniature and Pastel-painting.—Flowers
+  and Landscapes a Passion.—Imitators of Rachel Ruysch and Madame
+  Merian.—Celebrities in Flower-painting.—Copper-engraving. Lady
+  Artists of high Rank.—Other Devotees to Art.
+</td><td class="tdr page">
+<a href="#Page_132">132</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XI">CHAPTER XI.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Angelica Kauffman.—Parentage and Birth.—Beautiful Scenery of
+  her native Land.—Early Impulse to Painting.—Adopts the Style
+  of Mengs.—Her Residence in Como.—Instruction.—Music or
+  Painting?—Beauty of Nature around her.—Angelica’s Letter
+  about Como.—Escape from Cupid.—Removal to Milan.—Introduction
+  to great Works of Art.—Studies of the Lombard Masters.—The
+  Duke of Modena her Patron.—Portrait of the Duchess of
+  Carrara.—Success.—Return to Schwarzenberg.—Painting in Fresco.—Homely
+  Life of the Artist.—Milan and Florence.—Rome.—Acquaintance
+  with Winkelmann.—Angelica paints his Portrait.—Goes
+  to Naples.—Studies in Rome.—In Venice.—Acquaintance
+  with noble English Families.—In London.—A brilliant Career.—Fuseli’s
+  Attachment to her.—Appointed Professor in the Academy
+  of Arts.—Romantic Incident of her Travel in Switzerland.—The
+  weary Travelers.—The libertine Lord.—The Maiden’s Indignation.—Unexpected
+  Meeting in the aristocratic Circles of London.—The
+  Lord’s Suit renewed.—Rejected with Scorn.—His Rank
+  and Title spurned.—Revenge.—The Impostor in Society.—Angelica
+  deceived into Marriage.—She informs the Queen.—Her Father’s
+  Suspicions.—Discovery of the Cheat.—The Wife’s Despair.—The<span class="pagenum" id="Page_14">[Pg 14]</span>
+  false Marriage annulled.—The Queen’s Sympathy.—Stories
+  of Angelica’s Coquetry.—Marriage with Zucchi.—Return to
+  Italy.—Her Father’s Death.—Residence in Rome.—Circle of literary
+  Celebrities.—Angelica’s Works.—Criticisms.—Opinions of
+  Mengs and Fuseli.—The Portraits in the Pitti Gallery.—Death of
+  Zucchi.—Invasion of Italy.—Angelica’s Melancholy.—Journey
+  and Return.—Her Death and Funeral.
+</td><td class="tdr page">
+<a href="#Page_144">144</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XII">CHAPTER XII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Female Artists in the Scandinavian Countries.—In Sweden.—Ulrica
+  Pasch.—Danish Women Artists.—A richer Harvest in the Netherlands.—The
+  Belgian Sculptress.—Maria Verelst.—Her Paintings
+  and Attainments in the Languages.—Residence in London.—Curious
+  Anecdote.—Walpole’s Remark.—Women Artists in Holland.—Poetry.—Henrietta
+  Wolters.—Her Portraits.—Invitation
+  from Peter the Great.—Dutch Paintresses.—The young Engraver.—Caroline
+  Scheffer.—Landscape and Flower Painters.—A Follower
+  of Rachel Ruysch.—An Engraver.—In England.—Painting
+  suited to Women.—Literary Ladies.—Effect of the Introduction
+  of a new Manner in Art.—Numerous Dilettanti.—Female Sculptors.—Mrs.
+  Samon.—Mrs. Siddons and others.—Mrs. Damer.—Aristocratic
+  Birth.—Early love of Study and Art.—Horace Walpole
+  her Adviser.—Conversation with Hume.—First Attempt at
+  Modeling.—The Marble Bust and Hume’s Criticism.—Surprise
+  of the gay World.—Miss Conway’s Lessons and Works.—Unfortunate
+  Marriage.—Widowhood.—Politics.—Walpole’s Opinion of
+  Mrs. Damer’s Sculptures.—Darwin’s Lines.—Sculptures.—Envy
+  and Detraction.—Going abroad.—Escape from Danger.—Noble
+  Ambition.—Return to England.—Politics and Kissing.—Private
+  Theatricals.—The three Heroes.—Friendship with the Empress.—Walpole’s
+  Bequest.—Parlor Theatricals, etc.—Removal.—Project
+  for improving India.—Mrs. Damer’s Works.—Opinions of
+  her.
+</td><td class="tdr page">
+<a href="#Page_164">164</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XIII">CHAPTER XIII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Mary Moser.—Nollekens’ House.—Skill in Flower-painting.—The
+  Fashions.—Queen Charlotte.—Patience Wright.—Birth in New
+  Jersey.—Quaker Parents.—Childish Taste for Modeling.—Marriage.—Widowhood.—Wax-modeling.—Rivals
+  Madame Tussaud.—Residence
+  in England.—Sympathy with America in Rebellion.—Correspondence<span class="pagenum" id="Page_15">[Pg 15]</span>
+  with Franklin.—Intelligence conveyed.—Freedom
+  of Speech to Majesty.—Franklin’s Postscript.—“The
+  Promethean Modeler.”—Letter to Jefferson.—Patriotism.—Art
+  the Fashion.—Aristocratic lady Artists.—Princesses Painting.—Lady
+  Beauclerk.—Walpole’s “Beauclerk Closet.”—Designs and
+  Portrait.—Lady Lucan.—Her Illustrations of Shakspeare.—Walpole’s
+  Criticism.—Other Works.—Mary Benwell and others.—Anna
+  Smyters and others.—Madame Prestel.—Mrs. Grace.—Mrs.
+  Wright.—Flower-painters.—Catherine Read and others.—Maria
+  Cosway.—Peril in Infancy.—Lessons.—Resolution to take the
+  Veil.—Visit to London.—Marriage.—Cosway’s Painting.—Vanity
+  and Extravagance.—The beautiful Italian Paintress.—Cosway’s
+  Prudence and Management.—Brilliant evening Receptions.—Aristocratic
+  Friends.—The Epigram on the Gate.—Splendid new
+  House and Furniture.—Failing Health.—France and Italy.—Institution
+  at Lodi.—Singular Occurrence.—Death of Cosway.—Return
+  to Lodi.—Maria’s Style and Works.
+</td><td class="tdr page">
+<a href="#Page_181">181</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XIV">CHAPTER XIV.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Close of the golden Age of Art in France.—Corruption of Manners.—Influence
+  of female Genius.—Reign of Louis XVI.—Female
+  Energy in the Revolution.—Charlotte Corday.—Greater Number
+  of female Artists in Germany.—Reasons why.—French Women
+  devoted to Engraving.—Stamp-cutters.—A Sculptress enamored.—A
+  few Paintresses.—The Number increasing.—Influence of the
+  great French Masters.—Sèvres-painting.—Genre-painting.—Disciples
+  of Greuze.—Portrait-painting in vogue.—Caroline Sattler.—Flower-painters,
+  etc.—Engravers.—Two eminent Paintresses.—Adelaide
+  Vincent.—Marriage.—Portraits and other Works.—The
+  Revolution.—Elizabeth Le Brun.—Talent for Painting.—Her Father’s
+  Delight.—Instruction.—Friendship with Vernet.—Poverty
+  and Labor.—Avaricious Step-father.—Her Earnings squandered.—Success
+  and Temptation.—Acquaintance with Le Brun.—Maternal
+  Counsels to Marriage.—Secret Marriage.—Warnings too
+  late.—The Mask falls.—Luxury for the Husband, Labor and Privation
+  for the Wife.—Success and Scandal.—French Society.—Friendship
+  with Marie Antoinette.—La Harpe’s Poem.—Evening
+  Receptions.—Splendid Entertainments.—Scarcity of Seats.—Petits
+  Soupers.—The Grecian Banquet.—Reports concerning it.—Departure
+  from France.—Triumphal Progress.—Reception in Bologna.—In
+  Rome.—In Naples.—In Florence.—Madame Le Brun’s Portrait.—Goethe’s<span class="pagenum" id="Page_16">[Pg 16]</span>
+  Remarks.—New Honors.—Reception at Vienna.—An
+  old Friend in Berlin.—Residence in Russia.—Return to
+  France.—Loyalty.—Her Pictures.—Death of her Husband and
+  Daughter.—Advanced Age.—Autobiography.—An emblematic
+  Life.
+</td><td class="tdr page">
+<a href="#Page_199">199</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XV">CHAPTER XV.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE EIGHTEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Women Artists in Spain.—Their Participation a Test of general
+  Interest.—Female Representatives of the most important Schools.—That
+  of Seville.—Of Madrid.—The Paintress of Don Quixote.—Ladies
+  of Rank Members of the Academy.—Maria Tibaldi.—Two
+  female Artists besides two Poetesses in Portugal.—The Harvest
+  greater in Italy.—Few attained to Eminence.—Learned Ladies.—Female
+  Doctors and Professors.—Degrees in Jurisprudence
+  and Philosophy conferred on them.—Examples.—The Scholar
+  nine Years old.—A lady Professor of Mathematics.—Women Lecturers.—Comparison
+  with English Ladies.—Brilliant Devotees of
+  the Lyre.—Female Talent in the important Schools of Art.—Women
+  Artists in Florence.—Engravers and Paintresses.—In
+  Naples.—Kitchen-pieces.—In the Cities of northern Italy.—In Bologna.—Princesses.—In
+  Venice.—Rosalba Carriera.—Her childish
+  Work.—Her Genius perceived.—Instruction.—Takes to Pastel-painting.—Merits
+  of her Works.—Celebrity.—Invitations to
+  Paris and Vienna.—Visit from the King of Denmark.—Invited
+  by the Emperor and the King of France.—Portrait for the Grand
+  Duke of Tuscany.—The King of Poland her Patron.—Unspoiled
+  by Honors.—Her moral Worth.—Residence in Paris.—Her Pictures.—The
+  Lady disguised as a Maid-servant.—Want of Beauty.—Anecdote
+  of the Emperor.—Rosalba’s Journal.—Visit to Vienna.—Presentiment
+  of Calamity.—The Portrait wreathed with
+  gloomy Leaves.—Blindness.—Loss of Reason.—Death and Burial.—Her
+  Portrait.—Other Venetian Women.
+</td><td class="tdr page">
+<a href="#Page_221">221</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XVI">CHAPTER XVI.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE NINETEENTH CENTURY.
+</td></tr>
+<tr><td>
+  More vigorous Growth of the Branches selected for female Enterprise.—Progress
+  accelerated toward the Close of last Century.—Still
+  more remarkable within the last fifty Years.—Great Number of
+  Women active in Art.—Better intellectual Cultivation and growing
+  Taste.—Increased Freedom of Woman.—Present Prospect fair.—Growing
+  Sense of the Importance of Female Education.—Women<span class="pagenum" id="Page_17">[Pg 17]</span>
+  earning an Independence.—The Stream shallows as it widens.—Few
+  Instances of pre-eminent Ability.—Fuller Scope of the Influence
+  of the French Masters in the nineteenth Century.—David,
+  the Republican Painter.—His female Pupils.—Angélique Mongez.—Madame
+  Davin and others.—Disciples of Greuze.—Female
+  Scholars of Regnault.—Pupils of the Disciples of David.—Pupils
+  of Fleury and Cogniet.—Madame Chaudet.—Kinds of Painting in
+  Vogue.—The Princess Marie d’Orleans.—Her Statue of the Maid
+  of Orleans.—Her last Work.—Promise of Greatness.—Sculpture
+  by Madame de Lamartine.—“Paris is France.”—Painting on
+  Porcelain.—Madame Jacotot and others.—Condition of Art in
+  Germany.—Carstens.—Women Artists.—Maria Ellenrieder.—Louise
+  Seidler.—Baroness von Freiberg.—Madame von Schroeter.—Female
+  Artists of the Düsseldorf School.—The greatest Number
+  in Berlin.—Rich Bloom of Female Talent in Vienna and Dresden.—Changes
+  in Italy.—Prospect not fair in Spain and Scandinavia.—In
+  England, Sculpture and Painting successfully cultivated.—Fanny
+  Corbeaux.—Superior in Biblical Scholarship.—The Netherlands
+  in this Century.—Encouragement for Women to persevere.—Dr.
+  Guhl’s Opinion.—History the Teacher of the Present.
+</td><td class="tdr page">
+<a href="#Page_233">233</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XVII">CHAPTER XVII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE NINETEENTH CENTURY.
+</td></tr>
+<tr><td>
+  Felicie de Fauveau.—Parentage.—Her Mother a Legitimist.—The
+  Daughter’s Inheritance of Loyalty.—Removals.—Felicie’s Studies.—Learns
+  to Model.—Resolves to be a Sculptor.—Labor becoming
+  to a Gentlewoman.—Her first Works.—Early Triumphs.—Social
+  Circle in Paris.—Evening Employments.—Revival of a peculiar
+  Taste.—Mediæval Fashions.—The bronze Lamp.—Equestrian
+  Sketch.—Effect of the Revolution of 1830.—The two Felicies leave
+  Paris.—A rural Conspiracy.—A domiciliary Visit.—Escape of the
+  Ladies.—Discovery and Capture.—The Stratagem at the Inn.—Escape
+  of Madame in Disguise.—Imprisonment of Mademoiselle.—Works
+  in Prison.—Return to Paris.—Politics again.—Felicie
+  banished.—Breaks up her Studio.—Poverty and Privation.—Residence
+  in Florence.—Brighter Days.—Character of Felicie.—Personal
+  Appearance.—Her Dwelling and Studio.—Her Works.—The
+  casting of a bronze Statue.—Industry and Retirement.—“A
+  good Woman and a great Artist.”—<span class="smcap">Rosa Bonheur.</span>—Her Birth in
+  Bordeaux.—Her Father.—Rosa a Dunce in Childhood.—Her Parrot.—Rambles.—The
+  Spanish Poet.—Removal to Paris.—Revolution
+  and Misfortune.—Death of Madame Bonheur.—The Children<span class="pagenum" id="Page_18">[Pg 18]</span>
+  at School.—Rosa detests Books and loves Roaming.—Remarriage
+  of Bonheur.—Rosa a Seamstress.—Hates the Occupation.—Prefers
+  turning the Lathe.—Her Unhappiness.—Placed at a Boarding-school.—Her
+  Pranks and Caricatures.—Abhorrence of Study.—Mortification
+  at her Want of fine Clothes.—Resolves to achieve a
+  Name and a Place in the World.—Discontent and Gloom.—Return
+  home.—Left to herself.—Works in the Studio.—Her Vocation
+  apparent.—Studies at the Louvre.—Her Ardor and Application.—The
+  Englishman’s Prophecy.—Rosa vowed to Art.—Devoted
+  to the Study of Animals.—Excursions in the Country in
+  search of Models.—Visits the <i lang="fr" xml:lang="fr">Abattoirs</i>.—Study of various Types.—Visits
+  the Museums and Stables.—Resorts to the horse and cattle
+  Fairs in male Attire.—Curious Adventures.—Anatomical Studies.—Advantages
+  of her Excursions.—Her Father her only Teacher.—The
+  Family of Artists.—Rosa’s pet Birds and Sheep.—Her
+  first Appearance.—Rising Reputation.—Takes the gold Medal.—Proclaimed
+  the new Laureat.—Death of her Father.—Rosa Directress
+  of the School of Design.—Her Sister a Professor.—“The
+  Horse-market.”—Rosa’s Paintings.—Bestows her Fortune on others.—Her
+  Farm.—Drawings presented to Charities.—Demand for her
+  Paintings.—Her Right to the Cross of the Legion of Honor.—The
+  Emperor’s Refusal to grant it to a Woman.—Description of her
+  Residence and her Studio.—Rosa found asleep.—Her personal
+  Appearance.—Dress.—Her Character.—Her Industry.—Mademoiselle
+  Micas.—Mountain Rambles.—Rosa’s Visit to Scotland.—Her
+  Life in the Mountains.—At the Spanish Posada.—Threatened
+  Starvation.—Cooking Frogs.—The Muleteers.—Rosa’s Scotch
+  Terrier.—Her Resolution never to marry.
+</td><td class="tdr page">
+<a href="#Page_246">246</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XVIII">CHAPTER XVIII.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE NINETEENTH CENTURY.
+</td></tr>
+<tr><td>
+  The Practice of Art in America.—Number of women Artists increasing.—Prospect
+  flattering.—Imperfection of Sketches of living
+  Artists.—Rosalba Torrens.—Miss Murray.—Mrs. Lupton.—Miss
+  Denning.—Miss O’Hara.—Mrs. Darley.—Mrs. Goodrich.—Miss
+  Foley.—Miss Mackintosh and others.—Mrs. Ball Hughes.—Mrs.
+  Chapin.—Sketch of Mrs. Duncan.—The Peale Family.—Anecdote
+  of General Washington.—Mrs. Washington’s Punctuality.—Miss
+  Peale an Artist in Philadelphia.—Paints Miniatures.—Copies
+  Pictures from great Artists.—She and her Sister honorary Members
+  of the Academy.—Her prosperous Career.—Paints with her
+  Sister in Baltimore and Washington.—Marriage and Widowhood.—Return<span class="pagenum" id="Page_19">[Pg 19]</span>
+  to Philadelphia.—Second Marriage.—Happy Home.—Mrs.
+  Yeates.—Miss Sarah M. Peale.—Success.—Removal to St.
+  Louis.—Miss Rosalba Peale.—Miss Ann Leslie.—Early Taste in
+  Painting.—Visits to London.—Copies Pictures.—Miss Sarah Cole.—Mrs.
+  Wilson.—Intense Love of Art.—Her Sculptures.—Her
+  impromptu Modeling of Emerson’s Head.—Mrs. Cornelius Dubois.—Her
+  Taste for the Sculptor’s Art.—Groups by her.—Studies in
+  Italy.—Her Cameos.—Her Kindness to Artists.—Miss Anne Hall.—Early
+  Love of Painting.—Lessons.—Copies old Paintings in
+  Miniature.—Her original Pictures.—Her Merits of the highest Order.—Groups
+  in Miniature.—Dunlap’s Praise.—Her Productions
+  numerous.—Mary S. Legaré.—Her Ancestry.—Mrs. Legaré.—Early
+  Fondness for Art shown by the Daughter.—Her Studies.—Little
+  Beauty in the Scenery familiar to her.—Colonel Cogdell’s
+  Sympathy with her.—Success in Copying.—Visit to the Blue Ridge.—Grand
+  Views.—Paintings of mountain Scenery.—Removal to
+  Iowa.—“Legaré College.”—Her Erudition and Energy.—Her Marriage.—Herminie
+  Dassel.—Reverse of Fortune.—Painting for a
+  Living.—Visit to Vienna and Italy.—Removal to America.—Success
+  and Marriage.—Her social Virtues and Charity.—Miss Jane
+  Stuart.—Mrs. Hildreth.—Mrs. Davis.—Mrs. Badger’s Book of Flowers.—Mrs.
+  Hawthorne.—Mrs. Hill.—Mrs. Greatorex.—Mrs. Woodman.—Miss
+  Gove.—Miss May.—Miss Granbury.—Miss Oakley.
+</td><td class="tdr page">
+<a href="#Page_285">285</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XIX">CHAPTER XIX.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE NINETEENTH CENTURY.
+</td></tr>
+<tr><td>
+  <span class="smcap">Mrs. Lily Spencer.</span>—Early Display of Talent.—Removal to New
+  York.—To Ohio.—Out-door Life.—Chase of a Deer.—Encounter
+  with the Hog.—Lifting a Log.—Sketch on her bedroom Walls.—Encouragement.—Curiosity
+  to see her Pictures.—Her Studies.—Removal
+  to Cincinnati.—Jealousy of Artists.—Lord Morpeth.—Lily’s
+  Marriage.—Return to New York.—Studies.—Her Paintings.—Kitchen
+  Scenes.—Success and Fame.—Her Home and
+  Studio.—Louisa Lander.—Inheritance of Talent.—Passion for
+  Art.—Development of Taste for Sculpture.—Abode in Rome.—Crawford’s
+  Pupil.—Her Productions.—“Virginia Dare.”—Other
+  Sculptures.—Late Works.—Mary Weston.—Childish Love of
+  Beauty and Art.—Devices to supply the Want of Facilities.—Studies.—Departure
+  from Home.—Is taken back.—Perseverance amid
+  Difficulties.—Journey to New York.—Sees an Artist work.—Finds
+  Friends.—Visit to Hartford.—Return to New York for Lessons.—Marriage.—Her<span class="pagenum" id="Page_20">[Pg 20]</span>
+  Paintings.—Miss Freeman.—Variously gifted.—Miss
+  Dupré.—The Misses Withers.—Mrs. Cheves.—Mrs. Hanna.
+</td><td class="tdr page">
+<a href="#Page_317">317</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+<a href="#CHAPTER_XX">CHAPTER XX.</a>
+</td></tr>
+<tr><td colspan="2" class="tdc">
+  THE NINETEENTH CENTURY.
+</td></tr>
+<tr><td>
+  <span class="smcap">Emma Stebbins.</span>—Favorable Circumstances of her early Life to the
+  Study of Art.—Specimens of her Skill shown in private Circles.—Receives
+  Instruction from Henry Inman.—Correctness of her Portraits.—“A
+  Book of Prayer.”—Revives Taste for Illuminations.—Her
+  crayon Portraits.—Copies of Paintings.—Cultivates many
+  Branches of Art.—Becomes a Sculptor.—Abode in Rome.—Instruction
+  received from Gibson and Akers.—Late Work from her
+  Chisel.—“The Miner.”—<span class="smcap">Harriet Hosmer.</span>—Dwelling of the
+  Sculptor Gibson in Rome.—His Studio and Work-room.—“La
+  Signorina.”—The American Sculptress.—Her Childhood.—Physical
+  Training.—School-life.—Anecdotes.—Studies at Home.—At
+  St. Louis.—Her Independence.—Trip on the Mississippi.—“Hesper.”—Departure
+  for Rome.—Mr. Gibson’s Decision.—Extract
+  from Miss Hosmer’s Letter.—Original Designs.—Reverse of Fortune.—Alarm.—Resolution.—Industry,
+  Economy, and Success.—Late
+  Works.—Visit of the Prince of Wales.
+</td><td class="tdr page">
+<a href="#Page_346">346</a>
+</td></tr>
+</table>
+<p><span class="pagenum" id="Page_21">[Pg 21]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p class="xbig center">WOMEN ARTISTS.</p>
+<hr class="r5">
+
+<h2 class="nobreak" id="CHAPTER_I">CHAPTER I.<br><span class="small">THE EARLY AGES.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Women in Art.—Kind of Painting most practiced by them.—Feminine
+Employments in early Ages.—The fair Egyptians.—Women of
+Assyria and Babylon.—Grecian Women.—Sculpture and Painting in
+Greece.—The Daughter of Dibutades.—The Lover’s Profile.—The first
+Bas-relief.—Timarata.—Helena.—Anaxandra.—Kallo.—Cirene.—Calypso.—Other
+Pupils of Grecian Art.—The Roman Women.—The Paintress
+Laya.—Lala.—Influence of Christianity on Art.—Adornment rejected by
+the early Christians.—Art degraded for Centuries.—Female Influence
+among the Nations that rose on the Ruins of Rome.—Wise and clever
+Princesses.—Anna Comnena.—The first Poetess of Germany.—The
+first Editress of a Cyclopædia.—The Art of Illuminating.—Nuns
+employed in copying and painting Manuscripts.—Agnes, Abbess of
+Quedlinburg.—Princesses at work.—Convent Sisters copying and
+embellishing religious Works.—The Nuns’ Printing-press.—The first
+Sculptress, Sabina von Steinbach.—Her Works in the Cathedral of
+Strasburg.—Elements that pervade the Sculpture of the Middle
+Ages.—Painting of the Archbishop crowning Sabina.</p>
+</div>
+
+
+<p>“Men have not grudged to women,” says a modern writer, “the wreaths
+of literary fame. No history of literature shows a period when their
+influence was not apparent, when honors were not rendered to them;” and
+the social condition of woman has been generally allowed to measure
+the degree of intellectual culture in a nation. Although in the realm
+of art her success is more questionable, she may yet claim the credit
+of having materially aided its progress. Woman<span class="pagenum" id="Page_22">[Pg 22]</span> is the type of the
+ornamental part of our life, and lends to existence the charm which
+inspires the artist, and furnishes him with an object for effort. Her
+native unconscious grace and beauty present the models which it is his
+highest merit to copy faithfully.</p>
+
+<p>A New England divine says, “Woman, like man, wants to make her thought
+a thing.” “All that belongs to the purely natural,” observes Hippel,
+“lies within her sphere.” The kind of painting, thus, in which the
+<em>object</em> is prominent has been most practiced by female artists.
+Portraits, landscapes, flowers, and pictures of animals are in favor
+among them. Historical or allegorical subjects they have comparatively
+neglected; and, perhaps, a sufficient reason for this has been that
+they could not command the years of study necessary for the attainment
+of eminence in these. More have been engaged in engraving on copper
+than in any other branch of art, and many have been miniature painters.</p>
+
+<p>Such occupations might be pursued in the strict seclusion of home,
+to which custom and public sentiment consigned the fair student. Nor
+were they inharmonious with the ties of friendship and love to which
+her tender nature clung. In most instances women have been led to
+the cultivation of art through the choice of parents or brothers.
+While nothing has been more common than to see young men embracing
+the profession against the wishes of their families and in the face
+of difficulties, the example of a woman thus deciding for herself is
+extremely rare.</p>
+
+<p>We know little of the practice of the arts by women in ancient times.
+The degraded condition of the sex in Eastern countries rendered woman
+the mere slave and toy of her master; but this very circumstance<span class="pagenum" id="Page_23">[Pg 23]</span> gave
+her artistic ideas capable of development into independent action.
+These first showed themselves in the love of dress and the selection of
+ornaments. From the early ages of the world, too, spinning and weaving
+were feminine employments, in which undying germs of art were hidden;
+for it belongs to human nature never to be satisfied with what merely
+ministers to necessity. The ancient sepulchres and buried palaces
+disclosed by modern discovery display the love of adornment prevailing
+among the nations of antiquity. Women rendered assistance in works upon
+wood and metal, as well as, more frequently, in the productions of the
+loom. The fair Egyptians covered their webs with the most delicate
+patterns; and the draperies of the dead and the ornamented hangings in
+their dwellings attested the skill of the women of Assyria and Babylon.</p>
+
+<p>The shawls and carpets of Eastern manufacture, and other articles of
+luxury that furnished the palaces of European monarchs, were often the
+work of delicate hands, though no tradition has preserved the names of
+those who excelled in such labors.</p>
+
+<p>Among the ancient Greeks the position of woman, though still secluded
+and slavish, gave her a nobler life. The presiding deities of the
+gentle arts were represented to popular apprehension in female form,
+and, doubtless, the gracious influence the sex has in all ages
+exercised was then in some measure recognized. Poetry had her fair
+votaries, and names are still remembered that deserve to live with
+Sappho. Schools of philosophy were presided over by the gifted and
+cultivated among women.</p>
+
+<p>Sculpture and architecture, the arts carried to greatest perfection,
+were then far in advance of painting;<span class="pagenum" id="Page_24">[Pg 24]</span> at least, we know of no relics
+that can support the pretensions of the Greeks to superiority in the
+latter. “What is left,” says a writer in the “Westminster Review,”
+“of Apelles and Zeuxis? The few relics of ancient painting which have
+survived the lapse of ages and the hand of the spoiler all date from
+the time of the Roman Empire; and neither the frescoes discovered
+beneath the baths of Titus, the decorations of Pompeii and Herculaneum,
+nor even the two or three cabinet pictures found beneath the buried
+city, can be admitted as fair specimens of Grecian painting in its
+zenith.”</p>
+
+
+<h3>THE DAUGHTER OF DIBUTADES.</h3>
+
+<p>But, though few Grecian women handled the pencil or the chisel, and
+women were systematically held in a degree of ignorance, we find here,
+on the threshold of the history of art, a woman’s name—that of Kora,
+or, as she has been called, Callirhoe, the daughter of a potter named
+Dibutades, a native of Corinth, said to have resided at Sicyonia about
+the middle of the seventh century before Christ. Pliny tells us she
+assisted her father in modeling clay. The results of his labor were
+arranged on shelves before his house, which the purchasers usually
+left vacant before evening. It was the office of his daughter, says
+a fanciful chronicler, to fill the more elaborate vases with choice
+flowers, which the young men came early to look at, hoping to catch a
+glimpse of the graceful artist maiden.</p>
+
+<p>As she went draped in her veil to the market-place, she often met a
+youth, who afterward became an assistant to her father in his work.
+He was skilled in much learning unknown to the secluded girl, and in<span class="pagenum" id="Page_25">[Pg 25]</span>
+playing on the reed; and the daily life of father, daughter, and lover
+presented an illustration of Grecian life and beauty. The youth was
+constrained at length to depart, but ere he went the vows of betrothal
+were exchanged between him and Kora.</p>
+
+<p>Their eve of parting was a sad one. As they sat together by the
+lamplight the maiden suddenly rose, and, taking up a piece of pointed
+charcoal from the brasier, and bidding the young man remain still,
+she traced on the wall the outline of his fine Grecian profile, as a
+memorial when he should be far away. Dibutades saw the sketch she had
+made, and recognized the likeness. Carefully he filled the outline with
+clay, and a complete medallion was formed. It was the first portrait
+in relief! Thus a new art was born into the world, the development of
+which brought fortune and fame to the inventor! The story is, at least,
+as probable as that of Saurias discovering the rules of sketching and
+contour from the shadow of his horse. It was neither the first nor the
+last time that Love became a teacher. Might not the fable of Memnon
+thus find its realization?</p>
+
+<p>It is related that Dibutades, who had followed up his medallions with
+busts, became so celebrated, that many Grecian states claimed the
+honor of his birth; and that his daughter’s lover, who came back to
+espouse her, modeled whole figures in Corinth. A school for modeling
+was instituted about this time in Sicyonia, of which Dibutades was the
+founder.</p>
+
+<p>At a later period we hear of Timarata, the daughter of a painter, and
+herself possessed of considerable skill, as Pliny testifies, he having
+seen one of her pictures at Ephesus, representing the goddess Diana.</p>
+
+<p>Several names of female artists have come down<span class="pagenum" id="Page_26">[Pg 26]</span> from the time of
+Alexander the Great and his luxurious successors. Art began to have
+a richer and more various development, and women were more free to
+follow their inclinations in its pursuit. One belonging to this age
+was Helena, who is said to have painted, for one of the Ptolomies,
+the scene of a battle in which Alexander vanquished Darius; a picture
+thought, with some probability, to have been the original of a famous
+mosaic found in Pompeii.</p>
+
+<p>Anaxandra, the daughter and pupil of a Greek painter, appears to have
+labored under the same royal patronage, as well as another female
+artist named Kallo, one of whose pictures, presented in the Temple of
+Venus, was celebrated by the praise of a classic poetess; the fair
+painter being declared as beautiful as her own work. Among these pupils
+of Grecian art we hear also of Cirene, the daughter of Kratinos, whose
+painting of Proserpina was preserved; of Aristarite, the author of a
+picture of Esculapius; of Calypso, known as a painter <i lang="fr" xml:lang="fr">de genre</i>.
+Her portraits of Theodorus, the juggler, and a dancer named Acisthenes,
+were celebrated, and she is said to have executed one that has been
+transferred from the ruins of Pompeii to Naples, and is now called “A
+Mother superintending her Daughter’s Toilet.” The name of Olympias is
+remembered, though we have no mention of her works. Beyond these few
+names, we know nothing of the female artists of Greece.</p>
+
+
+<h3>THE ROMAN PAINTRESS.</h3>
+
+<p>Among the Romans we find but one female painter, and she was of Greek
+origin and education. The life of the Roman matrons was not confined to
+a narrower sphere, and the influence conceded to them might<span class="pagenum" id="Page_27">[Pg 27]</span> have been
+eminently favorable to their cultivation of art. But, with the nation
+of soldiers who ruled the world, the elegant arts were not at home as
+in their Hellenic birth-place. They flourished not so grandly in the
+palmiest days of Rome, as in the decay of the Empire. The heroic women
+celebrated in the history of the Republic, and in Roman literature,
+had no rivals in the domain of sculpture and painting. The one whose
+name has descended to modern times is Laya. She exercised her skill
+in Rome about a hundred years before Christ. The little knowledge we
+have of her paintings is very interesting, inasmuch as she was the
+pioneer in a branch afterward cultivated by many of her sex—miniature
+painting. Her portraits of women were much admired, and she excelled in
+miniatures on ivory. A large picture in Naples is said to be one of her
+productions. She surpassed all others in the rapidity of her execution,
+and her works were so highly valued that her name was ranked with the
+most renowned painters of the time, such as Sopolis, Dionysius, etc.
+Pliny, who bears this testimony, adds that her life was devoted to her
+art, and that she was never married. Some others mention a Greek girl,
+<i>Lala</i>, as contemporary with Cleopatra, who was celebrated for her
+busts in ivory. The Romans caused a statue to be erected to her honor.</p>
+
+
+<h3>INFLUENCE OF CHRISTIANITY.</h3>
+
+<p>Painting was destined to higher improvements under the mild sway
+of the Christian religion than in the severer school of classical
+antiquity. Woman gradually rose above the condition of slavery, and
+began to preside over the elements that formed the poetry of life. But
+changes involving the lapse of centuries<span class="pagenum" id="Page_28">[Pg 28]</span> were necessary, before Art
+could be divested of her Athenian garment, and put on the pure bridal
+attire suited to her nuptials with devotion. After the destruction of
+the Roman Empire, there is a long interval during which we hear of
+no achievement beyond the Byzantine relics, and the mosaics of the
+convents and cemeteries.</p>
+
+<p>Even the beauty of early art, associated as it was with the forms of
+a pagan mythology, was detested by the votaries of a pure and holy
+faith. The early Christians rejected adornment, which they regarded as
+inconsistent with their simple tenets, and as an abomination in the
+sight of God. Thus, for seven hundred years art was degraded, and only
+by degrees did she lift herself from the dust.</p>
+
+<p>In the mean while female influence grew apace among the nations that
+rose upon the ruins of Rome. Amalasuntha, the daughter of Theodoric the
+Great, was worthy of her sire in wisdom and knowledge of statesmanship,
+while she is said to have surpassed him in general cultivation, and
+to have rendered him essential service in his building enterprises.
+Theudelinda, Queen of the Longobards, adorned her palace at Monza
+with paintings celebrating the history of her people; and, from the
+time of Charlemagne, each century boasted several women of political
+and literary celebrity. There was the famous nun Hroswitha, who, in
+her convent at Gandersheim, composed an ode in praise of Otho, and
+a religious drama after the manner of Terence; there was the Greek
+princess Anna Comnena, the ornament of the Byzantine court; there
+was the first poetess of Germany, Ava; with Hildegardis, Abbess of
+Bingen; Heloise, the beloved of Abelard; the Abbess of Hohenburg, who
+undertook<span class="pagenum" id="Page_29">[Pg 29]</span> the bold enterprise of a cyclopædia of general knowledge;
+and a host of others.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p>
+
+<div class="footnote">
+
+<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Later, Angela de Foligno was celebrated as a teacher of
+theology. Christina Pisani wrote a work, “La Cité des Dames,” which was
+published in Paris in 1498. It gives account of the learned and famous
+Novella, the daughter of a professor of the law in the University of
+Bologna. She devoted herself to the same studies, and was distinguished
+for her scholarship. She conducted her father’s cases, and, having as
+much beauty as learning, was wont to appear in court veiled.</p>
+
+</div>
+
+
+<h3>ILLUMINATIONS.</h3>
+
+<p>Noble women became patrons of art, particularly that branch cultivated
+with most success in the decline of the rest—miniature painting upon
+parchment. From being merely ornamental this became a necessity in
+manuscript books of devotion, and the brilliant coloring and delicate
+finish of the illuminations were often owing to the touch of feminine
+hands. The inmates of convents and monasteries employed much time in
+painting and ornamenting books, in copying the best works of ancient
+art, and in painting on glass; the nuns especially making a business
+of copying and illuminating manuscripts. Agnes, Abbess of Quedlinberg,
+was celebrated as a miniature painter in the twelfth century, and some
+of her works have survived the desolation of ages. “The cultivators
+of this charming art were divided into two classes—miniaturists,
+properly so called; and miniature caligraphists. It was the province
+of the first to color the histories and arabesques, and to lay on the
+gold and silver ornaments. The second wrote the book, and the initial
+letters so frequently traced in red, blue, and gold: these were called
+‘Pulchri Scriptores,’ or fair writers. Painting of this description was
+peculiarly a religious occupation.<span class="pagenum" id="Page_30">[Pg 30]</span> It was well suited for the peaceful
+and secluded life of the convent or the monastery. It required none of
+the intimate acquaintance with the passions of the human heart, with
+the busy scenes of life, so essential to other and higher forms of art.”</p>
+
+<p>The labors of nuns in ornamental work in the Middle Ages were not
+confined to illuminating and miniature painting; but it is not our
+province to enumerate the products of their industry, nor to chronicle
+the benefits they conferred on the sick and poor. The fairest
+princesses did not disdain to work altar-pieces, and to embroider
+garments for their friends and lovers.</p>
+
+<p>In the commencement of the fourteenth century a female painter, named
+Laodicia, lived in Pavia, and Vasari mentions the Dominican nun,
+Plautilla Nelli. “In 1476, Fra Domenico da Pistoya and Fra Pietro da
+Pisa, the spiritual directors of a Dominican convent, established a
+printing-press within its walls; the nuns served as compositors, and
+many works of considerable value issued from this press between 1476
+and 1484, when, Bartolomeo da Pistoya dying, the nuns ceased their
+labors.”</p>
+
+
+<h3>THE FIRST SCULPTRESS.</h3>
+
+<p>Germany had the honor of producing the first female sculptor of whom
+any thing is known—Sabina von Steinbach, the daughter of Erwin von
+Steinbach, who in that wonderful work, the cathedral of Strasburg, has
+reared so glorious a monument to his memory.</p>
+
+<p>The task of ornamenting this noble building was in great part intrusted
+to the young girl, whose genius had already exhibited itself in
+modeling. Her sculptured<span class="pagenum" id="Page_31">[Pg 31]</span> groups, and especially those on the portal
+of the southern aisle, are of remarkable beauty, and have been admired
+by visitors during the lapse of ages. Here are allegorical figures
+representing the Christian Church and Judaism; the first of lofty
+bearing and winning grace, with crowned heads, bearing the cross in
+their right hands, and in their left the consecrated host. The other
+figures stand with eyes downcast and drooping head; in the right
+hand a broken arrow, in the left the shattered tablets of the Mosaic
+Law. Besides many other groups are four bas-reliefs representing the
+glorification of the Virgin; her death and burial on one side, and on
+the other her entrance into heaven and triumphant coronation.</p>
+
+<p>It may well be said that in these works are embodied the ideal and
+supernatural elements that pervade the sculpture of the Middle Ages;
+and it seemed most appropriate that the taste and skill of woman should
+develop in such elements the purity and depth of feeling which impart a
+charm to these sculptures acknowledged by every beholder.</p>
+
+<p>On one of the scrolls, held by the Apostle John, the following lines
+are inscribed in Latin:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“The grace of God be with thee, O Sabina,</span><br>
+<span style="margin-left: 1em;">Whose hands from this hard stone have formed my image.”</span><br>
+</p>
+
+<p>An old painting at Strasburg represents this youthful sculptress
+kneeling at the feet of the archbishop, to receive his blessing and
+a wreath of laurel, which he is placing on her brow. This painting
+attests the popular belief in a tradition that Sabina, after seeing her
+statues deposited in their niches, was met by a procession of priests
+who came, with the prelate at their head, for the purpose of conferring
+this honor upon her.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_32">[Pg 32]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_II">CHAPTER II.<br><span class="small">THE FIFTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Commencement of the History of modern Art.—Causes of the Barrenness
+of this Century in female Artists.—The Decline of Chivalry
+unfavorable to their mental Development.—Passing away of the Ideal
+and Supernatural Element in Art.—New Feeling for Nature.—New Life
+and Action in Painting.—Portrayal of Feelings of the Heart.—Release
+of Painting from her Trammels.—Severer Studies necessary for
+Artists.—Woman excluded from the Pursuit.—Patronage sought.—One
+female Artist representing each prominent School.—Margaretta
+von Eyck.—Her Miniatures.—Extensive Fame.—Her Decoration
+of Manuscripts.—Work in Aid of her Brothers.—“The gifted
+Minerva.”—Single Blessedness.—Another Margaretta.—Copies and
+illuminates MSS. in the Carthusian Convent.—Eight folio Volumes
+filled.—Caterina Vigri.—Her Miniature Paintings.—Founds a
+Convent.—“The Saint of Bologna.”—Miraculous Painting.—The warrior
+Maiden Onorata.—Decorates the Palace at Cremona.—Insult offered
+her.—She kills the Insulter.—Flight in male Attire.—Soldier
+Life.—Delivers Castelleone.—The mortal Wound.</p>
+</div>
+
+
+<p>The fifteenth century, with which the history of modern art may be
+properly commenced, is barren in female artists. This is, doubtless,
+owing in part to a change in the social condition of woman, consequent
+on the decline of chivalry, that “poetical lie,” as Rahel terms it.
+During the two centuries preceding this period, the fair sex had been
+regarded with a kind of adoration. Beauty was the minstrel’s theme and
+the soldier’s inspiration, and the courts of love, by giving power to
+the intellectual among women, stimulated them to the cultivation of
+their minds as well as the adornment of their persons. The descent from
+their<span class="pagenum" id="Page_33">[Pg 33]</span> poetic elevation was unfavorable to mental development; and it
+was not till the opening of the sixteenth century that there appeared
+symptoms of recovery from the reaction.</p>
+
+<p>Moreover, art in the fifteenth century had assumed a character unsuited
+to the peculiar gifts of woman. It had parted with the ideal and
+supernatural element which formed at once the charm and the weakness
+of the Middle Ages, and which, as in the case of Sabina von Steinbach,
+had fostered and developed female talent. A new feeling for nature
+was born; a new world of life and action was waiting to be added to
+the domain of art; while severe study and restless energy were in
+requisition for more extended conquests. More correct exhibitions of
+human individuality, action, and passion began to take the place of
+forms that had before been merely conventional or architectural; and
+the portrayal of feeling, in which the human heart could sympathize,
+superseded the calm religious creations of an earlier age. Painting
+finally threw off the rigid trammels she had worn.</p>
+
+<p>The difficulties in the way of elaborating these new conceptions, and
+the studies of anatomy necessary for the attainment of excellence
+in delineating the form, excluded women in a great measure from the
+pursuit. Gervinus remarks that women are fond of realizing new ideas;
+but they are those, for the most part, which are readily brought into
+use in common life, and which require no persevering study to reduce
+them to practice. Even the triumphs of literary talent in that toilsome
+age owed much to the patronage of the great. We find many ladies of
+high rank seeking the muses’ favor by the royal road to eminence.</p>
+
+<p>Notwithstanding the paucity of women artists, we<span class="pagenum" id="Page_34">[Pg 34]</span> discover at least one
+representing each prominent school of painting—Flemish, Italian, and
+German.</p>
+
+
+<h3>MARGARETTA VON EYCK.</h3>
+
+<p>First among these, Margaretta von Eyck deserves mention. She was the
+sister of Hubert and John von Eyck, who were distinguished not only for
+enlarged apprehensions of art, but for the discovery and introduction
+of oil-painting.</p>
+
+<p>While these men were, by their works, preparing the way for an
+important revolution in the method of painting, Margaretta occupied
+herself chiefly in painting miniatures. She worked under the patronage
+of the magnificent and liberal court of Burgundy, and her fame extended
+even to the countries of the romantic south. It is an interesting
+sight, this modest woman-work beside the more important enterprises
+of the gifted brothers, making itself appreciated so as to furnish an
+example for all time. Sometimes the sister worked with the brother
+in the decoration of costly manuscripts. One of the finest monuments
+of their united skill was the breviary—now in the imperial library
+at Paris—of that Duke of Bedford who, in 1423, married the sister
+of Philip the Good. Margaretta’s miniatures were preserved also in
+manuscript romances of the period. One of the earliest historians of
+Flemish art, Carl von Mander, calls her a “gifted Minerva,” and informs
+us that she spurned the acquaintance of “Hymen and Lucina,” and lived
+out her days in single blessedness.</p>
+
+
+<h3>ANOTHER MARGARETTA.</h3>
+
+<p>As in Margaretta von Eyck the grand efforts of Flemish art found
+expression modified by a feminine<span class="pagenum" id="Page_35">[Pg 35]</span> nature, so had those of the school
+in Nuremberg through the labors of another Margaretta—a nun from 1459
+to 1470 in the Carthusian Convent, where she copied and illuminated
+religious works. Eight folio volumes were filled by her indefatigable
+hands with Gothic letters and pictures in miniature, presenting a
+curious specimen of the blending of the art of the scribe with that of
+the painter, so common in the Middle Ages.</p>
+
+
+<h3>CATERINA VIGRI.</h3>
+
+<p>A third female artist of this period belonged to Italy. Caterina
+Vigri, a pupil of the Bolognese school, combined with a high degree
+of talent a quiet gentleness and dignified manner that gained her
+general esteem. She was born of a noble family in Ferrara in 1413,
+and exercised her skill chiefly in miniature painting, though several
+large works are recognized as hers. One of St. Ursula, infolding in her
+robe her kneeling companions, is exhibited among other fair martyrs
+in the Pinacothek of Bologna, and, with the pure, calm expression,
+peculiar to the productions of a preceding age, combines a delicacy,
+grace, correctness of drawing, and freedom with firmness of touch,
+not often found at that time. One of her pictures is preserved in the
+Sala Palladiana of the Venetian Academy. Educated in the most exalted
+mysticism, she was the founder of the convent of “Corpo di Cristo,”
+which is yet in existence, and shelters the grave of Caterina as
+well as many of her works. She poured into these all her religious
+enthusiasm. Her master was Maestro Vitale. She died in the odor of
+sanctity, and was spoken of as “the Saint of Bologna.” In 1712 the
+Catholic Church inscribed her name in the<span class="pagenum" id="Page_36">[Pg 36]</span> second category of saints,
+with the title of “Beata,” in virtue of which she is honored to this
+day as the patron saint of the fine arts. Tradition relates a story of
+one of her paintings on wood—an infant Jesus—having the power to heal
+diseases in those who touched the lips of the picture.</p>
+
+
+<h3>THE WARRIOR MAIDEN.</h3>
+
+<p>Beside this saintly personage stands one who joined the prowess of
+the soldier to the genius of the painter. Onorata Rodiana was born at
+Castelleone in Cremona, in the early part of the fifteenth century,
+and, while yet young, obtained so high a reputation as a painter, that
+the Marquis Gabrino Fondolo, the tyrant of Cremona, appointed her to
+the task of decorating his palace.</p>
+
+<p>The maiden, in the prime of her youth and beauty, was engaged in
+this work when an accidental occurrence changed the whole course of
+her life. A courtier of libertine character, who chanced to see her
+occupied in painting the walls of a room in the palace, entered, and
+dared to offer an insulting freedom. The young artist repulsed him;
+but, unable to escape his violence without a desperate struggle, the
+spirited girl at length drew a dagger and stabbed him to the heart. She
+then rushed from the palace, disguised herself in man’s clothes, and
+quitted the city, declaring that she would rather die in obscure exile
+than accept a luxurious home as the price of dishonor.</p>
+
+<p>The Marquis Gabrino was at first furious at her escape, and commanded
+a hot pursuit by his soldiers; but soon afterward relenting, he
+proclaimed her full pardon, and summoned her to return and complete her
+labors, which no one else could finish. Onorata,<span class="pagenum" id="Page_37">[Pg 37]</span> however, had, in the
+mean while, learned the warrior’s business in Oldrado Lampugnano’s band
+of Condottieri, and her spirit and courage soon elevated her to a post
+of command. She loved the soldier’s life, and continued in it, painting
+the while, for thirty years.</p>
+
+<p>When her native town, Castelleone, was besieged by the Venetians, she
+hastened with her company to its relief. Victory crowned her in the
+contest, but she fell mortally wounded. She died in 1472, perhaps the
+only example the world’s history affords of a woman who wielded at the
+same time the pencil and the sword.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_38">[Pg 38]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_III">CHAPTER III.<br><span class="small">THE SIXTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>This Century rich in great Painters.—Not poor in female
+Artists.—Memorable Period both in Poetry and Painting.—Fruits
+of the Labor of preceding Century now discernible.—Female
+Disciples in all the Schools of Italian Art.—Superiority of the
+Bolognese School.—Properzia Rossi.—Her Beauty and finished
+Education.—Carving on Peach-stones.—Her Sculptures.—The famous
+Bas-relief of Potiphar’s Wife.—Properzia’s unhappy Love.—Slander and
+Persecution.—Her Works and Fame.—Visit of the Pope.—Properzia’s
+Death.—Traditional Story.—Isabella Mazzoni a Sculptor.—A female
+Fresco Painter.—Sister Plautilla.—Her Works for her Convent
+Church.—Other Works.—Women Painters of the Roman School.—Teodora
+Danti.—Female Engravers.—Diana Ghisi.—Irene di Spilimberg.—Her
+Education in Venice.—Titian’s Portrait of her.—Tasso’s Sonnet
+in her Praise.—Poetical Tributes on her Death.—Her Works and
+Merits.—Vincenza Armani.—Marietta Tintoretto.—Her Beauty and
+musical Accomplishments.—Excursions in Boy’s Attire with her
+Father.—Her Portraits.—They become “the Rage.”—Invitation from
+the Emperor.—From Philip of Spain.—The Father’s Refusal.—Her
+Marriage and Death.—Portrait of her.—Women Artists of Northern
+Italy.—Barbara Longhi and others.—The Nuns of Genoa.</p>
+</div>
+
+
+<p>The sixteenth century, rich beyond precedent in great men, was not
+poor in female artists whose works are worthy of notice. Both in
+poetry and painting the period was memorable and glorious. The labors
+of the preceding age had promoted civilization and education in moral
+and mental acquirements, the fruits of which were discernible even
+in Germany, while in Italy the harvest was most abundant. The period
+produced Victoria Colonna, Veronica Gambara, Gaspara Stampa, and other
+women of literary eminence; while<span class="pagenum" id="Page_39">[Pg 39]</span> the works in art of Michael Angelo,
+Raphael, Leonardo da Vinci, Titian, etc., became monuments for the
+admiration of succeeding generations. Dr. Guhl aptly remarks, “The
+fifteenth century was the time of work; the sixteenth the season of
+harvest.”</p>
+
+<p>None of the numerous schools of Italian art were without female
+disciples. The Bolognese rose above all others, and at this period gave
+laws to art. Here we find</p>
+
+
+<h3>PROPERZIA, THE SCULPTRESS.</h3>
+
+<p>The first woman who gained reputation as a sculptor in Italy was
+Properzia di Rossi. She was born in Bologna in 1490, and possessed
+not only remarkable beauty of person, with all the graces a finished
+education could graft upon a refined nature, but various feminine
+accomplishments, excelling particularly, Vasari tells us, in her
+orderly disposal of household matters. She sang and played on several
+instruments “better than any woman of her day in Bologna,” while in
+many scientific studies she gained a distinction “well calculated,”
+says the Italian historian, “to awaken the envy not of women only,
+but also of men.” This maiden of rich gifts was endowed with a
+peculiar facility in realizing the creations of fancy, and took at
+first a strange way of doing so. She undertook the minute carving of
+peach-stones, and succeeded so well as to render credible what had
+been recorded of two sculptors of antiquity. Mirmecide is said to
+have carved a chariot drawn by four horses, with the charioteer, so
+small that a fly with his wings spread covered the whole. Callicrate
+sculptured ants with the minutest exactness. Properzia carved on a
+peach-stone the crucifixion of our Saviour; a work comprising<span class="pagenum" id="Page_40">[Pg 40]</span> a number
+of figures—executioners, disciples, women, and soldiers—wonderful
+for the delicate execution of the minutest figures, and the admirable
+distribution of all. A series of her intaglios is in the possession of
+Count Grassi of Bologna. In a double-headed eagle, in silver filagree
+(the Grassi coat of arms), are imbedded eleven peach-stones, and on
+each is carved, on one side, one of the eleven apostles, each with an
+article of the creed underneath; on the other, eleven holy virgins with
+the name of the saint on each, and a motto explanatory of her special
+virtue. In the cabinet of gems in the gallery of Florence is preserved
+a cherry-stone on which is carved a chorus of saints in which seventy
+heads may be counted.</p>
+
+<p>It was not long before Properzia began to think, with those who
+witnessed her success, that it was a pity to throw away so much labor
+on a nut! At that time the façade of San Petronio, in Bologna, was
+being ornamented with sculpture and bas-relief. The young girl had
+studied drawing under Antonio Raimondi, and when the three doors of
+the principal façade were to be decorated with marble figures she made
+application to the superintendents for a share in the works. She was
+required to furnish a specimen of her talent. The young sculptress
+executed a bust from life, in the finest marble, of Count Alessandro
+de’ Pepoli; this pleased the family and the whole city, and procured
+immediate orders from the superintendents.</p>
+
+<p>The one of her productions which has become most celebrated is a
+bas-relief, in white marble, of Potiphar’s wife seeking to detain
+Joseph by holding his garment. The perfection of the drawing, the
+grace of the action, and the emotion that breathes from the whole
+face and form, obtained high praise for this performance. Vasari<span class="pagenum" id="Page_41">[Pg 41]</span>
+calls it “a lovely picture, sculptured with womanly grace, and more
+than admirable.” But envy took occasion to make this monument of
+Properzia’s genius a reproach to her memory. It was reported that she
+was profoundly in love with a young nobleman, Anton Galeazzo Malvasia,
+who cared little for her; and that she depicted her own unhappy passion
+in the beautiful creation of her chisel. It was probably true that her
+life was imbittered by this unreturned love. One of her countrymen
+says the proud patrician disdained to own as his wife one who bore a
+less ancient name; and that he failed in his attempt to persuade her
+to become his on less honorable terms. Professional jealousy aided in
+the attempt to depress the pining artist. Amico Albertini, with several
+men artists, commenced a crusade against her, and slandered her to the
+superintendents with such effect that the wardens refused to pay the
+proper price for her labors on the façade. Even her alto-relief was not
+allowed to have its appointed place. Properzia had no heart to contend
+against this unmanly persecution; she never attempted any other work
+for the building, and the grief to which she was abandoned gradually
+sapped the springs of life.</p>
+
+<p>There are two angels in bas-relief, exquisitely sculptured by her, in
+the church of San Petronio; and another work by her hand, representing
+the Queen of Sheba in the presence of Solomon, is preserved in what
+is called “the revered chamber.” Other works of hers have been
+pronounced to be in the highest taste. She is said to have furnished
+some admirable plans in architecture. In copper-plate engraving she
+succeeded to admiration, and many of her pen-and-ink etchings from
+Raphael’s works obtained the highest<span class="pagenum" id="Page_42">[Pg 42]</span> praise. “With this poor loving
+girl,” Vasari says, “every thing succeeded save her unhappy passion.”</p>
+
+<p>The fame of her noble genius spread throughout Italy; and Pope Clement
+VII., having come to Bologna to officiate at the coronation of the
+Emperor Charles V., inquired for the fair sculptress of whom he had
+heard such marvelous things. Alas! she had died that very week—on the
+14th of February, 1530—and her remains had been buried, according to
+her last request, in the Hospital della Morte. She was lamented by
+her fellow-citizens, who held her to have been one of the greatest
+miracles of nature. But what availed posthumous praises to the victim
+of injustice and calumny?</p>
+
+<p>A story has been told of an interview between Properzia and the Pope;
+that, declining his offer to settle her in Rome, she knelt to take
+leave, when her veil falling disclosed a face of unearthly beauty, sad
+enough to move the pontiff’s sympathy. But it is more probable that she
+died before his coming.</p>
+
+
+<h3>SISTER PLAUTILLA AND OTHERS.</h3>
+
+<p>Isabella Mazzoni was also known at this period as a sculptor. We
+hear, too, of Maria Calavrese, who painted in fresco; and Plautilla
+Nelli—Suor Plautilla, as she is usually called—deserves more than a
+passing mention. Lanzi tells us she was of a noble Florentine family,
+and born in 1523. She had no assistance in developing her remarkable
+talent but her study of the designs of Fra Bartolomeo, one of the best
+masters of the Florentine school. She became a nun of the Dominican
+convent of St. Catherine of Sienna in Florence, and having acquired
+considerable reputation by her skill in painting, finished for the
+church a Descent<span class="pagenum" id="Page_43">[Pg 43]</span> from the Cross, said to be from a design by Andrea
+del Sarto; and a picture of her own composition, the Adoration of the
+Magi—a work that won great praise. In the first may be noticed the
+same purity of contour, the same harmony of light and shade, grace of
+drapery, and confident repose that characterize the works of Andrea.
+In the choir of the Convent of Santa Lucia, at Pistoja, was her large
+picture of the Madonna holding the child, surrounded by saints; and
+in the convent at Florence a large painting of the Last Supper. We
+do not attempt to enumerate the works credited to her, including her
+copies of the best masters, particularly Fra Bartolomeo, whom it was
+not easy to imitate, since he was superior to Raphael in color, and
+rivaled Vinci in chiaro-oscuro. Some pictures in Berlin, attributed to
+her, are marked by his purity and careful execution, with his depth
+and earnestness. She was also a miniature painter. She was prioress of
+the convent, and lived to the age of sixty-five. One of her successful
+pupils was Agatha Traballesi.</p>
+
+<p>There were no noted women painters of the Roman school, but we may
+mention Teodora Danti, who painted several pictures of interiors after
+the style of Perugino. The heads of her figures were remarkable for
+grace, and she had much ease of action and freshness of coloring, but
+there was a certain dryness in the forms and poverty in the drapery.</p>
+
+<p>The wife of the famous engraver, Mare Antonio Raimondi, also engraved
+on copper; and Diana Ghisi copied in her engravings works both of
+Raphael and Giulio Romano. Vasari says of her: “She engraves so
+admirably, the thing is a perfect miracle. For my own part, who have
+seen herself—and a very pleasing<span class="pagenum" id="Page_44">[Pg 44]</span> and graceful maiden she is—as well
+as her works, which are most exquisite, I have been utterly astonished
+thereby.”</p>
+
+
+<h3>IRENE DI SPILIMBERG.</h3>
+
+<p>A bright example, and the pride of the Venetian school in her day, was
+Irene di Spilimberg, born at Udina in 1540, of a noble and illustrious
+family, originally of German origin. She exercised her art at its most
+flourishing period. She was educated in Venice, surrounded by all
+the luxury of external and intellectual life, and she had Titian for
+her master. Her fame, however, rests rather on the testimony of her
+contemporaries than on her own works. Titian, ever alive to female
+loveliness and artistic merit, has immortalized her by a beautiful
+portrait; and Tasso has celebrated her charms in one of his sonnets.
+She died in the opening of her blossom of fame, in the flush of youth
+and beauty, having scarcely attained the age of nineteen. Her death was
+deplored in poems and orations, a collection of which was published in
+Venice twenty years after the event, to set forth the splendid promise
+which the destroyer had thus untimely nipped.</p>
+
+<p>Among her works still extant are the Bacchanals in Monte Albedo, and
+small pictures from religious subjects said to be in the possession of
+the Maniago family. Lanzi remarks: “The drawing is careless, but the
+coloring is worthy of the best age of art. We see the reflected rays
+of her great master’s glory, the soft yet rapid gradations of tint,
+the clear touches, the repeated applications of color, which give a
+veiled transparency to the tints; the judicious grouping, the combined
+majesty and grace in the figures, which constitute some of the merits
+of Titian.” Irene is said to<span class="pagenum" id="Page_45">[Pg 45]</span> have been a woman of the highest mental
+culture. Rudolphi includes her among the few women artists he mentions.</p>
+
+<p>The sixteenth century was not only remarkable for the production of
+talent, but for its recognition. Another artist belonging to the
+Venetian school was Vincenza Armani, who was accomplished in engraving
+and modeling in wax, and was also celebrated as a poet and musician.</p>
+
+
+<h3>MARIETTA TINTORETTO.</h3>
+
+<p>Marietta Robusti, the daughter and pupil of the great painter
+Tintoretto—him who was called “the thunder of art,” and excelled
+in the powerful and terrible—was born in 1560. She had a lively
+disposition and great enthusiasm; she was very beautiful in person, had
+a fine voice, and was an accomplished performer on the lute and other
+instruments. It is no wonder that she was the object of her father’s
+pride and affections. She accompanied him every where, dressed as a
+boy; and he developed her genius for art less by precept than by the
+living example of his own labor. His pictures nourished and fertilized
+her imagination, and, step by step, she followed him faithfully.
+Whether he labored at his models or studied the antique statues, or
+casts from Michael Angelo, the coloring of Titian or the nude figure,
+she was by his side. She noted his first sketch in the feverish moment
+of creation, and watched the progress of its execution. His marvelous
+freedom in handling the brush, his strength and precision in drawing
+and richness of coloring became hers. She learned his secret of
+giving proportion and unity to many figures, and the difficult art of
+foreshortening; then, after copying his pictures, she<span class="pagenum" id="Page_46">[Pg 46]</span> could say, “I,
+too, am an artist.” She chose the kind of painting suited to her sex.
+Historical pieces demanded too much study and application, and it was
+wearying to design nude figures in imitation of the antique. Portrait
+painting was easier, and promised more immediate results.</p>
+
+<p>Her first portrait was that of Marco dei Vescovi. It was greatly
+admired, particularly the beard, and some ventured to say she had
+equaled her father. Ere long she became famous, and it was all the rage
+among the Venetian aristocracy to be painted by Marietta. Her father
+was in raptures at her astonishing progress and success.</p>
+
+<p>Jacopo Strada, antiquarian to the Emperor Maximilian, had his portrait
+taken by her, and gave it as a curiosity to his imperial master. This,
+and one she painted of herself, gained her a great reputation. The
+emperor placed them in his chamber, and invited her to be the artist
+of his court. The same proposition was made to her by Philip II. of
+Spain and the Archduke Ferdinand. She was a dutiful daughter and
+obeyed the wishes of Tintoretto, who refused to part with her, even
+that she might grace a court. To secure her against the acceptance of
+such alluring offers, he bestowed her hand on Mario Augusti, a wealthy
+German jeweler, on the condition that she should remain under the
+paternal roof. She completed several original designs and painted many
+portraits. Her exquisite taste, her soft and gentle touch, and her
+skill in coloring were remarkable, both in works of her own invention
+and those due to her father’s genius.</p>
+
+<p>Tintoretto was not destined long to rejoice in the progress of his
+lovely daughter. In the flower of her age, in 1590, she departed this
+life, leaving her husband<span class="pagenum" id="Page_47">[Pg 47]</span> and father mourners for the rest of their
+days. She was buried in the church of Santa Maria dell’ Orto. Another
+artist made a picture of Tintoretto transferring to the canvas the
+features of his child, still beautiful in death. Several of her works
+are in Venice. One, at the Palais Royale, represents a man in black,
+sitting, his hand on an open book lying on a table, where is also an
+escritoir with papers, a watch, and crucifix.</p>
+
+<p>Decampes has published an engraving of Marietta’s portrait. The
+expression is very soft and meek; a braid of hair encircles the top of
+her head, and a rouleau is put back from the forehead. A handkerchief
+is crossed on the bosom, and around her neck is a string of large beads.</p>
+
+<p>Some fair artists of the schools of northern Italy deserve mention.
+Vasari speaks of Barbara, daughter of the painter Lucas Longhi, of
+Ravenna, as possessing great talent. In Genoa, Tommasa Fiesca was known
+as a painter and engraver, as well as a writer of mystical tracts. She
+and her sister Helen were Dominican nuns, and died in 1534.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_48">[Pg 48]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV.<br><span class="small">THE SIXTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>The six wonderful Sisters.—Sofonisba Anguisciola.—Her
+early Sketches.—Painting of three Sisters.—Her Success in
+Milan.—Invitation to the Court of Madrid.—Pomp of her Journey and
+Reception.—The Diamond.—Paints the Royal Family and the Flower
+of the Nobility.—Her Present to Pope Pius.—His Letter.—Her
+Style.—Lucia’s Picture.—Sofonisba Governess to the Infanta.
+Marriage to the Lord of Sicily.—His Death at Palermo.—The Widow’s
+Voyage.—The gallant Captain.—Second Love and Marriage.—Her
+Residence at Genoa.—Royal Visitors.—Loss of Sight.—Vandyck
+her Guest.—Her Influence on Art in Genoa.—Her Portrait and
+Works.—Sofonisba Gentilesca.—Her Miniatures of the Spanish
+Royal Family.—Caterina Cantoni.—Ludovica Pellegrini.—Angela
+Criscuolo.—Cecilia Brusasorci.—Caterina dei Pazzi.—Her Style
+shows the Infusion of a new Element of religious Enthusiasm
+into Art.—Tradition of her painting with eyes closed.—Her
+Canonization.—Women in France at this period.—Isabella
+Quatrepomme.—Women in Spain.—A female Doctor of Theology.—Change
+wrought by Protestantism in the Condition of Woman.—Its Influence
+on Art.—An English Paintress.—Lavinia Benic.—Catherine Schwartz
+in Germany.—Eva von Iberg in Switzerland.—Women Painters in the
+Netherlands.—Female Talent in Antwerp.—Albert Durer’s Mention
+of Susannah Gerard.—Catherine Hämsen.—Anna Seghers.—Clara de
+Keyzer.—Liewina Bennings’ and Susannah Hurembout’s Visits to
+England.—The Engraver Barbara.—The Dutch Engraver.—Constantia, the
+Flower Painter.</p>
+</div>
+
+
+<p>We come now to the six wonderful sisters Anguisciola: Helena,
+Sofonisba, Minerva, Europa, Lucia, and Anna Maria, all gifted in music
+and painting. Vasari describes his visit “to the house of Amilcare
+Anguisciola, the happy father of an honorable and distinguished family;
+the very home of painting, as well as<span class="pagenum" id="Page_49">[Pg 49]</span> of all other accomplishments.”
+In Ariosto’s Orlando Furioso, we read:</p>
+
+<p class="poetry" lang="it" xml:lang="it">
+<span style="margin-left: 1em;">“Le Donne son venute in eccellenza</span><br>
+<span style="margin-left: 1em;">Di ciascun’ arte, ov’ hanno posto cura.”</span><br>
+</p>
+
+<p>The best known of these amiable and distinguished sisters was the
+second; though Lucia, who died young, acquired celebrity, and produced
+beautiful and valuable works.</p>
+
+
+<h3>SOFONISBA ANGUISCIOLA</h3>
+
+<p class="p0">was born in Cremona, some time between 1530 and 1540, being descended
+from a family of high rank. At ten years of age she knew how to draw,
+and she soon became the best pupil of Bernadino Campi, an excellent
+Cremonese painter. One of her early sketches, representing a boy with
+his hand caught in a lobster’s claw, and a little girl laughing at his
+plight, was in the possession of Vasari, and esteemed by him worthy
+of a place in a volume which he had filled with drawings by the most
+famous masters of that great age. Portraits became her favorite study.
+Vasari commends a picture he saw at her father’s, representing three
+of the sisters and an ancient housekeeper, chess-playing, as a work
+“painted with so much skill and care that the figures wanted only
+voice to be alive.” He also praises a portrait of herself, which she
+presented to Pope Julius III.</p>
+
+<p>Sofonisba instructed her four younger sisters in painting. While yet in
+her girlhood she attracted the notice of princes. She accompanied her
+father to Milan, at that time subject to Spanish rule. There she was
+received at court with welcome, and painted the portrait of the Duke of
+Sessa, the viceroy, who rewarded her with four pieces of brocade, and
+other rich<span class="pagenum" id="Page_50">[Pg 50]</span> gifts. By 1559 her name had become famous throughout Italy.
+The haughty monarch of Spain, Philip II., who aspired to the title
+of patron of the fine arts, heard the echo of her renown, and sent
+instructions to the Duke of Alba, then at Rome, to invite her to the
+Court of Madrid. The invitation was accepted. Sofonisba was conducted
+to the Spanish court with regal pomp, having a train of two patrician
+ladies as maids of honor, two chamberlains, and six livery servants.
+Philip and his queen came out to meet her, and she was sumptuously
+entertained in the palace. After a time given to repose, she painted
+the king’s portrait, which so pleased him that he rewarded her with a
+diamond worth fifteen hundred crowns, and a pension of two hundred.
+Her next sitters were the young queen, Elizabeth of Valois—known as
+Isabel of the Peace—then in the bloom of her bridal loveliness; and
+the unhappy boy Don Carlos, who was taken dressed in a lynx-skin and
+other costly raiment. One after another she painted the flower of the
+Spanish nobility. Meanwhile she received high honors and profitable
+appointments from her royal patrons.</p>
+
+<p>Her extended fame induced Pope Pius IV. to ask her for a portrait of
+the queen. She executed the commission with alacrity; and, having
+bestowed her best care on a second portrait of her majesty, she
+dispatched it to Rome, with a letter, to be presented to His Holiness.
+“If it were possible,” she says, “to represent to your Holiness the
+beauty of this queen’s soul, you could behold nothing more wonderful.”
+The Pope responded with precious stones and relics set in gems; gifts
+worthy of the great abilities of the artist. His letter may interest
+the reader:</p>
+
+<p><span class="pagenum" id="Page_51">[Pg 51]</span></p>
+
+<div class="blockquot">
+
+<p>“We have received the portrait of the most illustrious Queen of Spain,
+our dear daughter, which you have sent us, and which has been most
+acceptable, as well on account of the person represented, whom we love
+paternally for her piety and the many pure qualities of her mind, to
+say nothing of other considerations, as because the work has by your
+hand been very well and diligently accomplished.</p>
+
+<p>“We thank you for it, assuring you that we shall hold it among our
+most valued possessions, commended through your skill, which, albeit
+very wonderful, is nevertheless, as we hear, the very least among the
+many gifts with which you are endowed.</p>
+
+<p>“And with this conclusion, we send you again our benediction. May our
+Lord have you in His keeping!</p>
+
+<p class="center">
+“Dat. Romæ: die 15 Ottobris, 1561.”<br>
+</p>
+</div>
+
+<p>Sofonisba’s paintings were noted for boldness and freedom; and in
+some pieces her figures almost seemed to breathe. Some are comic; and
+this branch of art, in painting as in literature, demands boldness of
+conception, spontaneity of movement, and delicacy of touch. One of
+these works represents a wrinkled old woman learning the alphabet, and
+a little child making fun of her behind her back.</p>
+
+<p>During her residence in Spain Sofonisba received from Cremona the
+portrait of her mother, Bianca, painted by her sister Europa. It was
+highly praised by Castilian critics, and the sister prized it as a
+faithful likeness of a beloved one whom she might never again behold.
+About this time Lucia may have sent her admirable portrait of Pietro
+Maria, a Cremonese physician—a grave and elderly personage in a
+furred<span class="pagenum" id="Page_52">[Pg 52]</span> robe—which now adorns the queen’s gallery in Madrid, the sole
+specimen of the powers of the gifted sisters.</p>
+
+<p>Sofonisba had for some time been lady-in-waiting to the Queen of Spain:
+she was now appointed by Philip, with other ladies, to undertake the
+education of the Infanta Isabella Clara Eugenia. This proves her to
+have been in Spain after 1566, the year in which that princess was
+born. Her royal patrons wished her to marry a Spanish nobleman and
+take up her permanent abode near their court; but her hand was already
+pledged to the feudal lord of Sicily, Don Fabrizio de Monçada, and he
+bore her away to his island home. The king and queen gave her a dowry
+of twelve thousand crowns and a pension of one thousand; which she had
+power to bequeath to her son; besides rich presents in tapestry and
+jewels, and a dress loaded with pearls.</p>
+
+<p>The newly-wedded pair went to Palermo, where after a few years the
+husband died. Sofonisba was immediately invited back to the court of
+Madrid, but expressed a desire to see Cremona and her kindred before
+her return to Spain. She embarked on board a Genoese galley, commanded
+by a patrician called Orazio Lomellini. He entertained the fair widow
+with gallant courtesy during the voyage, and she appears to have been
+not inconsolable for the loss of her husband. She loved the Genoese,
+it is said, out of sheer gratitude; although her biographer, Soprani,
+does not hesitate to say that she made him an offer of her hand, which
+he—“quel generoso signor”—very promptly accepted. The Lomellini
+family still preserve her portrait, painted by herself after the manner
+of Raphael.</p>
+
+<p><span class="pagenum" id="Page_53">[Pg 53]</span></p>
+
+<p>We now find her living at Genoa, where she pursued her art with
+indefatigable zeal. Her house became the resort of all the polished
+and intellectual society of the republic. Nor was she forgotten by
+her royal friends of the house of Austria. On hearing of her second
+nuptials, their Catholic majesties added four hundred crowns to her
+pension. The Empress of Germany paid her a visit on her way to Spain,
+and accepted a little picture, one of the most finished and beautiful
+of Sofonisba’s works. She also received the honor of a visit from
+her former charge, the Infanta, now married or about to be married
+to the Archduke Albert, and joint sovereign with him over Flanders.
+This princess spent several hours talking with her friend of old times
+and family affairs; and sat for her portrait, for which, when it was
+finished, she gave Sofonisba a gold chain enriched with jewels. This
+pretty memorial of friendship was greatly prized by the artist. Thus
+caressed by royalty, and courted in Genoese society, she lived to an
+extreme old age. A medallion was struck at Bologna in honor of her; the
+most distinguished artists listened reverentially to her opinions, and
+poets sang the praises of</p>
+
+<p class="poetry" lang="it" xml:lang="it">
+<span style="margin-left: 1em;">“La bella e saggia dipintrice,</span><br>
+<span style="margin-left: 1em;">La nobil Sofonisba da Cremona.”</span><br>
+</p>
+
+<p>In the latter years of her life Sofonisba was deprived of her sight;
+but retained her intellectual faculties, her love of art, and her
+relish for the society of its professors. The conferences she held in
+her own palace were attended to the last by distinguished painters from
+every quarter. Vandyck was frequently her guest, and was accustomed to
+say he had received more enlightenment from this blind old woman than
+from all his studies of the greatest masters. This was<span class="pagenum" id="Page_54">[Pg 54]</span> no mean praise
+from the favorite scholar of Rubens; and who shall say it was not
+deserved? By precept and by example she helped to raise art in Genoa
+from the decay into which it had fallen in the middle of the sixteenth
+century. Her pictures have something of the grace and cheerfulness of
+Raphael, in whose style her first master painted, and something of the
+relief of the followers of Correggio. “More than any other woman of
+her time,” writes Vasari, “with more study and greater grace, she has
+labored on every thing connected with drawing; not only has she drawn,
+colored, and painted from life, and made excellent copies, but she has
+also drawn many beautiful original pictures.”</p>
+
+<p>One of Sofonisba’s works, seen at Cremona in 1824, was a beautiful
+picture of the Virgin giving suck to the Divine infant. In portraits
+her skill is said to have been little inferior to Titian. Her charming
+portrait of herself is no mean gem among the treasures of the
+galleries and libraries at Althorp. She has drawn herself in what the
+Germans term a “knee-piece;” rather under life-size. The small and
+finely-formed head is well set on a graceful neck; the dark hair is
+smoothly and simply dressed; the features are Italian and regular; the
+complexion is a clear olive; and the eyes are large, black, and liquid.
+The dark, close-fitting dress is relieved by white frills at the throat
+and wrists, and two white tassels hanging over the breast. Her delicate
+and exquisitely painted hands are seen over the chords of a spinet.
+On the right, in deep shadow, stands an old woman, wearing a kerchief
+twisted turbanwise around her head, and resembling a St. Elizabeth or
+a St. Anne in a religious composition of the Caracci. The whole is
+painted in the clear,<span class="pagenum" id="Page_55">[Pg 55]</span> firm manner of the best pencils of Florence.
+Sofonisba died in 1620.</p>
+
+<p>Palomino mentions Sofonisba Gentilesca among the foreign painters of
+the reign of Philip II.: “a lady illustrious in the art,” who came
+from France to Spain in the train of Isabel of the Peace. She painted
+miniatures with great skill, and had for sitters their majesties, the
+Infant Don Carlos, and many ladies of the court. She died at Madrid in
+1587.</p>
+
+<p>Another noble lady, Caterina Cantoni, known as an excellent engraver,
+was invited into Spain with Sofonisba, to pursue there the calling she
+seems to have practiced with success in Italy. Ludovica Pellegrini was
+complimented with the title of the “second Minerva” for her excellence
+in this branch of art. She also devoted herself to needle-work, and
+embroidered sacred furniture, and the great pallium (vestment),
+exhibited to strangers as a curious specimen of art and learning.
+Boschini mentions “the unrivaled Dorothea Aromatari” as having produced
+with her needle those beauties the finest artists executed with the
+pencil. Other women were celebrated embroiderers. Naples boasted of
+one who surpassed her contemporaries both in painting and music—Maria
+Angela Criscuolo. Cecilia Brusasorci, the daughter of the great fresco
+painter, became celebrated for her portraits toward the close of this
+century.</p>
+
+<p>Passing over a number of minor names, we may close the review of
+this period by a notice of Caterina de’ Pazzi. She was born in 1566,
+and retired early to a convent, where she assumed the name of Maria
+Maddalena. The energy with which she cultivated art, and the peculiar
+character of her works and those of others produced at this time,
+show the infusion of a new element<span class="pagenum" id="Page_56">[Pg 56]</span> of religious enthusiasm into art.
+Tradition preserves the story of this nun painting sacred pictures with
+her eyes closed. In the cloisters of the Carmelites at Parma, and in
+the church of Santa Maria in Cosmedin, at Rome, works of hers may be
+found. Dying in 1607, she was canonized by Clement IX. in 1669; and at
+this day a picture in one of the richest churches of Florence bears the
+name of the saintly artist, whose body reposes in a magnificent chapel
+under the same roof.</p>
+
+<p>No other nation, during the sixteenth century, can compete with Italy
+in female artists. In France women enjoyed great influence in public
+affairs, and several ladies of the highest rank were distinguished for
+their literary productions and accomplishments. Isabella Quatrepomme is
+mentioned by Papillon as an excellent engraver on wood. She was born in
+Rouen, and flourished about 1521. A frontispiece in an old calendar,
+executed in neat style, representing a figure of Janus, is supposed to
+be by her, as it is marked with an apple on which there is a figure 4.</p>
+
+<p>In Spain the flowers of art began to bloom at a later period; although
+in the liberal studies women were not behindhand. Isabella Losa, of
+Cordova, was appointed a doctor of theology, and there were ladies in
+Valencia, who, familiar with the works of Italian masters of art, made
+it their study to imitate them.</p>
+
+<p>In the north the advance of Protestantism wrought a change in
+the condition of women, which had its influence on art. Domestic
+employments, and the domestic virtues, became more universally the
+delight and study of the fair sex. While the light of religious truth
+was penetrating their homes with its softened radiance, the growth of
+a deep moral feeling was preparing<span class="pagenum" id="Page_57">[Pg 57]</span> the way for farther triumphs in
+the imitative arts. England, where flourished many poetesses, had one
+female painter—Lewina Tirlinks—during the reign of Elizabeth. Germany
+boasted of Catherine Schwartz, the wife, probably, of that Christopher
+Schwartz whom his contemporaries called the German Raphael; while in
+Switzerland Eva von Iberg transferred to canvas the beauties of her
+country’s scenery.</p>
+
+<p>In the Netherlands, on the other hand, the number of women painters
+at this period was large, and many were the diligent successors of
+Margaretta von Eyck in her native place. Her brothers, at the head of
+the old Flemish school, showed the combination of traditional types
+and ancient habits with the results of the struggles of the human mind
+for emancipation in this century. Antwerp seems to have been a rich
+soil for the production of female talent. Here, in 1521, Albrecht Durer
+became acquainted with the fair painter so honorably mentioned in his
+journal. “Master Gerard, illuminist,” he says, “has a daughter eighteen
+years of age, named Susannah, who illuminated a little book which I
+purchased for a few guilders. It is wonderful that a woman can do so
+much!” Among noted miniature painters we hear of Catherine Hämsen, who
+went into Spain, and entered the service of the Queen of Hungary on a
+good salary; also of Anna Seghers; Anna Smyters, and Margaret de Heere.
+Clara de Keyzer, or Clara Skeysers, of Ghent, died unmarried at the age
+of eighty. She enjoyed a celebrity that extended to Germany, France,
+Italy, and Spain, all which countries were visited by her.</p>
+
+<p>Susannah Hurembout and Liewina Bennings, or Benic, should not be passed
+over. The latter, the daughter of “Maestro Simon,” was born in Bruges;
+was<span class="pagenum" id="Page_58">[Pg 58]</span> invited to London by Henry VIII., and was treated with great favor
+by both queens Mary and Elizabeth. King Henry gave her in marriage to
+an English nobleman. It has been thought she is the same person with
+Lewina Tirlinks. Susannah also received an invitation from “bluff King
+Harry” to visit his court, and lived in England, where she was treated
+with great distinction, for the remainder of her life. Both these
+women were miniature painters. Barbara Van den Broeck, the daughter
+of Crispin, was born in Antwerp, 1560, and engraved from her father’s
+designs. She handled the graver with consummate skill. In some pieces,
+she imitated successfully the style of Martin Rota.</p>
+
+<p>In Holland, Magdalen de Passe was known as an engraver in copper, and
+Constantia von Utrecht as a flower-painter; one who first acquired
+distinction in this delicate and feminine branch of study, and directed
+to it the attention of her country-women. In later times the city where
+she lived and wrought became the capital of the world in this species
+of painting.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_59">[Pg 59]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_V">CHAPTER V.<br><span class="small">THE SEVENTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>New Ground presented for Progress.—Greater Diversity of
+Style.—Naturalism.—The Caracci instrumental in giving to
+Painting the Impetus of Reform.—Their Academy.—One opened
+by a Milanese Lady.—The learned Poetess and her hundredth
+Birthday.—Female Painters and Engravers.—Lavinia Fontana.—The
+hasty Judgment.—Lavinia a Pupil of Caracci.—Character of her
+Pictures.—Honors paid to her.—Courted by Royalty.—Her Beauty and
+Suitors.—A romantic Lover.—Lavinia’s Paintings.—Close of the Period
+of the Christian Ideal in Art.—Lavinia’s <i lang="fr" xml:lang="fr">Chef-d’Œuvre</i>.—Her
+Children.—Professional Honors.—Her Death.—Female Disciples
+of the Caracci School.—Pupils of Domenichino, Lanfranco, and
+Guido Reni.—The churlish Guercino a Despiser of Women.—The
+Cardinal’s Niece and Heiress.—Her great Paintings.—Founds
+a Cloister.—Artemisia Gentileschi, a Pupil of Guido.—Her
+Portraits.—Visit to England.—Favor with Charles I.—Luxurious Abode
+in Naples.—Her Correspondence.—Judgment of her Pictures.—Elisabetta
+Sirani.—Her artistic Character.—Her household Life.—Industry
+and Modesty.—Her Virtues and Graces.—Envious Artists.—Defeat of
+Calumny.—Her mysterious Fate.—Conjectures respecting it.—Funeral
+Obsequies.—Her principal Works.—Her Influence on female
+Artists.—Her Pupils.—Other Women Artists of Bologna.</p>
+</div>
+
+
+<p>In the seventeenth century the elements of disturbance had in part
+subsided, and new ground was presented for the progress of human
+intellect. A certain uniformity in art, which was the consequence of a
+close academical imitation of the old masters, gave place to a greater
+diversity of style, and, in some instances, to a vigorous and somewhat
+rude naturalism. The Naturalisti were so called on account of their
+predilection for the direct imitation of the common forms and aspects
+of nature. Passion was their inspiration, and<span class="pagenum" id="Page_60">[Pg 60]</span> their imitation was too
+often carried to excess, presenting what might be termed the poetry of
+the repulsive.</p>
+
+<p>A new spirit of inquiry and a feeling of self-reliance had entered
+the popular mind that did not fail to influence the progress both of
+literature and art. The masters who were most strikingly instrumental
+in giving to painting the impetus of reform were Ludovico, Augustin,
+and Annibal Caracci. Amid many difficulties they opened an academy in
+their native city, Bologna, where art was taught on the principles then
+esteemed essential. In its theoretical and practical departments a
+goodly number of students were there permitted to profit by the works
+of the early masters. The good example was soon followed, and we hear
+of a Milanese lady opening her house for an academy.</p>
+
+<p>Arcangela Palladini excelled in painting, poetry, music, and
+embroidery. A piece of her needle-work hung in the ducal gallery at
+Pisa, where none but great works were preserved. Beatrice Pappafava, a
+paintress, was also a learned lady, and is said to have celebrated her
+own hundredth birthday in an original sonnet of much merit. Caterina
+Rusca obtained some repute as an engraver on copper; and Augusta
+Tarabotti, who studied painting under the direction of Clara Varotari,
+was also a poet and the author of “An Apology for the Female Sex,”
+which was received with considerable attention. Fede Galizia, the
+daughter of a celebrated miniaturist, lived in Milan. In figures and
+landscapes she evinced taste, accuracy, and finish. She was devoted to
+the ideal, and this tendency appeared in her design and coloring.</p>
+
+<p><span class="pagenum" id="Page_61">[Pg 61]</span></p>
+
+
+<h3>LAVINIA FONTANA.</h3>
+
+<p>One among the female artists who adopted the style of the Caracci and
+helped to introduce a change in art was Lavinia Fontana, one of the
+most celebrated women of the century. She was the daughter of that
+Prospero Fontana who gave lessons in painting to Ludovico Caracci,
+and was wont much to disparage him. He once remarked that his scholar
+would do better at mixing colors than as a painter! But Caracci had
+his revenge in after years, when Fontana was heard to lament that
+he was too old to become the pupil of the great artist who had once
+been his own despised scholar! The instruction he could not receive
+was the privilege of his daughter Lavinia, who was born in Bologna in
+1552. She adopted her father’s manner, and gained great celebrity in
+portrait painting; but, in later years, became the disciple of Caracci,
+after which she succeeded in giving her pictures so much softness,
+sweetness, and tenderness, that some of them have even been compared
+to those of Guido Reni. To delicacy of touch she united rare skill
+in taking likenesses. Her talents met with appreciation and honors
+not often accorded to female merit. The first ladies in Rome sought
+to become her sitters, and the greatest cardinals deemed themselves
+fortunate in having their portraits executed by her skillful hand. Her
+portraits were so highly esteemed that they commanded enormous prices,
+and were displayed with pride in the galleries of the nobility and
+the most cultivated persons in the land. Her services were engaged
+by Pope Gregory XIII. as his painter in ordinary; and she worked for
+the Buoncompagni family. Other crowned heads sought her society, and
+the most wondrous grace of all was<span class="pagenum" id="Page_62">[Pg 62]</span> that these honors did not create
+in her vanity or self-conceit. To her accomplishments she added such
+personal attractions that her hand was sought by many distinguished
+and titled suitors; but she preferred to them all a young man unknown
+to fame, Giovanni Paolo Zappi, of Imola. Some authorities speak of him
+as a wealthy nobleman. He had painted in her father’s studio for love
+of the charming daughter, and had been accustomed to paint the clothes
+in her portraits so well that she had made concerning him the not very
+flattering observation, that “he was worth more as a tailor than a
+painter.” He was rewarded by marrying her, the condition being exacted
+that Lavinia should remain free to follow her professional career.</p>
+
+<p>Besides portraits, she produced several compositions on sacred
+subjects; some church pictures now in Bologna, and some on worldly
+themes, as the picture of Venus in the Berlin Museum. In her later
+works, after her lessons with Caracci, she acquired a softness and
+warmth of coloring that remind one of the masters of the Venetian
+school. One of her productions—Saint Francis de Paula raising a dead
+person—preserved in the Pinacothek of Bologna—has been noticed for
+this. Of her pictures besides are the Crucifixion, the Miracle of the
+Loaves, and the Annunciation. These were for churches of Bologna.</p>
+
+<p>Lavinia lived at the close of what was peculiarly the period of
+Christian art, and it seems just to place her among the artists who
+labored while the Christian ideal, in all its splendor, was yet above
+the horizon. On this period Raphael and Michael Angelo had set their
+seal, and the Christian ideal was exhausted in the Transfiguration,
+and the frescoes of the Sistine chapel; they could not be surpassed.
+One of Lavinia’s works—the<span class="pagenum" id="Page_63">[Pg 63]</span> Nativity of the Virgin, at nighttime—is
+still exhibited in her native city. The infant Mary is surrounded by
+a cloud of angels, and a saint is pointing to two children below. A
+figure in magnificent bishop’s robes, on the other side, is in the act
+of sprinkling holy water on two beautiful kneeling girls. This picture,
+Bolognini asserts, alone justifies the artist’s fame. In the Escurial
+at Madrid is a piece by her, representing a Madonna uplifting a veil to
+view her sleeping child, who reposes on richly-embroidered cushions;
+St. Joseph and St. John stand near. “A picture,” says Mazzolari, “so
+vivid, so gay and graceful, and of such glorious coloring, so full
+of beauty, that one is never weary of admiring it.” A picture which
+has especially contributed to her artistic fame represents the Queen
+of Sheba in the presence of Solomon; but it has also an allegorical
+reference to the Duke and Duchess of Mantua, and various personages of
+their court. Lanzi considers this production worthy of the Venetian
+school. Another represents a royal infant, playing on a bed, wrapped
+in blankets, and adorned with a splendid necklace. A “Judith, seen by
+torch-light,” is in the possession of the Della Casa family. A Virgin
+and Child, which she painted for Cardinal Ascoli, and sent to Rome,
+has been thought her best production, and brought her so much fame,
+that, a large painting being required for a church, the commission was
+intrusted to Lavinia, in preference to many first-class artists, who
+sought it. She painted a stoning of Stephen, with a number of figures,
+and a halo above representing heaven opening. The figures were larger
+than life, and the work was not as successful as Lavinia had hoped.
+But after she confined herself to portrait painting, she had no reason
+to be dissatisfied<span class="pagenum" id="Page_64">[Pg 64]</span> with her success. Her <i lang="fr" xml:lang="fr">chef d’œuvre</i> is said
+to be her own portrait, taken when she was young and surpassingly
+beautiful. It is now in the possession of Count Zappi, at Imola, and
+has been engraved by Rossini, for his history of Italian painting. The
+portrait is painted in an oval; in the background, ranged on a shelf,
+are models in clay of busts, heads, trunks, hands, and feet. The artist
+is seated at a table, on which are two casts of Greek statues; she
+is in the act of commencing a drawing, and is dressed with elegant
+simplicity, her mantle flowing in clear and ample folds. Under the
+ruff encircling her neck hangs a pearl necklace, to which is attached
+a golden crucifix. She wears a Mary Stuart headdress, and the head
+is colored with wonderful delicacy and transparency. The work unites
+correctness of drawing with incomparable grace. England possesses three
+paintings by Lavinia Fontana.</p>
+
+<p>This famous artist had three children, and was unhappy in them. Her
+only daughter lost the sight of one eye, by running a pin into it; and
+one of her boys was half-witted, and served to amuse loungers in the
+Pope’s antechamber. Malvasia remarks, “The story ran that he inherited
+his simplicity from his father; assuredly it came not from his mother,
+who was as full of talent and sagacity as she was good and virtuous.”</p>
+
+<p>Lavinia was elected a member of the Roman Academy. Her merits were
+celebrated by contemporaries; Marini, among other poets, wrote in her
+praise; and in such estimation was she held, that, when she passed near
+the seat of the Lord of Sora and Vignola, the proud patrician came out
+to meet her at the head of his retainers, according to the fashion then
+in vogue for the reception of royal personages.</p>
+
+<p><span class="pagenum" id="Page_65">[Pg 65]</span></p>
+
+<p>Among the Lettere Pittoriche is a letter dated 1609, signed Lavinia
+Fontana Zappi. This proves her to have been living then. One authority
+states that she died at Rome, in 1614, aged sixty-two.</p>
+
+<p>While Lavinia Fontana availed herself of the system of Caracci,
+another, who enjoyed in early life the advantage of being Ludovico’s
+pupil, emulated his excellences so successfully that she produced a
+fine picture, full of figures, from one of his compositions, in 1614,
+for the church of the Annunziata, in Bologna. This was Antonia Pinelli.
+For skill in drawing and purity of tone she was held in high estimation.</p>
+
+<p>Numerous were the young women who learned painting in the atelier of
+the Caracci; while other masters had their share of fair students.
+Domenichino is said to have been the teacher of Flavia Durand, Teresa
+del Po, and Artemisia Gentileschi; Lanfranco brought to light the
+talent of Caterina Ginnassi; Guido Reni gave instruction to Madalena
+Natali, and formed the genius of Elisabetta Sirani, the pride of
+the Bolognese school. Albano, however, was an exception, and, with
+the churlish Guercino, who despised every thing like female talent,
+had no pupils of the fair sex. A sister of one of his pupils,
+nevertheless—Flaminia Triva, of Reggio—became a painter much esteemed
+by the connoisseurs of her time.</p>
+
+<p>Of these artists, only the three most distinguished need be noticed
+here. Caterina Ginnassi, of noble family and the niece of a cardinal,
+was born in Rome, 1590. She was well instructed from early youth in
+all feminine employments, useful as well as brilliant. She often said,
+afterward, “The needle and distaff are sad enemies to the brush and the
+pencil.” Her first master was Clelio, and after his death she threw<span class="pagenum" id="Page_66">[Pg 66]</span>
+herself into the bold and brilliant manner of Lanfranco. She produced
+the great paintings that adorned the church founded by her uncle, of
+St. Lucia, in Rome. Becoming the inheritor of the cardinal’s large
+possessions, she founded, according to his directions, a cloister, with
+a seminary attached for students from Romagna; as abbess of which, she
+continued to practice her favorite art, dying in 1680, in the enjoyment
+of the fame and popularity her industry and piety had deservedly won.</p>
+
+
+<h3>ARTEMISIA GENTILESCHI.</h3>
+
+<p>The life of Artemisia Gentileschi was more in the world and more
+brilliant. She was the daughter of the painter Orazio Gentileschi, was
+married to Pier Antonio Schiattesi, and lived long in Naples. Receiving
+her earliest lessons from Guido Reni, at a later period she studied
+the works of Domenichino, one of the best masters of expression in
+the Bolognese school. Her great reputation was acquired by numerous
+portraits, and her skill in this species of painting obtained for
+her the honor of a call to the English court, whither her father
+accompanied her. There the art-appreciating monarch Charles I. gave her
+abundant employment. She was esteemed not inferior to her father in
+historical pieces. King Charles placed several of her works among his
+treasures. “David with Goliath’s head” was considered her best. Some of
+the royal family sat to her for their portraits, as did several of the
+nobility. A female figure, representing Fame, of great merit, was in
+the royal collection. Her own portrait is in Hampton Court, painted in
+the powerful and vivid style of Michael Angelo. Wägen says she excelled
+her father in portraits.</p>
+
+<p><span class="pagenum" id="Page_67">[Pg 67]</span></p>
+
+<p>Having reaped a rich, reward for her labors in England, she returned to
+Naples, where she seems to have established herself in much splendor.
+She died in 1642, at the age of fifty-two. Several letters addressed
+to the Cavalier del Pozzo were found among her papers. In one, dated
+1637, she inquires coolly after her husband. “Sia servita darmi nuova
+della vita o morte di mio marito.” Some of her letters contain orders
+for gloves; now her request to the Pope was permission for a priestly
+friend to bear arms; now she appealed to the Cardinal Barberini,
+then, all powerful in Rome, for assistance in disposing of some large
+picture, to furnish means to provide for the wedding of a daughter with
+suitable magnificence; after the granting of which favor, she would
+add, in the Italian fashion, that, “free from this burden,” she would
+return contented to her home. A fine specimen of her skill in painting
+is a picture of “Judith,” in the Palazzo Pitti, which shows, in its
+ground-work, the principles of the school of Bologna; while its finish,
+on the other hand, exhibits the startling effects of the Neapolitan
+school. Lanzi says, “It is a picture of strong coloring, of a tone and
+intensity that inspires awe.” Mrs. Jameson remarks, “This dreadful
+picture is a proof of her genius, and, let me add, of its atrocious
+misdirection.” But the artist should not be censured for her treatment
+of a subject which may not have been her own choice. “Susannah and
+the Elders” pleases by the scene and the drapery of the figures. The
+“Birth of John the Baptist,” in the Museum of Madrid, painted by this
+lady as a family piece, displays the same combination, but has more of
+the freedom of nature, and a certain boldness that betokens familiar
+acquaintance with life and the best models.</p>
+
+<p><span class="pagenum" id="Page_68">[Pg 68]</span></p>
+
+
+<h3>ELISABETTA SIRANI.</h3>
+
+<p>A place among the most gifted and the most illustrious women who, in
+any country or in any age, have devoted themselves to the fine arts,
+must be accorded to Elisabetta Sirani. She has been pronounced a
+complete artist; unrivaled by any of her sex in fertility of invention,
+in the power of combining parts in a noble whole, in knowledge of
+drawing and foreshortening, and in the minute details that contribute
+to the perfection of a painting. Had she lived longer, she would have
+equaled any painter of her time.</p>
+
+<p>She was born in Bologna, about 1640, and was the daughter of a painter
+of no inconsiderable merit. She was enrolled among the pupils of Guido
+Reni, and her artistic character was formed after the model of this
+most gifted and most versatile master of the Bolognese school. She
+imbibed from him an exquisite sense of the beautiful, and a peculiar
+gift of reproducing it. To this she added a vigor and energy rare in
+a woman. She made herself acquainted early with the works of the most
+distinguished painters, and manifested so much talent in youth, that
+she became the admiration of her acquaintances, particularly as she
+excelled also in music; while, to the gift of genius, she added that
+of rare personal loveliness. Lanzi speaks of her with enthusiastic
+admiration. It is not often that an artist of celebrity so generally
+wins the affections of those who know her. This popularity perhaps
+added to her renown; or the tragical fate of the blooming girl may
+have contributed to invest her name with a halo of romantic glory.
+Malvasia, who tells us she was persuaded by her father to adopt the
+profession of a painter, calls her “the heroine among artists”—and<span class="pagenum" id="Page_69">[Pg 69]</span>
+himself “the trumpeter of her fame.” Another eulogist, in the glowing
+style of Picinardi, praises her unwearied industry, her moderation in
+eating, and simplicity in dress; and the exquisite modesty with which
+she was always ready for household employments. She would rise at dawn
+to perform those lowly domestic tasks for which her occupations during
+the day left her little leisure, and never permitted her passion for
+art to interfere with the fulfillment of homely duties. Thus she was
+admirable in the circle of daily life, as in her loftiest aspirations.
+She obtained time in this manner for her exercises in poetry and music.
+All praised her gracious and cheerful spirit, her prompt judgment, and
+deep feeling for the art she loved. Besides being a painter, she was an
+adept in sculpture and engraving on copper, thus meriting the praise
+lavished on her as “a miracle of art.”</p>
+
+<p>Her devoted filial affection, her feminine grace, and the artless
+benignity of her manners, completed a character regarded by her friends
+as an ideal of perfection. Malvasia mentions the rapidity with which
+she worked, often throwing off sketches and executing oil pictures
+in the presence of strange spectators. The envious artists of her
+time took occasion, from the number of her paintings, to insinuate
+that her father gave out his own works for his daughter’s to obtain
+a higher price for them; but the stupid calumny soon fell to the
+ground, for every one had free access to the studio of Elisabetta, and
+one day, in the presence of the Duchess of Brunswick, the Duchess of
+Mirandola, Cosimo, Duke of Tuscany, and others, she drew and shaded
+subjects chosen by each with such promptitude that the incredulous
+were confounded.<span class="pagenum" id="Page_70">[Pg 70]</span> She had hardly received the commission of her large
+picture—“The Baptism of Jesus”—before she had sketched on the canvas
+the entire conception of that memorable incident, including many and
+various figures; and the work was completed with equal rapidity. She
+was then only twenty years of age.</p>
+
+<p>Her method has been compared to that of Guido Reni, whose versatility
+she combined with rare force and decision, and peculiar delicacy
+and tenderness; the most opposite qualities being harmonized in her
+productions.</p>
+
+<p>This fascinating artist, in the height of her fame, in the flush
+of early womanhood, was snatched from her friends by a cruel and
+mysterious doom. Her fate is involved in a darkness which has not been
+penetrated to this day. Some do not hesitate to aver that her sudden
+death was a base and cruel murder; that she was poisoned by the same
+hands that administered the deadly draught to Domenichino—those of
+Ribiera or his disciples, jealous of her rising fame. The general
+impression is that she was the victim of professional envy. Some
+averred that her death was caused by the revenge of a princely lover,
+whose dishonorable advances were repelled, or some great personage
+who was incensed at her refusal to engage in his service, or of a
+distinguished individual who felt aggrieved by a caricature, and
+secretly employed a servant to put poison in her food. Each story was
+believed among her contemporaries, and the record of the examination
+is yet extant; but it was conducted without regularity, and throws no
+light upon the mysterious assassination.</p>
+
+<p>Great was the excitement on the 14th November, 1665, in Bologna, on the
+day of her funeral, when the<span class="pagenum" id="Page_71">[Pg 71]</span> whole population crowded, weeping, to see
+the once beautiful features distorted by the hateful poison. The victim
+of revenge or jealousy was honored with solemn and splendid funeral
+ceremonies in the church of St. Domenico.</p>
+
+<p>Shortly after her death a work was published, in which was included a
+number of poetical eulogies and tributes, from the most eminent poets
+of the day, to the memory and virtues of the deceased. One line runs
+thus:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“I was a woman, yet I knew not love.”</span><br>
+</p>
+
+<p>Picinardi adds the information that the pure calm of her soul was
+never disturbed by the grand passion. On the other hand, Gualandi
+intimates that the highly gifted maiden cherished for a young artist
+of her acquaintance an ardent affection, but that her father would not
+consent to the marriage. The romantic may please themselves with the
+supposition that the seed of genius sown in the nature of this richly
+endowed girl was quickened in the glow of an unhappy passion into the
+gorgeous bloom that attracted the eye of the world.</p>
+
+<p>Elisabetta lies at rest in the chapel of the Madonna del Rosario in
+the church of St. Domenico, which also incloses the dust of her great
+master, Guido Reni. The works enumerated as hers by Malvasia, from
+her own register, were one hundred and fifty pictures and portraits,
+some of them large and carefully finished. Her first public work
+was executed in 1655. Her composition was elegant and tasteful; her
+designing correct and firm; and the freshness and suavity of her
+color, especially in demi-tints, reminded one of Guido. The air of her
+heads was graceful and noble, and she was peculiarly successful in the
+expressive character<span class="pagenum" id="Page_72">[Pg 72]</span> of her Madonnas and Magdalens. Among her finest
+pictures are mentioned a Francesco di Padoua kneeling before the infant
+Christ, a Virgin and St. Anna contemplating the sleeping Saviour,
+and others, preserved in several palaces in Bologna. Her portrait of
+herself was taken in the act of painting her father. Another portrait
+of her is in the person of a saint looking up to heaven. Among her
+paintings on copper, which are exquisitely delicate, is a Lot with his
+children, now in the possession of a family in Bologna. She produced
+etchings of the Beheading of John the Baptist, the Death of Lucretia,
+and several master-pieces; all distinguished by delicacy of touch and
+by ease and spirit in the execution. Her painting, “Amor Divino,”
+represents a lovely child, nude, seated on a red cloth, holding in its
+left hand a laurel crown and sceptre, while with the right it points
+to a quiver and some books lying at its feet. Bolognini says: “It
+is impossible to conceive any thing more beautiful in form or more
+exquisite in finish than this lovely child.”</p>
+
+<p>Like Guido’s, the influence of Elisabetta Sirani on the progress of
+art in Bologna was exhibited in the number of scholars who sought
+instruction from her, or studied her paintings to ground themselves in
+her system. So illustrious an example as she presented must naturally
+have contributed greatly to the encouragement and development of female
+talent, and many were the women whom her success, in a greater or less
+degree, stimulated to exertion. One of Elisabetta Sirani’s pupils
+was Ginevra Cantofoli of Bologna. She painted history pieces with
+some reputation. In a church of Bologna is a picture by her—The Last
+Supper. Her best was San Tommaso di Villanuovo.</p>
+
+<p>Sirani’s sisters, Anna Maria and Barbara, are also mentioned among
+her scholars, with Lucrezia Scarafaglia,<span class="pagenum" id="Page_73">[Pg 73]</span> Maria Teresa Coriolani, and
+Veronica Fontana, who carved excellently well in wood, and executed
+portraits in this manner which were highly praised. Many other names of
+women are recorded who derived their impressions of art, directly or
+indirectly, from Sirani.</p>
+
+<p>Teresa Muratori was the daughter of an eminent physician, and born at
+Bologna in 1662. At an early age she showed a genius for painting and
+music. She was instructed in designing by Emilio Taruffi, and afterward
+took lessons from Lorenzo Parmello and Giovanni Gioseffo dal Sole. She
+painted historical pieces, and several religious ones for churches in
+Bologna. She died at the age of forty-six.</p>
+
+<p>Orlandi speaks highly of Maria Helena Panzacchi. She was born at
+Bologna in 1668, was taught designing by Taruffi, and became a
+reputable painter of landscapes, which she embellished with figures.
+Her works were correct in design, and the disposition was marked by
+elegance and taste. Several of them are in private collections at
+Bologna.</p>
+
+<p>Bologna boasted also of Ersilia Creti, a pupil of her father Donato,
+and of Maria Viani, of whose workmanship a reclining Venus, in the
+Dresden gallery, exquisitely done, remains to her praise.</p>
+
+<p>Among others of the school of Bologna, we may mention Maria Dolce, the
+daughter and pupil of Carlo Dolce, so noted and so admired for the
+calm dignity of his productions. She copied several of her father’s
+pictures. The name of another painter, Agnes Dolce, may be added;
+but we must pass over a host, observing only that the Bolognese was
+throughout the seventeenth century the richest in female talent of all
+the schools of Italy.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_74">[Pg 74]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI.<br><span class="small">THE SEVENTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>School of the Academicians after Caravaggio.—Unidealized
+Nature.—Rude and violent Passions delineated.—Dark and stormy
+Side of Humanity.—Dark Coloring and Shadows.—The gloomy and
+passionate expressed in Pictures appeared in the Lives of
+Artists.—The Dagger and Poison-cup common.—Aniella di Rosa.—The
+Pupil of Stanzioni.—Character of her Painting.—Romantic Love
+and Marriage.—The happy Home destroyed.—The hearth-stone
+Serpent.—Jealousy.—The pretended Proof.—Phrensy and Murder.—Other
+fair Neapolitans.—The Paintress of Messina.—The Schools of Bologna
+and Naples embrace the most prominent Italian Paintings.—Commencement
+of Crayon-drawing.—Tuscan Ladies of Rank cultivating Art.—The
+Rosalba of the Florentine School.—Art in the City of the Cæsars.—The
+Roman Flower-painter.—Engravers.—Medallion-cutters.—A female
+Architect.—A Roman Sculptress.—Women Artists of the Venetian
+School.—At Pavia.—The Painter’s four Daughters.—Chiara
+Varotari.—Shares her Brother’s Labors.—A skillful Nurse.—Her
+Pupils.—Other female Artists of this time.—The Schools of Northern
+Italy.—Their Paintresses.—Giovanna Fratellini.</p>
+</div>
+
+
+<p>In contrast to the school established as before mentioned, certain
+academicians had set up one grounded on principles promulgated by
+Michael Angelo da Caravaggio, wherein the old idealism and conventional
+forms of beauty were neglected, and the models furnished by the works
+of the early masters were entirely slighted, to make room for a simple
+copying of nature, whether beautiful or repulsive, full of grace or
+rugged and barren of all charms. This new school had been planted in
+Naples by Caravaggio; and beneath that glowing sky arose a number
+of masters who devoted themselves not only to the reproduction of<span class="pagenum" id="Page_75">[Pg 75]</span>
+unidealized nature, but the delineation of human passions in their
+sternest and most violent demonstrations; preferring, in fact, to
+depict the darkest and stormiest side of humanity. For this purpose,
+depth of coloring and dark shadows were employed. These masters were
+not wanting in talent, nor were their creations without effect and
+influence; but they had nothing of the pure and holy element which
+seems like a genuine inspiration in art. The gloomy and passionate,
+expressed in their pictures, too often appeared also in their
+characters and actions.</p>
+
+<p>The relations of these Neapolitan artists with those of the Bolognese
+school were by no means friendly, and rivals settled their disputes
+as frequently with the dagger and the poison-cup as with the pencil
+and the palette. Such a state of things was hardly favorable to the
+development of woman’s talent.</p>
+
+
+<h3>ANIELLA DI ROSA.</h3>
+
+<p>Yet we find one artist of surpassing merit, who, on account of her
+genius and her tragical fate, was called the Sirani of the school of
+Naples. This was Aniella di Rosa, niece of the painter Pacecco di Rosa,
+and pupil of that Massimo Stanzioni who, in common with Caravaggio,
+exercised a species of tyranny over the struggles of Neapolitan art,
+and was one of the leaders of the opposition set up against the
+artists from Bologna. Aniella painted in his atelier, and he directed
+her studies with paternal solicitude. She succeeded in giving to her
+pictures the grace, the soft and transparent coloring of Pacecco, and
+united in her heads the elegance of her uncle’s style with the correct
+drawing and able grouping of Stanzioni. Her master set her to color his
+sketches, and she succeeded so well that he often sold<span class="pagenum" id="Page_76">[Pg 76]</span> their joint
+productions as his own. When her education was sufficiently advanced,
+she desired that her talents should be put to a public test; and her
+master induced the governors of the church of the Pietà dei Turchini to
+give her a commission for two paintings which were to adorn the ceiling.</p>
+
+<p>Aniella produced two paintings so excellent that many declared they
+were completed by Stanzioni. But Domenici says he has seen several of
+her original pictures, and that they are “most beautiful productions.”
+“Her master himself,” he continues, “avows in his writings that she
+equals the best masters of our time.” One of the pictures represented
+the Birth of the Virgin; the other, her Death. The figures are larger
+than life; and the boldness of design, the effects of light and shade,
+and the management of the drapery, drew praise from two eminent
+artists, who said she was an honor to her country, and that many
+artists might learn from her. She also did several heads of the Madonna
+in red chalk, pronounced equal in drawing to the works of the most
+renowned artists.</p>
+
+<p>During the earliest days when Aniella frequented Stanzioni’s studio,
+she became acquainted with Agostino Beltramo, a high-spirited
+Neapolitan youth. He soon became enamored of the beautiful girl, and
+his frank manners and noble bearing, with the promise his early efforts
+gave of his becoming a good artist, were a passport to her heart.
+His love was accepted, and they were betrothed. Stanzioni exerted
+himself in their behalf, and through his good offices the consent of
+the parents for the marriage of the young people was obtained. A rare
+similarity of tastes, and their mutual labors in art, caused all to
+admire and many to envy the happiness of their union. The serenity<span class="pagenum" id="Page_77">[Pg 77]</span> of
+Aniella’s disposition tended to insure the peace of their daily life;
+and during sixteen years which they passed together both acquired no
+insignificant artistic fame. The husband excelled in frescoes; the lady
+in oil-paintings. The superb painting of San Biagio, in the church of
+the Sanità, in Naples, is the result of their mutual labors.</p>
+
+<p>But the cloud was brooding over the happy home which was to burst in
+a fatal storm. An evil-minded woman, young and beautiful, entered the
+house of Aniella as a servant. She was in love with Agostino; and,
+finding all her charms and artifices ineffectual to move him from his
+fidelity to his noble wife, or even to win his attention, she set
+herself to work to accomplish the ruin of this domestic happiness.</p>
+
+<p>She contrived to insinuate herself into the confidence of the man she
+could not tempt; and then, drop by drop, with the perfidy and subtle
+cunning of Iago, she succeeded in instilling into his heart the poison
+of jealousy. By degrees she undermined his faith in the spotless virtue
+of Aniella.</p>
+
+<p>The husband grew morose and irritable, and at times manifested the
+change that had come over him by sudden outbursts of ill-humor. Vainly
+Aniella strove by unremitting patience and redoubled affection to
+soothe his wayward moods. She soon perceived that all her happiness
+must be derived from her art, and from the approbation of her old
+master, who frequently visited her. She painted in her best manner a
+Holy Family, and presented it to him. “On seeing,” writes Domenici,
+“with what mastery of drawing and perfection of coloring Aniella had
+completed the painting, and because she had so toiled for him, he was
+overcome with feeling, and, in a transport of<span class="pagenum" id="Page_78">[Pg 78]</span> affection, clasped her
+in his arms, exclaiming that she was his best pupil, and that, had he
+been asked to retouch the painting, he should not know where to begin,
+for fear of destroying the beautiful coloring.”</p>
+
+<p>The infamous servant was playing the spy throughout this scene, and
+had called up a servant-lad to support her testimony. On Stanzioni’s
+departure Agostino returned.</p>
+
+<p>“Now,” cried this hearth-stone serpent, “now I have proofs to set all
+doubts at rest—proofs I will furnish you with in the presence of
+your wife.” Confronted with her mistress, the vile hireling charged
+her with guilty embraces, and called the servant-lad to confirm the
+charge. Aniella, astounded and indignant, disdained to defend herself,
+but stood before her husband mute and motionless, while a flush of pain
+and indignation mantled on her brow. Her silence confirmed Agostino’s
+suspicions; in his phrensy he drew his sword, and the next moment
+Aniella lay dead at his feet. Thus closed the career of this noble
+artist, in 1649, in the thirty-sixth year of her age. She was not the
+only victim to the taste for the horrible and for wild extremes of
+passion then prevailing in the works of artists, and too common in
+their personal experience.</p>
+
+<p>Another fair Neapolitan, who also worked in Rome at portrait-painting,
+was Angela Beinaschi. The nun, Luisa Copomazza, a landscape-painter and
+poetess, and the flower-painter, Clena Ricchi, were of Naples; with the
+painter and modeler in wax, Catarina Juliani, called the “<i lang="it" xml:lang="it">ornamento
+della patria</i>.”</p>
+
+<p>Teresa del Po—daughter of a painter, the disciple of Domenichino,
+and distinguished for oil and miniature painting, and copper
+engraving—came from a family<span class="pagenum" id="Page_79">[Pg 79]</span> of Palermo. She etched plates in her
+father’s style; some after Caracci.</p>
+
+<p>Messina boasted of Anna Maria Ardoino, the daughter of the Princess
+de Polizzi, accomplished in every branch, including music and poetry,
+who won great celebrity on account of her splendid attainments in art
+and literature, and was admitted a member of the Academy of Arcadia in
+Rome. She died in 1700, at Naples, in the bloom of her life and fame,
+and it is said her death was occasioned by grief for the loss of a son.</p>
+
+<p>The two schools of Bologna and Naples may be said to embrace the
+greater number of the prominent productions of the pencil in Italy
+during the period of which we have spoken. Other cities enjoyed their
+peculiar distinctions as the seats of different schools of art, but
+they exhibited more or less the influence of these chief ones. In
+Florence—the ancient home of Italian painting—artists of distinction
+exercised their skill; and the superior cultivation and taste diffused
+under the auspices of distinguished Tuscan ladies, contributed, in no
+small measure, to the encouragement of female enterprise. While Maria
+Borghini—elevated, by the judgment of her contemporaries, to a seat
+beside Victoria Colonna, and Mary dei Medici, who not only patronized
+art, but gave it her own personal efforts—won the meed of admiration,
+others were not backward in the race for the golden apple of renown.</p>
+
+<p>Arcangela Paladini, of Pisa, born 1599, already mentioned as a painter,
+was also an engraver. Her portrait, by herself, is in the gallery
+of artists in Florence. She died at the age of twenty-three. As
+flower-painters, we hear of Anna Maria Vajani and Isabella Piccini;
+Giovanna Redi was a successful pupil of the skillful Gabbiani; and
+Giovanna Marmochini was no less<span class="pagenum" id="Page_80">[Pg 80]</span> favorably known in art than as a wit
+and a learned lady. She has been called, for the excellence of her
+miniatures, the Rosalba of the Florentine school. Niccola Grassi, of
+Genoa, is also called by Lanzi “the rival of Rosalba.” She painted
+original compositions and church pictures.</p>
+
+<p>Rome, meanwhile, maintained her ancient fame. The city of the Cæsars
+had often been the arena where the striving masters of the Bolognese
+and the opposing schools contended for the establishment of the
+supremacy they coveted. Nor was she wanting in women artists of
+her own, able to do credit to their birthplace. We may mention the
+excellent flower-painter, Laura Bernasconi, and the engravers, Isabella
+and Hieronima Parasole, whose name became so celebrated that the
+husband of the first adopted it, dropping his own. Isabella executed
+several cuts of plants for an herbal published under the direction of
+Prince Cesi, of Aquasparta. She also published a book on the methods of
+working lace and embroidery, illustrated with cuts engraved from her
+own designs. Hieronima engraved on wood, among other pictures, “The
+Battle of the Centaurs.”</p>
+
+<p>Beatrice Hamerani worked at medallions, and in 1700 elaborated a
+large medallion of Pope Innocent XII., highly praised by Goethe as
+“undoubtedly one of the most skillful, expressive, and powerful
+productions of art which ever came from the hands of a woman.”</p>
+
+<p>Add to these the name of the only woman who was ever known to have
+been a practical architect. This was Plautilla Brizio, who has left
+monuments of her excellence in that species of art in a small palace
+before Porta San Pancrazio, and in the chapel of St.<span class="pagenum" id="Page_81">[Pg 81]</span> Benedict, in San
+Luigi dei Francesi. In the latter is a picture painted by her hand.
+The villa Giraldi, near Rome, is the joint work of this lady and her
+brother.</p>
+
+<p>The female sculptor Maria Domenici, who pursued her profession in Rome,
+was a native of Naples.</p>
+
+<p>Passing over many of the Italian cities, and attempting no sketch of
+the peculiarities of the school of Venice, we find there several not
+insignificant women artists. Paolina Grandi, Elisabetta Lazzarini, and
+Damina Damini were known as painters, and Domenia Luisa Rialto as an
+engraver on copper. The sisters Carlotta and Gabriella Patin enjoyed
+celebrity for both learning and artistic skill. They lived at Pavia,
+and were members of the Academy dei Ricovrati.</p>
+
+<p>The four daughters of the Venetian painter Niccolo Renieri, who
+practiced the same art, should be mentioned. Anna, the eldest, became
+the wife of Antoine Vandyck.</p>
+
+<p>Chiara Varotari was so highly esteemed by those who knew her, that a
+niche was assigned her by contemporaries equal to that of Maria Robusti
+in the sixteenth century. She was daughter and pupil of Dario Varotari,
+and the sister of that Alessandro Varotari who became so noted as a
+painter, under the name Padovanino. Chiara frequently shared in the
+execution of his works. She was not less praised for her beauty,
+and her skill as a tender nurse of the sick. Her triumphs over the
+discomfort of disease were signal, in that field where female prowess
+so often achieves its deeds of heroism. Such conquests are seldom
+recorded by the historian’s pen; but it is pleasant for once to rescue
+them from oblivion. Honors were conferred on her by the Grand-Duke
+of<span class="pagenum" id="Page_82">[Pg 82]</span> Tuscany, who placed her portrait in his collection. This artist
+numbered among her pupils Lucia Scaligeri and Caterina Taraboti.
+Boschini thinks she gave public instruction, like Sirani. She died,
+full of years, in 1660, ten years after the brother whose labors she
+had aided.</p>
+
+<p>Anna Maria Vajani, who engraved in Rome in the middle of this century,
+executed a part of the plates for the Justinian Gallery.</p>
+
+<p>Laura Bernasconi imitated the famous flower-painter Mario Mizzi, called
+“Mario dai fiori.” With his coloring she had also his defects.</p>
+
+<p>Maria Vittoria Cassana was the sister of two painters, and painted
+chiefly devotional pieces, in little. She died 1711. Lucia Casalina, a
+disciple of Giuseppe dal Sole, turned her attention to portraits.</p>
+
+<p>Angelica Veronica Airola, a Genoese, studied painting under Domenico
+Fiasella. She painted religious pictures for the convents and churches
+of Genoa, and became a nun of the order of St. Bartholomew della
+Fiavella. Soprani and others mention her.</p>
+
+<p>Giovanna Garzoni painted flowers and miniature portraits about 1630. At
+Florence she painted some of the Medici and the nobles. Dying at Rome
+in 1673, she bequeathed her property to the academy of St. Luke, in
+which there is a marble monument to her memory.</p>
+
+<p>Two daughters of Caccia—called “the Fontane of Monferrato”—painted
+altar and cabinet pieces. One, Francesca, adopted for her symbol
+a small bird; Ursula, a flower. Ursula founded the convent of the
+Ursulines, in Moncalvo. Some of her landscapes are decorated with
+flowers.</p>
+
+<p>Lanzi and Tiraboschi mention Margerita Gabassi as<span class="pagenum" id="Page_83">[Pg 83]</span> admirable in
+humorous pieces. She died in 1734, aged seventy-one.</p>
+
+<p>In the Nuova Guida di Torino, Isabella dal Pozzo is mentioned as the
+painter of a picture in the church of San Francesco, at Turin, dated
+1666, and representing the Virgin and Babe surrounded with saints.
+Lanzi bestows high praise on her. In 1676 she became court painter to
+the Electress Adelaide of Bavaria.</p>
+
+<p>The schools of Northern Italy recorded the names, too, of Chiara
+Salmeggia, the painter of Bergamo, and of Maria la Caffa, of Cremona,
+who worked at the Court of Tyrol; of Camilla Triumfi; and Maria
+Domenici, a native of Naples, who worked at sculpture in Rome, and died
+a nun in 1703.</p>
+
+<p>Lucia Scaligeri, a pupil of Chiara Varotari, had a daughter Agnes,
+also a painter, spoken of by Boschini. Caterina Rusca was a native of
+Ferrara, and known as an engraver and poetess.</p>
+
+<p>Crayon-drawing seems to have been much in vogue at this time. Giovanna
+Fratellini, called by Lanzi “an illustrious female artist, from the
+school of Gabbiani,” painted in crayons as well as in oil, miniature
+and enamel. So famous did she become that, after executing the
+portraits of Cosmo III. and family—a drawing consisting of fourteen
+figures in a superb apartment, of the richest architecture, remarkable
+for its judicious disposition and lovely coloring—her patron sent her
+throughout Italy to paint the other princes. “Her pencil is light,
+delicate, and free,” writes Pilkington; “her carnations are natural,
+and full of warmth and life, and as she understood perspective and
+architecture thoroughly, she made an elegant use of that knowledge,
+enriching her pictures with magnificent ornaments. Her draperies are
+generally<span class="pagenum" id="Page_84">[Pg 84]</span> well chosen, full of variety, and remarkable for a noble
+simplicity. Her works rendered her famous, not only in Italy, but
+in Europe.” Her portrait is in the gallery at Florence; she painted
+herself in the act of drawing her son and pupil, Lorenzo, in whom were
+centred all her hopes. Under her tuition he made rapid progress in art,
+but died suddenly, at an early age. His mother never recovered from
+the blow; life and art had alike lost their charms for her, and she
+speedily followed him to the grave.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_85">[Pg 85]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII.<br><span class="small">THE SEVENTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Contrast between the Academicians and Naturalists, and between
+the French and Spanish Schools of Painting.—Peculiarities of
+each.—Ladies of Rank in Madrid Pupils of Velasquez.—Instruction
+of the royal Children in Art.—The Engraver of Madrid.—Every
+City in the South of Spain boasts a female Artist.—Isabella
+Coello.—Others in Granada.—In Cordova.—The Sculptress of
+Seville.—Luisa Roldan; her Carvings in Wood.—The Canons
+“sold.”—Invitation to Madrid.—Sculptress to the King.—Other Women
+Artists in Spain.—In France Woman’s Position more prominent than
+in preceding Age.—Corruption of court Manners.—Unworthy Women in
+Power.—Women in every Department of Literature.—Mademoiselle de
+Scudery.—Madame de la Fayette.—Madame Dacier.—Women in theological
+Pursuits.—Their Ascendency in Art not so great.—Miniature and
+Flower Painters.—Engravers.—Elizabeth Sophie Chéron.—A Leader
+in Enamel-painting.—Her Portraits and History-pieces.—Her
+Merits and Success.—Her Translations of the Psalms.—Musical and
+Poetical Talents.—Honors lavished on her.—Love and Marriage
+at three-score.—Her Generosity to the needy.—Verses in her
+Praise.—Historical Tableaux.—Madelaine Masson.—The Marchioness de
+Pompadour.</p>
+</div>
+
+
+<p>Striking contrasts belong to the history of art in the seventeenth
+century. A moral, religious, and artistic contrast existed between
+the academicians and the naturalists; and one as remarkable may
+be noticed between the French and Spanish schools of painting,
+corresponding, in fact, to the civil struggle between the two nations
+for European supremacy. In Spain the enthusiasm for art harmonized
+with the passionate character of the people; in France, discretion and
+intellectual taste predominated. The sensuous and rudely<span class="pagenum" id="Page_86">[Pg 86]</span> natural in
+Spanish art was combined with the warmest glow of religious feeling.</p>
+
+<p>Velasquez, a son of Andalusia, had a number of scholars in Madrid among
+ladies of high rank. Donna Maria de Abarca and the Countess of Vill’
+Ambrosa were celebrated for their skill in taking likenesses, and were
+highly praised by the poets. The Duchess of Bejar, Teresa Sarmiento,
+and Maria de Guadalupe, Duchess of Aveiro—also an accomplished
+linguist and lover of letters—had considerable celebrity as painters.
+The admiration of Philip IV. for art rendered the instruction therein
+of the royal children and those of the nobility a necessary branch
+of education. The Duchess of Alba, celebrated for her beauty and
+intrigues, gave one of Raphael’s master-pieces as a fee to the family
+physician, who had cured her of a dangerous illness.</p>
+
+<p>Maria Eugenia de Beer was an engraver in Madrid, and we may find in
+the choir-books of the cathedral at Tarragona creditable specimens of
+the talent of the painter Angelica, who painted the illuminations with
+great neatness and skill.</p>
+
+<p>Every city in the south of Spain seemed to be able to boast of a female
+artist. In Valencia lived Doña Isabella Sanchez Coello, the daughter
+and pupil of “the Spanish Prothogenes”—Alonzo Sanchez Coello—the
+first of the great Spanish portrait painters, and the Velasquez of the
+court of Philip II. Born in 1564, she was the playmate of Infants and
+Infantas, and she acquired distinction both in music and painting. She
+married Don Francisco de Herrera, Knight of Santiago. Dying in Madrid
+in 1612, she was buried with her husband’s family in the church of San
+Juan.</p>
+
+<p><span class="pagenum" id="Page_87">[Pg 87]</span></p>
+
+<p>Magdalena Gilarte was a noted painter, and worked in her father’s
+style with spirit and skill. Jesualda Sanchez carried on her husband’s
+business after his death, and painted small pictures of the saints for
+sale.</p>
+
+<p>In Granada we find Doña Maria Cueva Benavides y Barrados an admired
+painter, and Anna Heylan an engraver in copper. In Cordova, Doña
+Francisca Palomino y Velasco, the sister of the painter and art
+historian of the same name. She flourished about the close of the
+century.</p>
+
+
+<h3>THE SCULPTRESS OF SEVILLE.</h3>
+
+<p>To the school of Seville, in which Spanish art reached its highest
+development, belongs a fair artist of repute. Luisa Roldan was known
+as an excellent sculptor in wood. She was born in 1656, and profited
+by her father’s instructions in art, acquiring great skill. After her
+mother’s death, she kept both her household and the studio in orderly
+operation, attending with successful management to the affairs of both,
+and keeping busy at work both her servants and her father’s pupils.</p>
+
+<p>Roldan was indebted to her for valuable hints. He had carved a statue
+of St. Ferdinand for the Cathedral, which the canons rejected. Luisa
+suggested certain anatomical operations with the saw, which were
+perfectly successful. The canons took the work for a new one, and were
+satisfied; and the saint was peacefully installed in his chapel. Her
+chief productions were small figures of the Virgin, or groups of the
+Adoration of the shepherds, etc., and all were designed and executed
+with delicacy and grace. She sculptured a Magdalen supported by an
+angel, the statue giving an exquisite idea of an angel’s sweetness and
+protecting<span class="pagenum" id="Page_88">[Pg 88]</span> love. It is placed in the hospital at Cadiz. Her small
+pieces are full of expression.</p>
+
+<p>She married Don Luis de los Arcos, and was invited to Madrid in 1692,
+through Don Cristobal Ontañon, who had presented several of her works
+to Charles II. The king was pleased, and ordered a statue of St.
+Michael, life size, for the church of the Escurial. This Luisa executed
+with great success, and to the admiration of the connoisseurs. The work
+elicited complimentary verses from a distinguished poet, and the artist
+was rewarded by the post of sculptress in ordinary to the king, with a
+salary of a hundred ducats, paid from the day she arrived at court.</p>
+
+<p>When Charles II. died she had just completed a statue of our Saviour
+which he had ordered for a convent; its destination was then changed to
+a nunnery at Sisanto. She died at Madrid in 1704, leaving in the palace
+treasure a small group, modeled in clay, representing St. Anna teaching
+the Virgin to read, and attended by angels. Some of her works were
+placed in the Recolete Convent, and some in the Chartreuse of Paulan.</p>
+
+<p>Doña Isabella Carasquilla was a painter, and married a miniaturist,
+Juan de Valdes Leal of Cordova. Their daughters Luisa and Maria were
+highly educated, and painted miniatures. The latter died in 1730, a nun
+in the Sistercian Convent at Seville.</p>
+
+<p>Rosalba Salvioni, a painter of celebrity, was the pupil of Mesquida.
+Doña Inez Zarcillo evinced no small taste in drawing and modeling. She
+was the sister of a sculptor.</p>
+
+<p>Maria de Loreto Prieto, an artist’s daughter, possessed extraordinary
+talent for painting and engraving. Her father was highly esteemed by
+Charles III.,<span class="pagenum" id="Page_89">[Pg 89]</span> and had the oversight of all the coins for the purpose
+of improving the stamps.</p>
+
+<p>Caterina Querubini, the wife of Preciado, a miniature-painter, enjoyed
+a pension from the Spanish court, and an honored place in the Academy
+de San Fernando.</p>
+
+<p>Doña Isabella Farnese, the wife of Philip V., and Angela Perez
+Caballero, drew exceedingly well, and were members of the Academy in
+Madrid.</p>
+
+
+<h3>WOMEN ARTISTS IN FRANCE.</h3>
+
+<p>In France women had taken a position more prominent than in the
+preceding century. Even the gallantry prevailing in society, and the
+corruption of court manners, were promoted by feminine influence.
+Unworthy women were raised to power, and the history of court favorites
+from the reign of the knightly Henry IV. to that of the great monarch
+Louis XIV. forms the most important part of the annals of the empire.</p>
+
+<p>Women took eminent places in every department of literature; in the
+drama Catherine Bernard was the disciple of Racine, and Mademoiselle de
+Scudery had many imitators in her poetical romances; while Madame de la
+Fayette took the lead in a more modern style of fiction. Madame Dacier
+became celebrated as “the most learned and eloquent of women,” and her
+example helped to spread a love of knowledge and classical attainment
+among the French ladies. Even theological pursuits had a Jeanne de la
+Mothe-Guyon to represent mysticism in conflict with the orthodoxy of
+the court and the state.</p>
+
+<p>In art the ascendency of woman was by no means so great. We may,
+however, name, as prominent in<span class="pagenum" id="Page_90">[Pg 90]</span> portrait and miniature painting,
+Antoinette and Madelaine Herault; the latter, in 1660, married Noel
+Coypel. She joined noble virtues to her extraordinary talents.
+Henriette Stresor and Catherine Perrot may also be mentioned. Catherine
+Duchemin, a flower-painter, married the famous sculptor Girardon.</p>
+
+<p>Several women were noted as engravers on copper; among them Claudine
+Bonzonnet Stella has been called the first in France, and practiced the
+art with her two sisters. Jane Frances and Mary Ann Ozanne, the sisters
+of a French engraver, worked chiefly in engraving sea-side scenes.</p>
+
+
+<h3>ELIZABETH SOPHIE CHÉRON.</h3>
+
+<p>But she who occupies the highest place among all the artists of this
+period is Elizabeth Sophie Chéron. Born in Paris in 1648, she received
+instruction from her father in miniature and enamel painting, in which
+she attained such perfection that she may be regarded as the leader
+of the host of French artists who devoted themselves especially to
+this branch. At the age of twenty-six she was admitted a member of the
+Academy, at the proposal of Charles Le Brun. She was received with
+distinction; his portrait by her being her reception picture.</p>
+
+<p>Her merits were a fine tone, exquisite taste and harmony in design,
+and finely-disposed draperies. She often made portraits from memory.
+Her portraits were so frequently treated in an allegorical manner they
+might be called historical; and her history-pieces were much admired.
+She designed much after the antique.</p>
+
+<p>Her father had educated Elizabeth in the strictest principles of
+Calvinism; but her mother, Marie Lefevre,<span class="pagenum" id="Page_91">[Pg 91]</span> a Catholic, persuaded her
+to become a member of that church, after a year’s seclusion in the
+community of Madame de Miramion. The difference in faith did not impair
+her affection to her family. She supported her brother Louis for some
+time in Italy, whither he went to study painting.</p>
+
+<p>This accomplished artist passed the maturity of life without any of the
+experiences, with which almost every young girl is familiar, of the
+tender passion. Her emotions seem to have been altogether spiritual.
+She translated many of the Psalms into French verse; and they were
+published with illustrations by Louis. She played admirably on the
+lute, and was accustomed to practice in the parlor with her nieces and
+pupils, who performed on different instruments. Louis XIV. gave her a
+pension of five hundred livres.</p>
+
+<p>The most eminent scholars of the day were her friends and visitors;
+and in conversation she evinced the highest mental cultivation. Her
+portraits were chiefly painted as presents to her friends, or as
+ornaments to her own cabinet. “I have the pleasure,” she would say, “of
+seeing them in their absence.”</p>
+
+<p>In spiritual lyrics she was the precursor of J. B. Rousseau, with whom
+in warmth of feeling she may be compared; and in narrative poetry she
+acquired much reputation. The Academy dei Ricovrati, in Padua, received
+her as a member in 1699, under the name of Erato. She possessed beauty
+and engaging manners, and to all the honors lavished on her she joined
+the crowning grace of modesty.</p>
+
+<p>The attractions of this gifted being did not depart with the beauty of
+fleeting youth. At the age of sixty she fascinated the affections of
+the Sieur Le Hay, a gentleman about her own age, on whom she bestowed<span class="pagenum" id="Page_92">[Pg 92]</span>
+her hand, simply with the generous motive, it was said, of promoting
+his good fortune. Tradition reports that, when they came out of the
+church after the ceremony had been performed, the bride made a speech
+to her husband, implying that esteem, not romantic love, had influenced
+her choice. She is said to have alluded to him, under the name of
+Damon, in one of her poems.</p>
+
+<p>As of Madame Dacier, it might be said of this artist—the traits of a
+great and manly nature might be discerned in her face. Her features
+wore an expression of decision and firmness. Her hair, in her portrait,
+curls from the top and floats in ringlets. She was remarkable for
+the modesty and simplicity of her dress. Her large and sympathizing
+heart made her the protector and benefactor of needy artists, while
+her social qualities drew around her the brilliant circles that
+habitually were found at her house, including many of the most gifted
+and illustrious of that day. Her death took place in 1711, at the age
+of sixty-three, and she was buried at St. Sulpice. She was lamented
+by Fermelhuis in a canto of praise. The Abbé Bosquillon wrote the
+following lines to be inscribed under her portrait:</p>
+
+<p class="poetry"><span lang="fr" xml:lang="fr">
+<span style="margin-left: 1em;">“De deux talens exquis l’assemblage nouveau</span><br>
+<span style="margin-left: 1em;">Rendra toujours Chéron l’ornement de la France;</span><br>
+<span style="margin-left: 1em;">Rien ne peut de sa plume égaler l’excellence</span><br>
+<span style="margin-left: 2em;">Que les graces de son pinceau.”</span></span><br>
+<br>
+<span style="margin-left: 1em;">For different gifts renowned, fair Chéron see,</span><br>
+<span style="margin-left: 2em;">Ever of France the ornament and pride;</span><br>
+<span style="margin-left: 1em;">Equaled by none her pen’s great works shall be,</span><br>
+<span style="margin-left: 2em;">Save when her pencil triumphs at their side.</span><br>
+</p>
+
+<p>Mademoiselle Chéron made many studies from Raphael and the Caracci.
+Among her historical tableaux<span class="pagenum" id="Page_93">[Pg 93]</span> are enumerated, “The Flight into
+Egypt”—the Virgin represented in a wearied sleep, with angels
+guarding the babe; “Cassandra inquiring of a god the doom of Troy;”
+“The Annunciation;” “Christ at the Sepulchre”—after Zumbo; with “The
+Demoiselles de la Croix”—her nieces and pupils; and a grand portrait
+of the Archbishop of Paris, placed in the Jacobin school of the Rue St.
+Jacques.</p>
+
+<p>Madelaine Masson was the daughter of Anthony Masson, a celebrated
+engraver, and was born in Paris, 1660. She received instruction from
+her father, and engraved portraits in his fine style. Among these is
+the picture of Maria Teresa, Queen of France, and of the Infanta of
+Spain.</p>
+
+<p>The Marchioness de Pompadour engraved and executed small plates after
+Boucher and others. She engraved one set of sixty-three prints, after
+gems by Gay.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_94">[Pg 94]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_VIII">CHAPTER VIII.<br><span class="small">THE SEVENTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Two different Systems of Painting in the North.—The Flemish School
+represented by Rubens.—The Dutch by Rembrandt.—Characteristics
+of Rubens’ Style.—No female Disciples.—Unsuited to feminine
+Study.—Some Women Artists of the first Part of the Century.—Features
+of the Dutch School.—A wide Field for female Energy and
+Industry.—Painting <i lang="fr" xml:lang="fr">de genre</i>.—Its Peculiarities.—State
+of Things favorable to female Enterprise.—Early Efforts
+in Genre-painting.—Few Women among Rembrandt’s immediate
+Disciples.—Genre-painting becomes adapted to female Talent.—“The
+Dutch Muses.”—Another Woman Architect.—Dutch Women Painters
+and Engravers.—Maria Schalken and others.—“The second
+Schurmann.”—Margaretta Godewyck.—The Painter-poet.—Anna Maria
+Schurmann.—Wonderful Genius for Languages.—Early Acquirements.—Her
+Scholarship and Position among the learned.—A Painter, Sculptor,
+and Engraver.—Called “the Wonder of Creation.”—Royal and princely
+Visitors.—Journey to Germany.—Embraces the religious Tenets of
+Labadie.—His Doctrines.—Joins his Band.—Collects his Followers,
+and leads them into Friesland.—Poverty and Death.—Visit of
+William Penn to her.—Her Portrait.—Her female Contemporaries in
+Art.—Flower-painting in the Netherlands.—Its Pioneers.—Maria Van
+Oosterwyck.—Her Birth and Education.—Early Productions.—Celebrated
+at foreign Courts.—Presents from imperial Friends.—Enormous
+Prices for her Pictures.—Royal Purchasers.—The quiet Artist at
+work.—The Lover’s Visit.—The Lover’s Trial and Failure.—Style of
+her Painting.—Rachel Ruysch.—The greatest Flower-painter.—Early
+Instruction.—Spread of her Fame.—Domestic Cares.—Professional
+Honors.—Invitations to Courts.—Her Patron, the Elector.—Her Works
+in old Age.—Her Character.—Rarity of her Paintings.—Personal
+Appearance.</p>
+</div>
+
+
+<p>While the academicians and naturalists of the Italian schools contended
+through the seventeenth century,<span class="pagenum" id="Page_95">[Pg 95]</span> and while in France and Spain the
+works of art exhibited as great contrasts, modified in each country by
+national peculiarities, two different systems in the North came into
+notice. These, as in the time of Von Eyck, had great influence upon the
+development of art in other lands besides that where they originated.
+One was the Flemish school, represented by Rubens; the other the Dutch,
+in which Rembrandt was regarded as the mighty master.</p>
+
+<p>The style of Rubens, brilliant, luxuriant, and full of vigorous life,
+it may be thought would commend itself peculiarly to the attention of
+women. This school, however, in which the healthy and florid naturalism
+of Flemish art reached its highest development, seems to have been
+without any female disciples of note. The passionate and often
+intensely dramatic character of the works of Rubens and his scholars,
+and the physical development of his nude figures, were, indeed,
+scarcely suited to feminine study, though their fullness of life and
+warmth of coloring afterward won to imitation an artist like Madame
+O’Connell. We may also mention Micheline Wontiers, a portrait painter
+in the first half of the seventeenth century. An engraving was made
+from one of her productions by Pontius, who busied himself with the
+works of Rubens. The name of Catherine Pepyn, too, is found inscribed
+as a portrait painter in the St. Luke’s Society of Artists at Antwerp,
+about 1655.</p>
+
+<p>In Holland, on the other hand, the new school of painting owed its
+marked features to the political and religious revolution that had
+been the fruit of the reformed doctrines. This change offered a wide
+field for the exercise of female energy and genius. With the progress
+of the new faith kept pace the rapid advance<span class="pagenum" id="Page_96">[Pg 96]</span> of literature; the great
+questions at issue and the more earnest domestic life of the Hollanders
+furnishing ample materials for thought and description. Painting came
+under the same influence, and this was evident when the depth and power
+of feeling in his works marked Rembrandt as one of the greatest masters
+of all time.</p>
+
+<p>A novel species of the art was called painting <i lang="fr" xml:lang="fr">de genre</i>. Herein
+life was represented in all its rich and varied forms, and the world
+and real humanity became objects of attention where hitherto only
+idealized representations had been tolerated. A new arena was thus
+opened, in which there was promise of noble achievement, and the rudest
+and meanest aspects of common life soon appeared capable of being
+invested with an ideal fascination. The painter <i lang="fr" xml:lang="fr">de genre</i>, armed
+with the wand of humor, often succeeded in such attempts, and success
+led to the adoption of that wonderfully poetical chiar’ oscuro in
+coloring, which, till this period, had never attained the same degree
+of favor either in the North or the South.</p>
+
+<p>This state of things was eminently favorable to female enterprise,
+and we find, accordingly, in a number of fair artists, evidences of
+the energetic industry and careful minuteness for which the women of
+Holland have been particularly noted. However, in the earliest efforts
+at painting <i lang="fr" xml:lang="fr">de genre</i>, wherein the Flemish artists stood opposed
+to the schools of Italy, women took no share. These trial specimens
+usually consisted of some rough piece after nature, such as the drunken
+boors and rustic women of the elder Breughel, and for a long time the
+prevailing taste ran on the low, coarse, and fantastic in the models
+selected. There was more to disgust than to attract cultivated<span class="pagenum" id="Page_97">[Pg 97]</span> women
+in such a fashion, and, notwithstanding their alleged fancy to run into
+extremes, this will account for the fact that they did not choose to
+be numbered among those who delighted in such a copying of nature. One
+we hear of, Anna Breughel, seems to have been a kinswoman of a younger
+painter of that name.</p>
+
+<p>The earnestness, depth, and intensity given to this species of art by
+Rembrandt seemed to lie as little within the compass of female fancy,
+which rather delighted in pleasing delineations of more superficial
+emotion, than in the concentration of the deepest feelings of nature.
+Thus few women were found among the immediate disciples of Rembrandt.</p>
+
+<p>But as painting <i lang="fr" xml:lang="fr">de genre</i> accommodated itself more pleasingly to
+representations of ordinary life and circumstances, and the delicacy
+of detail that formed the peculiar charm of this species of art was
+lavished on attractive phases of character, the school became more and
+more the nursery of female talent.</p>
+
+<p>Literature, at this period, experienced a similar change; and it is
+interesting to see the same persons pursuing both branches of study.
+This was the case with the two painters, Tesselschade-Visscher—called
+the “Dutch Muses,” on account of their poetry—with Elizabeth Hoffmann,
+and the dramatic poet, Catharina Lescaille; also with one of whom we
+shall presently speak, whose fame traveled far beyond the boundaries of
+her native land.</p>
+
+<p>Among the older artists of the Dutch school we may mention, in passing,
+the fruit and flower painter, Angelica Agnes Pakman; Madame Steenwyk,
+a designer in architecture; and the portrait-painter, Anna de Bruyn.
+Anna Tessala was eminent as a skillful carver in wood. Concerning
+Maria Grebber, a pupil of<span class="pagenum" id="Page_98">[Pg 98]</span> Savary, Van Mander remarks that she was
+well skilled both in perspective and in building plans. Maria and
+Gezina Terburg were sisters of Gerard, and, like him, skillful in
+genre-painting.</p>
+
+<p>Gottfried Schalken, who introduced a simpler method, and surprising
+effects of light, was not more celebrated than his sister and pupil,
+Maria, for productions remarkable for delicacy of execution and tender
+expression. Eglon van der Neer shared his fame with his wife, Adriana
+Spilberg. She was born in Amsterdam, in 1646, and was taught by her
+father, an eminent painter. She excelled in crayons or pastels, though
+she often painted in oil. Her portraits were said to be accurate
+likenesses. They were delicately colored, and executed with neatness
+and care. She was much patronized at the court of Düsseldorf.</p>
+
+<p>Caspar Netscher, one of the best and most pleasing masters in this
+peculiar style, had a disciple in Margaretta Wulfraat, whose historical
+paintings—a Cleopatra and a Semiramis—are to be seen in Amsterdam,
+and who died at a great age early in the eighteenth century.</p>
+
+<p>A still greater interest attaches to artists who also took an
+active part in the elevation of Dutch literature. Anna and Maria
+Tesselschade—the daughters of Visscher, already mentioned—belonged to
+this class; they were also celebrated for their fine etchings on glass.
+Their literary culture brought them into association with the most
+eminent scholars of that day.</p>
+
+<p>With them may be ranked Margaretta Godewyck—born at Dort, in 1627,
+and a pupil of Maas—who attained celebrity both in painting and in
+her knowledge of the ancient and modern languages. She was called “the
+second Schurmann,” and many praised her as<span class="pagenum" id="Page_99">[Pg 99]</span> “the lovely flower of art
+and literature of the Merwestrom;” that is, of Dortrecht. She painted
+landscapes and flowers, and embroidered them with great skill. She died
+at fifty.</p>
+
+<p>Catharina Questier, who resided at Amsterdam, was distinguished for
+painting, copper-engraving, and modeling in wax, besides having no
+small consideration accorded to her poetry. Two of her comedies, that
+appeared in 1655, evince her skill in at least three branches; for the
+drawings and engravings that illustrated the dramas were entirely her
+own design and execution.</p>
+
+
+<h3>ANNA MARIA SCHURMANN.</h3>
+
+<p>A higher and more enduring fame than all these could command must be
+accorded to Anna Maria Schurmann, called by the Dutch poets their
+Sappho and their Corneille. She was born in November, 1607, in Cologne
+(Descampes says, at Utrecht), of Flemish parents. Her family, like that
+of Rubens, was Protestant, and her parents fled to Cologne from the
+persecutions of Alba, remaining till 1615, when they removed to Utrecht.</p>
+
+<p>Even in early childhood the genius of the young girl displayed its
+bent. At three years of age she began to read, and at seven could
+speak Latin. Her mother tried to keep her at the needle, but she loved
+to amuse herself by cutting out paper pictures; she also painted
+flowers and birds—untaught. A few years later, her taste for poetry
+and learning languages developed itself. Learning was her passion;
+the arts her recreation. Being allowed to be present at her brothers’
+Latin lessons, she soon gained surprising proficiency in that tongue.
+When she was ten years old, she translated passages from Seneca into
+French and<span class="pagenum" id="Page_100">[Pg 100]</span> Flemish. Her love of study soon led to the acquisition of
+the Greek. To the classics she added, before long, a knowledge of the
+Oriental languages. She spoke and wrote the Hebrew, Samaritan, Arabic,
+Chaldaic, Syriac, Ethiopian, Turkish, and Persian; besides being
+perfectly well acquainted with the Italian, Spanish, French, English,
+and German, and speaking every European tongue with elegance.</p>
+
+<p>At the age of eleven this Flemish lassie had read the Bible, Seneca,
+Virgil, Homer, and Æschylus in the original tongues; at fourteen she
+composed a Latin ode to the famous Dutch poet Jacob Cats, who became
+afterward an unsuccessful suitor for her hand. She wrote verses,
+indeed, in many languages. The knowledge of different tongues greatly
+aided her theological studies, in which she took the deepest interest
+from early life. It is said that it was by reading the History of the
+Martyrs she became imbued with the tendency to religious enthusiasm
+that so strongly influenced her through life, and led to so strange a
+career in her latter years.</p>
+
+<p>The astonishing learning of this remarkable woman and her mastery in
+the languages, caused her opinions to be often consulted by the most
+erudite scholars of her time. Her judgment was always received with
+respect; an honorable place was reserved for her in the lecture-rooms
+of the University at Utrecht; and not unfrequently she took part
+openly in the learned discussions there carried on. The professors
+of the University of Leyden had a tribune made, where she could hear
+without mixing with the audience. With this wonderful erudition Anna
+Maria combined a rare degree of cultivation in art. The genius that
+had shown itself in paper-cutting still gave evidence of<span class="pagenum" id="Page_101">[Pg 101]</span> strong and
+resolute activity. She was skilled both in drawing and painting, had
+a “happy taste in sculpture,” and exercised her talents in carving in
+wood and ivory, as well as in modeling in wax. She carved the busts of
+her mother and brothers in wood. The painter Honthorst valued a single
+portrait executed by her, at a thousand Dutch florins. In addition, she
+has left evidence of her no slight accomplishments in copper-engraving;
+and she engraved with the diamond on crystal. Taste in music, and skill
+in playing on several instruments, fill up the list of the amazing
+variety of endowments bestowed on one of the most gifted of her sex.</p>
+
+<p>We can not marvel that she was called by her contemporaries “the wonder
+of creation.” Not only was she, on account of such varied gifts,
+regarded with admiration, but she was idolized by her acquaintance for
+personal qualities. She was in the most intimate literary association
+with men of distinguished learning like Salmatius, Heinsius,
+Vossius—who is said to have taught her Hebrew—and others. Princes
+and princesses came to visit and converse with her, and entered into
+correspondence with her.</p>
+
+<p>Gonzagues, Queen of Poland, taking a journey to Utrecht in 1645, went
+to visit Anna Maria, having heard such wonderful things of her. After a
+long conversation she gave her flattering tokens of her esteem.</p>
+
+<p>The Queen of Bohemia, and the Princess Louise, her daughter, often
+wrote to her. With a modesty that was as rare as her singular
+endowments, Anna Maria declined all proffered honors, and it was long
+before she could be persuaded to publish her literary productions. When
+the distinguished physician, Johann<span class="pagenum" id="Page_102">[Pg 102]</span> van Beverwyk wished to dedicate
+to her his treatise on the “Advantages of the Female Sex,” she sought
+to withdraw from the intended compliment. In 1636 she was induced to
+publish a Latin poem, celebrating the foundation of the University of
+Utrecht. Her “Apology for the Female Sex,” and other works followed
+this.</p>
+
+<p>Anna Maria Schurmann resided many years in her native city of
+Cologne. According to one authority, part of her time was passed in
+a country house, where she lived in the utmost simplicity, shunning
+the attentions of the persons of celebrity who wished to visit her,
+and dividing her time between her art and her pen. In 1664 she made a
+journey to Germany in company with her brother; and there first became
+acquainted with Labadie, the celebrated French enthusiast and preacher
+of new doctrines. He believed that the Supreme Being would deceive
+man for the purpose of doing good. He taught that new revelations
+were continually made by the Holy Spirit to the human soul; that the
+Bible was not a necessary guide; that observance of the Sabbath was
+not imperative; that a contemplative life tended to perfection in the
+character; and that such a state could be attained by self-denial,
+self-mortification, and prayer. This man was possessed of singular
+intellectual powers, and fascinating eloquence. He succeeded in
+gaining many followers, and the mind of Anna Maria, deep and serious
+to melancholy, and now clouded by grief for the loss of her father and
+brothers, too readily gave credence to his pretensions.</p>
+
+<p>Abandoning both pen and pencil, she joined the disciples of Labadie,
+devoting herself to the studies that favored his theological doctrines.
+To promote<span class="pagenum" id="Page_103">[Pg 103]</span> his success, she published her last work, entitled
+“Eucleria,” in 1673, the year before the death of the fanatic. She
+attended him, and it is said he died in her arms.</p>
+
+<p>In this book she deplores her early devotion to literature and art.
+Other accounts add that she collected the followers of Labadie—called
+Labadists—and, continuing to disseminate his tenets, assumed the
+leadership of the band, and conducted them to Vivert in Friesland. She
+brought over Elizabeth—Princess Palatine—to these doctrines, and
+together they opened an asylum for the wandering disciples. True to the
+doctrines she professed, Anna Maria bestowed all her goods to feed the
+poor, and sank to the grave in poverty, dying in May, 1678, at the age
+of seventy-one.</p>
+
+<p>William Penn mentions, in his “Journey in Germany,” a conversation he
+had at Vivert with this wonderful woman in 1677, noticing especially
+the gravity and solemnity of her tones in discourse.</p>
+
+<p>Anna Maria Schurmann has left behind her not only the renown of her
+great learning and artistic culture, truly remarkable in one of either
+sex, but also a reputation for purity of heart and fervor of religious
+feeling, which can not be disturbed by her mistaken though sincere
+belief, and the fanatical enthusiasm with which she clung to absurd
+dogmas. In her portrait her hair is combed back from her forehead, with
+flowing side locks. The back knot is wreathed with ornaments. A large
+pointed collar closely encircles her throat. Her features are marked;
+her eyes keen and expressive; her Roman nose is large.</p>
+
+<p>Among the contemporaries of Anna Maria Schurmann were the painters
+Clara Peters, Alida Withoos,<span class="pagenum" id="Page_104">[Pg 104]</span> Susanna von Steen, and Catharine
+Oostfries; with the copper-engravers Susanna Verbruggen, Anna de Koher,
+and Maria de Wilde, who etched a series of fifty pieces—gems in her
+father’s collection—and published them in 1700 at Amsterdam.</p>
+
+<p>It was in the seventeenth century that flower-painting was carried
+to such perfection among the women of the Netherlands. Constantia of
+Utrecht and Angelica Pakman may be classed with the pioneers of this
+beautiful art—this truly feminine accomplishment.</p>
+
+
+<h3>MARIA VAN OOSTERWYCK</h3>
+
+<p class="p0">was the first eminent artist in this branch, and the precursor of one
+superior to her—Rachel Ruysch—who, esteemed in her day as the pride
+and honor of the Dutch school, was, indeed, worthy of being reckoned
+among those of whom the whole world is proud. Though not so great,
+Maria is justly numbered among the illustrious women of Holland. She
+was born at Nootdorp, near Delft, about 1630. She received her early
+instruction from the distinguished flower-painter, David Heem. Her
+father was a preacher of the Reformed religion, and took pains in
+cultivating his daughter’s intellectual powers. He did not fail to
+notice her remarkable inclination to painting, and her dissatisfaction,
+and even disgust, at the trifles that served to amuse other girls of
+her age. She always had the crayon in her hand.</p>
+
+<p>Her early productions gained much praise, and it was not long before
+she obtained such exceeding skill as to become the rival of her
+teacher. Admiring connoisseurs carried her fame abroad, and she became
+celebrated at foreign courts. Her works were eagerly sought by the
+first princes of the time, after Louis<span class="pagenum" id="Page_105">[Pg 105]</span> XIV. of France had placed one
+of them in his magnificent collection. The Emperor Leopold and the
+empress sent for specimens of her powers, for which she received the
+portraits of their imperial majesties, set in diamonds, in token of
+their esteem. Her pieces commanded enormous prices. William III. of
+England paid her nine hundred florins for a picture, and the sovereigns
+of Europe seemed to vie with one another in heaping honors and fame on
+this gifted woman. The King of Poland purchased three of her pictures
+for two thousand four hundred florins. These sums were paid her with
+every mark of respect, as presents from her friends rather than
+professional remuneration.</p>
+
+<p>In the midst of all these honors Maria led a quiet and peaceful life,
+undisturbed by excitement or change. She was surrounded by a pleasant
+circle of friends; she worked indefatigably, and was always found in
+her cabinet. To obtain more time to herself, she went to pay a visit
+to her grandfather at Delft. One day she received a visit from a young
+man, who announced himself as William van Aelst, and appeared anxious
+to see some of her works. His admiration of them, was blended with an
+ardent love for the artist. He at last summoned courage to declare
+his passion, but Maria replied that she was firmly resolved against
+matrimony. Her lively suitor, she thought, too, was unsuited to her
+grave and quiet nature.</p>
+
+<p>Unwilling, however, to crush his hopes too suddenly and treat him
+with unkindness, she annexed a condition to her acceptance of her
+wooer, which she imagined would effectually deter him from prosecuting
+his suit, or at least wear out his constancy. She required that he
+should work ten hours of every day<span class="pagenum" id="Page_106">[Pg 106]</span> for a year. The young man promised
+readily; but, as she supposed, he had not perseverance enough to keep
+his word. His studio was opposite Maria’s; she watched him from her
+window, and failed not to mark on the sash the days he was absent from
+his labors.</p>
+
+<p>At the end of the year William came to claim her promise. “You have
+yourself absolved me from it,” was her reply; and, going to the window,
+she pointed out to him the record of his idle days. The lover was
+confounded, and retired disappointed.</p>
+
+<p>Maria painted flowers with an admirable finish and accuracy, and
+displayed exquisite taste and art in their selection and grouping;
+she had also wonderful skill in copying their fresh tints, and in the
+harmonious adjustment of different colors. She took a long while and
+bestowed much labor in finishing her works, and they are consequently
+rare.</p>
+
+<p>She died at the age of sixty-three, at the house of her nephew, Jacques
+von Assendelft, a preacher at Eutdam in Holland.</p>
+
+
+<h3>RACHEL RUYSCH.</h3>
+
+<p>Rachel Ruysch (spelled also Ruisch or Reutch) trod in the footsteps
+of Maria van Oosterwyck, and carried flower-painting to a perfection
+never before attained. Descampes says her flowers and fruit “surpassed
+nature herself.” It is certain that she succeeded in producing the
+most perfect illusion; and the tasteful selection of her subject and
+manner of grouping, disposition, and contrast, rendered the effect more
+exquisite.</p>
+
+<p>This illustrious artist was the daughter of a famous anatomist, and
+was born in Amsterdam, 1664. She received lessons in painting from
+Wilhelm van Aelst,<span class="pagenum" id="Page_107">[Pg 107]</span> an artist who ranked with De Heem and Huysum among
+Dutch flower-painters. He and his rivals were soon equaled by the fair
+scholar, and thenceforward she took nature for her teacher.</p>
+
+<p>While her fame went abroad with her pictures, Rachel sat and worked
+in her secluded room; but she could not hide herself from the arrows
+of the boy-god. She married—Descampes and others say, at the age of
+thirty—a portrait-painter named Julian van Pool, who fell in love, and
+introduced himself to her.</p>
+
+<p>She became the mother of ten children. In the midst of domestic
+cares, and the duties of attending to her offspring, she managed not
+to neglect the art she loved so much; yet we are informed that her
+children were admirably brought up. The toil and study must have been
+immense which, in spite of the interruptions of household employments
+and the depression of a narrow income, enabled her to attain such
+excellence that her praises were sung by poets and poetesses, and her
+fame traveled to every court in Europe. In 1701 the Academical Society
+of Haye admitted her into membership; her reception picture was a
+beautiful piece of roses and other flowers. Her celebrity became so
+great that, in 1708, the Elector John of the Pfalz sent her a diploma,
+naming her painter in ordinary to his court, and inviting her to take
+up her residence in his capital. This prince wrote her another letter,
+accompanying the gift of a complete toilet set in silver, twenty-eight
+pieces, to which he added six flambeaux of the same metal. He promised
+to stand godfather to one of her children. When she took her son to
+Düsseldorf, the elector decorated the babe’s neck with a red ribbon, to
+which was attached a magnificent gold medal.</p>
+
+<p><span class="pagenum" id="Page_108">[Pg 108]</span></p>
+
+<p>In the elector’s service she produced a number of pictures, most of
+them for her Mæcenas, who after paying for them always added honorable
+presents. In 1713, on a second visit to Düsseldorf, she was received
+with the distinction her great talents merited. The elector sent some
+of her pictures to the Grand-Duke of Tuscany, who admired and placed
+them among his rich collection of master-pieces. Several of her works
+were presented to royal personages; some were treasured in the gallery
+of Düsseldorf, and some excellent pictures were preserved in Munich.</p>
+
+<p>After the death of her friend and patron, the elector, she returned to
+Holland, and prosecuted her art with unwearied industry. She mourned
+his loss as her friend and the generous protector of art; but her works
+met with as great success, and Flanders and Holland even murmured at
+their being taken to Germany.</p>
+
+<p>The advance of old age could not obscure her rare gifts; the pictures
+she executed at eighty were as highly finished as at thirty. To genius
+of the highest order she united all the virtues that dignify and adorn
+the female character. Respected by the great—beloved even by her
+rivals—praised by all who knew her—her path in life was strewn with
+flowers, till at its peaceful close she laid her honors down. She died
+in 1750, at the age of eighty-six, having been married fifty years and
+five years a widow.</p>
+
+<p>Her works are rarely seen, from the difficulty of inducing possessors
+in Holland to part with them. At Amsterdam there are four beautiful
+pieces. Their chief merits are surprising vigor and a delicate finish,
+with coloring true to nature. Flowers, fruits, and insects seem full of
+fresh life.</p>
+
+<p><span class="pagenum" id="Page_109">[Pg 109]</span></p>
+
+<p>Rachel’s style combined a softness, lightness, and delicacy of touch
+with a certain grandeur of disposition and powerful effect, which
+caused the universal recognition of a manly spirit and nobility
+of feeling in her works. In her portrait her hair is short, with
+low-necked dress and beads round the throat. The features of the
+artist, large and strongly marked, bear the same brave, open character
+that spoke in the grouping and arrangement of her flowers—in the
+freedom that marked her compositions and was blended with their
+surprising lightness and grace. In the depth of coloring a delicate
+poetic fragrance seemed to be infused.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_110">[Pg 110]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_IX">CHAPTER IX.<br><span class="small">THE SEVENTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Unfavorable Circumstances for Painting in Germany.—Effects of the
+Thirty Years’ War.—The national Love of Art shown by the Signs of
+Life manifested.—Influence of the Reformation.—Inferiority of
+German Art in this Century.—Ladies of Rank in Literature.—A female
+Astronomer.—The Fame of Schurmann awakens Emulation.—Distinguished
+Women.—Commencement of poetic Orders.—Zesen, the Patron of the
+Sex.—Women who cultivated Art.—Paintresses of Nuremberg.—Barbara
+Helena Lange.—Flower-painters and Engravers.—Modeling in Wax.—Women
+Artists in Augsburg.—In Munich.—In Hamburg.—The Princess
+Hollandina.—Her Paintings.—Maria Sibylla Merian.—Early Fondness
+for Insects.—Maternal Opposition.—Her Marriage.—Publication
+of her first Work.—Joins the Labadists.—Returns to the
+Butterflies.—Curiosity to see American Insects.—Voyage to
+Surinam.—Story of the Lantern-flies.—Return to Holland.—Her Works
+published.—Republication in Paris afterward.—Her Daughters.—Her
+personal Appearance.—The Danish Women Artists.—Anna Crabbe.—King’s
+Daughters.—The Taste in Art in Denmark and England governed by
+that of foreign Nations.—Female Artists in England.—The Poetesses
+most prominent.—Miniaturists.—Portrait-painters.—Etchers.—Lady
+Connoisseurs.—The Dwarf’s Daughter.—Anna Carlisle.—Mary
+Beale.—Pupil of Sir Peter Lely.—Character of her Works.—Rumor
+of Lely’s Attachment to her.—Poems in her Praise.—Mr.
+Beale’s Note-books.—Anne Killegrew.—Her Portraits of the
+Royal Family.—History and still-life Pieces.—Her Portrait by
+Lely.—Her Character.—Dryden’s Ode to her Memory.—Her Poems
+published.—Mademoiselle Rosée.—The Artist in Silk.—Wonderful
+Effects.—Her Works Curiosities.—The Artist of the Scissors.—Her
+singular imitative Powers.—A Copyist of old Paintings.—Her
+Cuttings.—Views of all kinds done with the Scissors.—Royal and
+imperial Visitors.—Her Trophy for the Emperor Leopold.—Poems in
+her Praise.—The Swiss Paintress Anna Wasser.—Her Education and
+Works.—Commissions<span class="pagenum" id="Page_111">[Pg 111]</span> from Courts.—Her Father’s Avarice.—Sojourn at a
+Court.—Return home.—Fatal Accident.—Her literary Accomplishments.</p>
+</div>
+
+
+<p>While in the Netherlands, under the influence of the national
+elevation, art grew into a school of peculiar nationality, much less
+favorable circumstances existed in Germany. It may be said, indeed,
+that none less favorable could be found in any country. It was not
+merely that the land had been wasted by the Thirty Years’ War, for art
+and knowledge have been known to bud and bloom amid a severe national
+struggle. This contest, however, was one hostile to every generous
+impulse and lofty aspiration, and tended to crush the noble energies
+that are called forth in other conflicts. It was an internecine and
+sordid strife; Germans were arrayed against Germans, and hordes of
+foreign robbers were encouraged to plunder the country desolated by her
+own children. In the reign of mean and base passions, there was no soil
+where such flowers might bloom as then made beautiful the Netherlands.</p>
+
+<p>There was wanting, also, such a central point as was afforded in France
+and Spain by the courts of Versailles and Madrid. All things revolved
+in a narrow and sordid sphere of individual interest. That Germany, in
+spite of this disastrous and gloomy condition, should have produced
+artists, and that even women, with self-sacrificing zeal should have
+manifested their predilection for the calling, is a proof of the deep
+love for art implanted in the heart of the nation, showing itself in
+brilliant flashes during the sixteenth century, and in the midst of
+troubles not entirely extinguished. The Reformation, while it had
+inspired Germany with the spirit of a new epoch, at first assumed a
+position hostile to the arts that had contributed to embellish<span class="pagenum" id="Page_112">[Pg 112]</span> the old
+faith. For three hundred years, by open force, blind fury, and cold
+contempt, this misapprehension of the true scope of art threatened
+to destroy what preceding ages had left of excellence; nor did the
+struggle terminate till the nineteenth century.</p>
+
+<p>Signs of life in art had been first perceived in Germany toward the
+beginning of the thirteenth century; and there had been progressive
+stages of improvement. The stiffness and seriousness prescribed by
+tradition were replaced by softer execution and an easier flow of
+outline. Flowing drapery and grace marked the earliest attempts to
+express the artist’s own feelings in his works, and a subjective
+principle was allowed in paintings.</p>
+
+<p>In the revival of art toward the end of the fifteenth century the
+sacred subjects of earlier ages had been much chosen. Afterward, the
+artist’s own mind and emotions came forth in self-productive energy;
+and, at a later period, rose into favor the accurate delineations of
+nature’s forms.</p>
+
+<p>The inferiority of Germany in an artistic view, in the seventeenth
+century, is undeniable; but many were found who longed after the
+excellence of which other lands could boast. Women there were in
+abundance who cultivated ornamental literature; noble ladies and
+princesses patronized poets and courted the muses. Henrietta of Orange,
+the consort of the great Elector, was one of several royal dames yet
+remembered in their sacred songs. The lower orders could boast their
+cultivated women; and the name of Maria Cunitz deserves mention as
+learned in the science of astronomy.</p>
+
+<p>The fame of Anna Memorata, Fulvia Morata, and Anna Maria Schurmann
+meanwhile filled the German<span class="pagenum" id="Page_113">[Pg 113]</span> women with emulative desire to inscribe
+their names beside those accomplished persons. Gertrude Möller was
+learned in the languages, and Sibylla Schwarz in poetry. Even Rist, who
+excluded women from his literary society, corresponded with the poetess
+Maria Commer.</p>
+
+<p>This was the beginning of honorary poetic orders, and women were not
+excluded from these, especially from those established by Zesen. He was
+the patron and encourager of female genius and enterprise; his pen was
+dedicated to the service of the sex, and his praises were reciprocated
+by the grateful fair. In his “Lustinne” he sings of the lady poets of
+his day.</p>
+
+<p>The female artists of that time seemed, indeed, to lack such generous
+appreciation; and it may be that the enthusiastic eulogies lavished by
+poets on each other had a selfish aim. Yet the period was not without
+a goodly number of women who cultivated art, and it is not improbable
+that the success of the poetesses had some effect in stimulating their
+zeal. The example of the illustrious Schurmann, who wore the double
+wreath of both branches of study, was before their eyes; and the Dutch
+school had much influence in forming tastes in Germany.</p>
+
+<p>The love of exercising creative power naturally developed itself in
+various ways. Nuremberg, the seat of the Pegnitzschäfer order of
+bards; Hamburg, the residence of the chivalrous Zesen; Saxony, where
+flourished many fair devotees to literature—were not abandoned by the
+spirit of art. In the first-mentioned city we hear of two paintresses
+descended from families celebrated for artistic excellence: Susannah
+Maria von Sandrart, who also did etching in copper; and Esther Juvenel,
+who drew plans for architecture. To<span class="pagenum" id="Page_114">[Pg 114]</span> these may be added the name of
+Barbara Helena Lange, who earned celebrity by engraving on copper, and
+carving figures in ivory and alabaster. She was admitted to the Pegnitz
+order, on account of her poetical talent, in 1679, her poetical name
+being entered as Erone. In 1686 she married one Kopsch, and with him
+removed to Berlin, and afterward to Amsterdam.</p>
+
+<p>The names of Maria Clara Eimart and Magdalena Fürst may here be
+mentioned as flower-painters; that of Helen Preisler as an engraver on
+copper; and Joanna Sabina Preu as both an engraver and modeler in wax.
+All these obtained no insignificant reputation.</p>
+
+<p>In Nuremberg also lived, in 1684, Anna Maria Pfründt, born in Lyons.
+She modeled portraits in wax, some of which were those of persons of
+high rank, and, adorned with costly drapery and precious stones, gained
+a wide-spread reputation for the artist.</p>
+
+<p>Augsburgh was also rich in evidences of woman’s artistic taste.
+Susannah Fischer and Johanna Sibylla Küsel excelled in painting,
+while her younger sisters, Christina and Magdalena Küsel, with Maria
+Wieslatin, engraved in copper. Others surpassed the Nurembergers in
+fine carving.</p>
+
+<p>In Regensburgh lived Anna Catharina Fischer, a flower and portrait
+painter; in Munich, Isabella del Pozzo was appointed court painter
+by the Electress Adelaide, and the miniature-painter Maria Rieger
+was employed very frequently by princely personages. Placida Lamme
+distinguished herself about the same time by painting miniatures and
+carving pictures, with which she occupied her time in the Bavarian
+cloister of Hohenwart.</p>
+
+<p><span class="pagenum" id="Page_115">[Pg 115]</span></p>
+
+<p>In Hamburg, Mariana Van der Stoop and Diana Glauber were painters
+by profession, and in Saxony we find a skillful portrait-painter in
+Margaretta Rastrum, who pursued her art in Leipzig. The above-mentioned
+Anna Catharina Fischer lived a long time in Halle, with her husband, a
+painter named Block. Toward the end of this century we hear of Madame
+Ravemann, who executed a beautiful medal—an exquisite specimen of
+cutting—for Augustus the Second.</p>
+
+
+<h3>THE PRINCESS HOLLANDINA.</h3>
+
+<p>Casting a glance over western Germany, we find the artistic poverty
+of the land redeemed by a princess who loved the liberal arts—Louise
+Hollandina, of the Pfalz. She was the daughter of the unhappy Friedrich
+V., and the sister of the Princess Elizabeth, whose chief celebrity
+arose from her veneration for the philosopher Descartes; also of
+the Prince Ruprecht, noted in art history for his drawings and his
+leaves in the black art. Hollandina, with her sister Sophia, received
+instruction in painting from the famous Gerard Honthorst, and painted
+large historical pictures in the style of that master, of which at the
+present time very little is known. Two of Hollandina’s paintings were
+added to the collection of her uncle, King Charles—one representing
+Tobias and the Angel; the other, a falconer. An altar-piece by her hand
+adorns a church in Paris. Lovelace, in his poetry, speaks highly of the
+abilities of this princess.</p>
+
+<p>Her family originated from the same place that gave birth to Anna Maria
+Schurmann—the city of Cologne—where that famed artist obtained her
+early education.</p>
+
+<p>We must not omit to mention Frankfort-on-the-Main,<span class="pagenum" id="Page_116">[Pg 116]</span> where, in the
+middle of the seventeenth century, lived one of the most celebrated
+women of whom Germany then could boast. This was</p>
+
+
+<h3>MARIA SIBYLLA MERIAN.</h3>
+
+<p>She was the daughter of Matthew Merian, the well-known geographer
+and engraver, and born at Frankfort-on-the-Main in 1647. Her father
+published a topographical work in Germany, in thirty-one folio volumes.
+Her mother was the daughter of Theodore de Bry, an engraver of repute.</p>
+
+<p>A remarkable circumstance, and one contrary to the usual experience
+of extraordinary persons, was, that Sibylla devoted herself to the
+vocation of the artist in opposition to her mother’s wishes and in the
+face of great difficulties. In this respect she differed from most
+other women artists; for they, as a rule, were led to the study by
+parental example or domestic training.</p>
+
+<p>From the early childhood of this singular girl she manifested a
+persevering spirit of research in natural history, with a fondness for
+examining specimens of vegetable and animal life. It is possible that
+this natural predilection was owing to one of those accidents that so
+often determine the course and bent of human intellect. Her mother,
+shortly before her birth, it is said, took a fancy to make a collection
+of curious stones, mussels, and different sorts of caterpillars.
+However this may be, it is certain that the child, at a very early age,
+showed the same taste, and no maternal reproaches or punishment could
+keep her from indulging the strange fancy. She would, however, conceal
+her treasures. At last her step-father, the painter Jacob Marrel,
+having persuaded the mother to consent,<span class="pagenum" id="Page_117">[Pg 117]</span> arranged it so that the girl
+took lessons of the famous flower-painter, Abraham Mignon.</p>
+
+<p>In the year 1665, at eighteen, she married John Andrew Graf, a painter
+and designer in architecture. The marriage was not a happy one, but
+she lived with Graf nearly twenty years in Nuremberg, in a lonely and
+secluded manner, devoted solely to her art, as she herself says in
+the preface to one of her published works, giving up intercourse with
+society, and beguiling her time by the examination of the various
+species of insects, of which she made drawings, and by the study of
+their transformations.</p>
+
+<p>She painted her specimens first on parchment, and many of those
+pictures were distributed among amateurs. Encouraged by them, she
+published, in 1679, a work entitled “The Wonderful Transformations of
+Caterpillars,” a quarto volume, with copper engravings, executed by
+herself after her own drawings. Another volume appeared in 1684.</p>
+
+<p>The affairs of Graf having become embarrassed, and his conduct being
+much censured, he was compelled to leave his family and go out of the
+country. After this separation, Sibylla never assumed her husband’s
+name in any of her publications, but issued them under her maiden name.
+About 1684 she went to Frankfort, and prepared for a journey to West
+Friesland with her mother and daughters. There she became possessed
+with the religious enthusiasm which had driven so many women into
+strange doings, and joined the sect of the Labadists, taking up her
+abode at the Castle Bosch.</p>
+
+<p>Sibylla did not yield her energies, however, entirely to the dominion
+of this kind of phrensy; her old habits of study and research followed
+her. Butterflies<span class="pagenum" id="Page_118">[Pg 118]</span> and worms again occupied her attention, and she soon
+took a deep interest in all the collections of animals from the East
+and West Indies which she discovered were within her reach.</p>
+
+<p>Among those persons whose collections were most admired by her was
+Fridericus Ruysch, a doctor of medicine and professor of botany, and
+the father of the Rachel Ruysch already noticed. It is not difficult
+to believe that the example and conversation of a woman so gifted and
+so devoted to study as Madame Merian had a decisive influence upon the
+character of the youthful Rachel.</p>
+
+<p>Our heroic and industrious heroine was delighted at the opportunity
+of examining such interesting collections; for, besides the pleasure
+her investigations in natural history afforded her, she was stimulated
+by an inextinguishable desire to know all that could be learned about
+that department of the animal kingdom. At length, anxious to see the
+metamorphoses and food of American insects, she determined to undertake
+that laborious and expensive journey to Surinam which she accomplished
+in June, 1699. The States of Holland assisted her with the means of
+travel. Her journey gave occasion to the following lines by a French
+poet:</p>
+
+<p class="poetry" xml:lang="fr" lang="fr">
+<span style="margin-left: 1em;">“Sibylla à Surinam va chercher la nature,</span><br>
+<span style="margin-left: 1em;">Avec l’esprit d’un Sage, et le cœur d’un Heros.”</span><br>
+</p>
+
+<p>The place of her destination was Dutch Guiana, often called Surinam,
+from a river of that name, on which the capital, Paramaribo, is
+situated. It is said that, one day during her residence there, the
+Indians brought Madame Merian a number of living lantern-flies, which
+she put into a box; but they made so much noise at night, that she rose
+from her bed and opened their prison. The multitude of fiery flames
+issuing from<span class="pagenum" id="Page_119">[Pg 119]</span> the box so terrified her that she immediately dropped it
+on the ground. Hence came marvelous stories of the strong light emitted
+by that insect.</p>
+
+<p>She remained in America nearly two years, till the summer of 1701,
+notwithstanding the unfavorable effect of the climate on her health,
+and the difficulties thus encountered in the prosecution of her
+studies. Though strong of will, she could not long bear up against
+such an enemy, and was obliged to return much sooner than suited her
+inclinations.</p>
+
+<p>In September she was again in Holland, where her splendid paintings, on
+parchment, of American insects, excited the greatest admiration among
+the connoisseurs. They pressed her to publish a work that would open a
+world of vegetables and animals hitherto unknown; and, in spite of the
+great expense, she resolved at last, without expectation of a return
+for her outlay, to engrave her pictures for publication. The reward of
+her labors was to be in the sale of successive editions. This work was
+entitled “Metamorphosis Insectorum Surinamensium, etc. The text drawn
+up by Gaspar Commelin, from the MSS. of the author.”</p>
+
+<p>In 1771 a collection of Madame Merian’s works was published in Paris,
+translated into French; and to this day are to be seen engravings,
+nearly of the size of the original, of the various paintings made by
+this enthusiastic woman of objects that struck her fancy—caterpillars,
+butterflies, spiders, snakes, and various kinds of animals and
+plants—executed with all the luxury of brilliant coloring, and
+illustrated by choice poetry.</p>
+
+<p>Her great work was entitled “History of the Insects of Europe, drawn
+from Nature, and explained, by Maria Sibylla Merian.” It included a
+treatise on the generation and metamorphoses of insects, and the<span class="pagenum" id="Page_120">[Pg 120]</span>
+plants on which they feed. Her pictures were not only executed with
+fidelity, but each insect appeared in its first state with the most
+pleasing accompaniments. With those metamorphosed from the chrysalis or
+nymph to the fly or butterfly, were presented the plants and flowers
+they loved, all correctly and tastefully delineated.</p>
+
+<p>Even after the appearance of her work, in 1705, the persevering artist
+continued her studies in natural history, in which she was joined by
+both her daughters, whom she had educated to pursuits of art. Dorothea,
+the youngest, had accompanied her to Surinam, while the eldest, Joanna
+Maria Helena, came afterward with her husband, a merchant of Amsterdam,
+to assist her mother in collecting and painting specimens. It was the
+mother’s intention to publish the pictures made by her daughters in an
+appendix to her own collected works; but her death, which occurred in
+January, 1717, prevented this, and the daughters afterward published
+the results of their labors in a separate volume.</p>
+
+<p>This extraordinary woman, whose labors contributed so much to the
+improvement and embellishment of the natural history of insects, was
+little favored by gifts of beauty or personal grace. Her portrait shows
+hard and heavy-lined features. A curious headdress, made of folds of
+black stuff, rises high above the head, and inclines a little to the
+left. Short, light curls appear above a cambric ruffle, finishing a
+half-low corsage. She is undoubtedly entitled to a place among great
+artists.</p>
+
+<p>The history of Madame Merian rounds off that of German female artists
+belonging to the seventeenth century with an exhibition of more than
+ordinary interest.</p>
+
+<p><span class="pagenum" id="Page_121">[Pg 121]</span></p>
+
+
+<h3>THE DANISH WOMEN ARTISTS.</h3>
+
+<p>A glimpse may here be had of the artists of Denmark and England.
+Anna Crabbe was a painter by profession in Copenhagen before the
+year 1618. She painted a series of portraits of Danish princes, to
+which she added a poetical description of each. The daughter of King
+Christian IV., Eleonora Christina, who married the minister Ulefeld,
+was not only celebrated for her beauty and intellectual gifts, but
+for skill in various branches of art—engraving, modeling in wax,
+and miniature-painting. Her daughter Helena Christina possessed like
+talents.</p>
+
+<p>Toward the close of the century, Sophie Hedwig, the daughter of King
+Christian V., became noted as an artist, gaining much reputation by her
+performances in portrait, landscape, and flower painting.</p>
+
+<p>Neither in Denmark nor in England was any special direction given
+to art by the national character; on the contrary, in both these
+countries, the prevailing taste was governed by that of foreign
+nations—as the Dutch and German.</p>
+
+
+<h3>ENGLISH FEMALE ARTISTS.</h3>
+
+<p>In England there were not many women artists, although in literature
+the sex was not without its share of laurels, and in dramatic poetry
+and prose romance women contended for appreciation with masculine
+writers. The poetess Joanna Weston was a great admirer of Anna Maria
+Schurmann, and took her for a model; but there were no painters who
+could be compared in merit to the women who cultivated poetry.</p>
+
+<p>As miniature-painters, Susannah Penelope Gibson<span class="pagenum" id="Page_122">[Pg 122]</span> may be mentioned;
+also Penelope Cleyn. The latter was the daughter of a German painter,
+and her sisters Magdalen and Sarah were also devoted to the art. They
+painted the portrait of Richard Cromwell’s daughter.</p>
+
+<p>Mary More obtained some distinction as a portrait-painter. It was in
+England that the Princess Hollandina, before mentioned, took lessons in
+painting, with her sister Sophie, from Gerard Honthorst.</p>
+
+<p>In the noble art of etching Anna and Susannah Lister were regarded as
+having much skill; they illustrated a work on natural history by their
+father, in the manner of Madame Merian, by their artistic efforts.</p>
+
+<p>A lady connoisseur and engraver of much taste was the Countess of
+Carlisle. She perhaps set the fashion afterward followed by so many
+fair dilettanti, who exercised so much influence in England during the
+succeeding century.</p>
+
+<p>Susan Penelope Rose, according to Lord Orford, was the daughter of
+Richard Gibson the Dwarf. She married a jeweler, and became noted for
+painting portraits in water colors with great freedom. Her miniatures
+were larger than usual. She died at forty-eight in 1700.</p>
+
+<p>A contemporary of Vandyck was Mrs. Anna Carlisle, who died about 1680.
+She was celebrated for her copies of the Italian masters. Charles I.
+esteemed her highly. She once shared with Vandyck a present from their
+royal patron, of ultramarine; it is said to have cost the king five
+hundred pounds. This renders it probable that she painted in oil; for
+the quantity was too large for use in miniatures.</p>
+
+<p>One of her works represents herself teaching a lady<span class="pagenum" id="Page_123">[Pg 123]</span> to paint. This
+artist must not be confounded with the Countess of Carlisle, who was
+distinguished for her beautiful engravings of the works of Salvator
+Rosa, Guido, etc.</p>
+
+
+<h3>MARY BEALE,</h3>
+
+<p class="p0">the daughter of Mr. Craddock, a clergyman, was born at Suffolk about
+1632. She received some instruction from Walker, but was a favorite
+pupil of Sir Peter Lely. She painted in oil, water-colors, and crayons.
+She acquired much of the Italian style by copying old pictures from
+Lely’s and the royal collection. She copied some of the portraits of
+Vandyck. Her works were remarkable for vigor of drawing and fresh
+coloring, with great purity and sweetness. The artist was an estimable
+and amiable woman; was highly respected, and mingled in the society of
+the noble and the learned. Her pencil was employed by many personages
+of distinction. Her husband was an inferior painter.</p>
+
+<p>It was rumored that Sir Peter Lely was romantically attached to his
+fair pupil; but his love could not have met with return, for he is
+known to have been reserved in communicating to her the resources of
+his pencil. He refused to intrust to her one of the important secrets
+of his art.</p>
+
+<p>Several poems in praise of Mrs. Beale were published; one in particular
+is remembered, by Dr. Woodfall, in which she is celebrated under the
+name of “Belasia.” Her husband, Charles Beale, had the curious practice
+of noting in small almanac pocket-books almost daily accounts of
+whatever related to his wife, her pictures, or himself. He practiced
+chemistry for the preparation of colors. He bequeathed thirty of<span class="pagenum" id="Page_124">[Pg 124]</span> the
+almanacs, filled with his notes, and records of the praises lavished on
+his wife’s pictures, to a colorman named Carter.</p>
+
+<p>Walpole says Mrs. Beale’s portraits were numerous. She painted one of
+Otway, the poet. The Archbishop Tillotson was her patron, and many of
+the clergy sat to her. The archbishop’s portrait is the first of an
+ecclesiastic who, quitting the coif of silk, is delineated in a brown
+wig.</p>
+
+<p>Some have said that she persuaded her friends to sit to Lely, that she
+might learn his method of coloring. There is no doubt that she rose to
+the first rank in her profession. One of her sons became a painter. She
+died at Pall Mall in 1697, aged sixty-five.</p>
+
+
+<h3>ANNE KILLEGREW—</h3>
+
+<p>“A grace for beauty, and a muse for wit,” as writes one of her
+admirers—was the daughter of Henry Killegrew, descended of a family
+remarkable for loyalty, accomplishments, and talent. She proved one
+of its brightest ornaments. She was born in London, and at a very
+early age discovered a remarkable genius. She became celebrated both
+in painting and poetry. One of her portraits was of the Duke of York,
+afterward James II.; others, of Mary of Modena and the Duchess of
+York, to whom she was maid of honor. These pieces were highly praised
+by Dryden. She produced, also, several history-pieces, and pictures
+of still life. Becket did her miniature in mezzotint, after her own
+painting; it was prefixed to the published edition of her poems. The
+painting was in the style of Sir Peter Lely, which she imitated with
+great success. Her portrait, taken by Lely, has a pleasing expression,
+though the air is slightly prim. The dress is<span class="pagenum" id="Page_125">[Pg 125]</span> low-necked, with beads,
+and a mantle is fastened at the breast with a brooch. Curls cluster
+round the face; the back hair is loose and flowing.</p>
+
+<p>Though called “mistress,” after the fashion of the time, Anne was never
+married. She was a woman of unblemished character and exemplary piety.
+Death cut short her promising career, by small-pox, in 1685—as Wood
+says, “to the unspeakable reluctancy of her relations”—when she was
+but twenty-five years of age. She was buried in Savoy Chapel, where
+a monument is fixed in the wall, bearing a Latin inscription by her
+father, setting forth her accomplishments, virtue, and piety.</p>
+
+<p>Dryden’s ode to her memory was called by Dr. Johnson “the noblest
+our language has produced.” Another critic terms it “a harmonious
+hyperbole, composed of the fall of Adam, Arethusa, Vestal virgins,
+Diana, Cupid, Noah’s ark, the Pleiades, the fall of Jehoshaphat, and
+the last assizes.” After lauding her poetic excellence, Dryden says:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“Her pencil drew whate’er her soul designed;</span><br>
+<span style="margin-left: 1em;">And oft the happy draft surpassed the image of her mind.”</span><br>
+</p>
+
+<p>And of her portrait of James II.:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“For, not content to express his outward part,</span><br>
+<span style="margin-left: 1em;">Her hand called out the image of his heart;</span><br>
+<span style="margin-left: 1em;">His warlike mind—his soul devoid of fear—</span><br>
+<span style="margin-left: 1em;">His high-designing thoughts were figured there.”</span><br>
+</p>
+
+<p>Notwithstanding such flattery, Anthony Wood says, “There is nothing
+spoken of her which she was not equal to, if not superior;” and
+adds, “If there had not been more true history in her praises than
+compliment, her father never would have suffered them to pass the
+press.”</p>
+
+<p>Her poems appeared after her death in a thin quarto<span class="pagenum" id="Page_126">[Pg 126]</span> volume, prefaced
+by the ode and the Latin epitaph. Among her history-pieces were “St.
+John in the Wilderness,” “Herodias with the Head of John the Baptist,”
+and “Two of Diana’s Nymphs.” The melodious eulogizer of her graces and
+gifts remarks of the queen’s portrait:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“Our phœnix queen was portrayed too, so bright,</span><br>
+<span style="margin-left: 1em;">Beauty alone could beauty take so right;</span><br>
+<span style="margin-left: 1em;">Before, a train of heroines was seen,</span><br>
+<span style="margin-left: 1em;">In beauty foremost, as in rank a queen.”</span><br>
+</p>
+
+
+<h3>THE ARTIST IN SILK.</h3>
+
+<p>Mademoiselle Rosée, born in Leyden in 1632, deserves a place among
+eminent artists for the singularity of her talents. Instead of using
+colors, with oil or gum, she used silk for the delicate shading. It
+can hardly be understood how she managed to apply the fibres, and to
+imitate the flesh-tints, blending and mellowing them so admirably.
+She thus painted portraits, as well as landscapes and architecture.
+Michel Carré, who saw one of her portraits, says, “It can scarcely be
+believed it is not done by the pencil.” One of her pieces brought five
+hundred florins. It represented the decayed trunk of a tree, covered
+with moss and leaves. On the top a bird has made her nest. The shading
+and the sky in the distance left nothing to be desired for coloring and
+truthful effect. The Grand-Duke of Tuscany purchased one of her finest
+pieces, which is yet preserved among the curiosities of his collection.
+She was never married, and died at the age of fifty, in 1682.</p>
+
+
+<h3>THE ARTIST OF THE SCISSORS.</h3>
+
+<p>Joanna Koerten Block is regarded by the Dutch as one of their most
+remarkable female artists. She was<span class="pagenum" id="Page_127">[Pg 127]</span> born in Amsterdam in 1650, and
+manifested a taste for the fine arts in her childhood. She learned
+music and embroidery, and how to model fruits and figures; she also
+understood coloring, and engraved with a diamond on crystal and glass
+with surprising delicacy. She also painted in oil and water colors
+in a novel manner. Possessing a rare art in blending colors, she
+copied pictures so wonderfully that they could hardly be distinguished
+from the originals. This faculty of imitation she carried to such
+perfection, that it was believed among her contemporaries that, had
+she devoted herself exclusively to this kind of work, she would have
+equaled the great masters. She gave up, however, after a while, the
+cultivation of this singular talent for the development of another
+still more extraordinary, for which she has obtained a place among the
+great artists of her country.</p>
+
+<p>All that the engraver accomplishes with the burin, she was able to
+do with the scissors. Her cuttings were indeed astonishing. Country
+scenes, marine views, animals, flowers, with portraits of perfect
+resemblance, she executed in a marvelous manner. This novel style of
+making pictures out of white paper created not a little sensation,
+and ere long the matter became spread abroad widely, and excited the
+curiosity of all the courts of Europe. Even artists could not help
+admiring her skill in this strange art, and not one came to Amsterdam
+without paying her a visit.</p>
+
+<p>The Czar Peter the Great, princes of royal blood, and nobles of the
+highest rank paid their respects to the simple Dutch maiden, and
+examined her works with pleased curiosity. The Elector Palatine offered
+a thousand florins for three small pieces cut by her, but the offer was
+declined as not liberal enough.</p>
+
+<p><span class="pagenum" id="Page_128">[Pg 128]</span></p>
+
+<p>The Empress of Germany ordered a piece executed as a trophy of the arms
+of the Emperor Leopold I. The design showed the crown and imperial
+arms upheld by eagles, and surrounded by laurel wreaths, garlands of
+flowers, and appropriate ornaments. This was executed in a wonderful
+manner, and for it the fair artist received four thousand florins.</p>
+
+<p>The portrait of the emperor, cut by Joanna, is preserved in his
+imperial majesty’s cabinet at Vienna. Queen Mary of England, and other
+royal personages, wished to decorate their cabinets with the works
+of this artist. She cut many portraits, with which the sitters were
+pleased and astonished. The Latin, German, and Dutch verses composed
+in her honor would fill a volume. She had in her working-room a volume
+in which were registered the names of her illustrious visitors, the
+princes and princesses and other great personages writing their
+own. It is the same curious register in which Nicholas Verkslie saw
+the portraits of illustrious persons, appended each to the proper
+signature. This interesting addition is said to have been made by
+Adrien Block, the artist’s husband. He published a series of vignettes
+from her pieces.</p>
+
+<p>Joanna died in 1715, at the age of sixty-five. Her taste and design
+were marked by correctness and delicacy, and she was original and
+unique in the style of work to which she devoted herself. When her
+pieces were put over black paper, the effect was that of an engraving
+or pen-drawing. Neatness, clearness, and decision were her prominent
+characteristics.</p>
+
+<p>Her portrait, coarsely engraved, is published by Descampes. She had a
+noble style of face, with strongly marked features. The hair is dressed
+in a point in front; the neckerchief and dress are worn in antiquated
+style.</p>
+
+<p><span class="pagenum" id="Page_129">[Pg 129]</span></p>
+
+<p>Among the distinguished artists of the seventeenth century we must not
+omit</p>
+
+
+<h3>ANNA WASSER.</h3>
+
+<p>She was born in Zurich, Switzerland, in 1676, and is esteemed by the
+Swiss as one of their most eminent painters. Her father was Rudolph
+Wasser, a member of the Grand Council of Zurich, and artist of the
+foundation of the Cathedral. She very early evinced a remarkable
+faculty for learning languages, and at the age of twelve was familiar
+with Latin and French, and acquainted with the general literature of
+those tongues. Her rapid progress in belles-lettres astonished every
+body, and gave the promise of wonderful attainments; but the bent of
+her genius was for art. She took lessons of the painter Joseph Werner,
+and had no sooner learned to handle a pencil, than she could think
+of nothing else. When thirteen years old she made a copy of Werner’s
+“Flora” in Bern, which convinced all her friends that she was destined
+by nature for an artist. The painter himself praised her correct design
+and perfect imitation of his coloring, and advised her father to send
+her to Bern to study. She spent three years in the school; at first
+employing herself in oil painting, but finally abandoning that for
+miniatures. By the time her education was completed she had reached a
+perfection little short of that of her teacher.</p>
+
+<p>Returning to Zurich, she devoted herself to art as a profession. Her
+productions were taken to England, Holland, and Germany, where they
+were greatly admired, and her contemporaries extolled her as a second
+Schurmann. There was scarcely a court in the German empire from which
+she had not commissions.<span class="pagenum" id="Page_130">[Pg 130]</span> Those of Baden-Durlach and Stuttgard disputed
+which should possess the greatest number of her works. The Duke of
+Wurtemberg, Eberhard Louis, and his sister, the Margravine von Durlach,
+sent her large portraits to be painted in miniature.</p>
+
+<p>While Anna’s fame spread throughout Germany, her very success tended
+to throw difficulties in the way of her artistic progress. Her
+father was pressed with the care of a large family, and thought his
+interests would be favored more by multiplying the number of his
+daughter’s works, than by allowing her time to finish them. He urged
+her continually to new enterprises. Thus depressed and tied to sordid
+cares, Anna lost her spirits and fell into a melancholy that threatened
+to destroy her health. Happily, at this time, the court of Solms
+Braunfels made her favorable proposals of employment. She accepted the
+invitation, went there with one of her brothers, and soon found she
+would be enabled to indulge her taste for elaborating and perfecting
+her paintings. She rapidly regained her cheerfulness, and became the
+delight and admiration of the circles in which she moved. Again her
+father’s avarice disturbed this agreeable state of things. He sent her
+an abrupt summons to return home, where he expected her to do more work
+for his benefit. She obeyed the command, but on the journey, made in
+such haste, she got a severe fall, the effects of which terminated her
+life in 1713, at the age of thirty-four.</p>
+
+<p>Fuseli possessed a painting in oil done by Anna Wasser at the age of
+thirteen. He gave her praise for correctness of outline, and for spirit
+of coloring. She appears to have excelled most in pastoral and rural
+pieces, which it was her delight to paint. Her<span class="pagenum" id="Page_131">[Pg 131]</span> compositions were
+marked by great ingenuity, and were finished with exquisite delicacy.</p>
+
+<p>Her literary accomplishments procured her the friendship of the most
+eminent scholars of her day in Germany; such as Werner, Meyer, Hubert,
+Steller, etc., and she corresponded with many celebrated persons. Among
+her female friends was Clara Eimart, already mentioned among German
+artists. Her manners were gentle and dignified, and her character was
+pure and blameless. To filial obedience she would at any time sacrifice
+her own inclinations; indeed she often carried her devotion to excess.</p>
+
+<p>The portrait given of her shows delicate and sharply defined features.
+The hair is worn in Grecian style, with ringlets at the side, and
+braids falling on her neck. She appears surrounded with flowers, with
+baskets of fruit beside her.</p>
+
+<p>Maria Theresa van Thielen, and her two sisters, the daughters of an
+artist of noble family, were instructed by him in flower-painting, the
+first excelling also in portraits.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_132">[Pg 132]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_X">CHAPTER X.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>General Expansion and Extension of Art-culture.—More Scope given to
+the Tendencies originated in preceding Age.—Reminiscences of past
+Glories of Art active during the first half of the Century.—The
+Flemish and Italian Schools in vogue.—Eclecticism.—Influences of
+the French School mingled with those of the great Masters.—The
+Rococo Style.—The Aggregate of Woman’s Labor greater than ever
+before.—Not accompanied by greater Depth.—Less Individuality
+discernible.—The greatest artistic Activity among Women in
+Germany.—In France next.—In Italy next.—In other Countries
+less.—Rapid Growth of Art in Berlin.—In Dresden.—Scholarship
+and literary Position of Women during the first half of the
+Century.—Poets and their Inspirations.—Princesses the Patrons
+of Letters.—Nothing new or striking in Art.—A Revolution in
+the latter half of the Century.—Instruction in Art a Branch of
+Education.—Dilettanti of high Rank.—Female Pupils of Painters
+of Note.—Mengs and Carstens.—Carstens the Founder of modern
+German Art.—His Style not adapted to female Talent.—A lovely
+Form standing between him and Mengs.—A female Stamp-cutter.—An
+Artist in Wax-work.—In Stucco-work.—In cutting precious
+Stones.—Barbara Preisler.—Other female Artists.—Fashionable Taste
+in Painting.—Marianna Hayd.—Miniaturists.—Anna Maria Mengs.—Her
+Works.—Miniature and Pastel-painting.—Flowers and Landscapes a
+Passion.—Imitators of Rachel Ruysch and Madame Merian.—Celebrities
+in Flower-painting.—Copper-engraving. Lady Artists of high
+Rank.—Other Devotees to Art.</p>
+</div>
+
+
+<p>During the greater part of the eighteenth century we find rather a
+general expansion and extension of taste and cultivation in the arts,
+than a concentration of effort or a more rich and earnest development
+of talent. The period gave more scope to the tendencies that had been
+originated and determined in a preceding<span class="pagenum" id="Page_133">[Pg 133]</span> age. Connoisseurs fed upon
+reminiscences of the past glories of art, and no new ideas were brought
+to the world’s notice till the first half of the century had rolled
+away.</p>
+
+<p>The Flemish and Italian schools were in vogue, slightly modified,
+but, on the whole, scarcely changed in any essential particular; or a
+blending of diverse styles produced some artists who hardly deserve
+notice for their individual merits. A spirit of eclecticism may,
+indeed, be traced in the productions of the best masters of this time.
+The sovereigns in the domain of art had then passed away, and with the
+influence they still exercised was mingled that of the French school.
+The brilliancy and glow of Titian and Paul Veronese, the deep poetic
+feeling of Giorgione, the purity and tenderness of Raphael and Leonardo
+da Vinci, the rugged grandeur of Michael Angelo, the soft, transparent
+loveliness of Correggio, the bright beauty of Guido and Albano, and the
+power and passion of the Caravaggio school, disputed the consideration
+of amateurs with the light and lively style, the graceful mannerism of
+a Watteau and a Bouché, and something of the reflective character of
+the German Raphael Mengs, or that of Carstens and of Dietrich.</p>
+
+<p>The finished and ornate manner of France especially became popular
+over all the countries of Europe, exercising the same influence, in a
+measure, upon art that it had upon literature. Hence originated the
+style that has been aptly termed the Rococo—wanting in depth and
+warmth, indeed, but having a certain completeness of technical detail
+productive of happy effects.</p>
+
+<p>The fresh life and earnest vigor that had marked the earlier schools
+were paralyzed in this, and we do<span class="pagenum" id="Page_134">[Pg 134]</span> not wonder that a better condition
+followed the reawakening of artistic feeling.</p>
+
+<p>It is not to be denied that the aggregate amount of woman’s labor in
+the domain of art was greater during the eighteenth century than in
+any preceding one; indeed, the number of female artists far surpassed
+the collected number of those known from earliest history. So vast an
+increase was not according to the proportion of other vocations. It
+is also true that, in their efforts, as in those of the men of this
+period, the extension was not accompanied by greater depth, and less
+individuality was discernible in the talent and skill which became more
+generally diffused; hence the well-grounded complaint that the time was
+deficient in great men. Nevertheless, the sum of ability and knowledge
+had not diminished, though, in its manifold branchings and divisions,
+such might appear to be the case.</p>
+
+<p>We find, therefore, a certain uniformity and mediocrity among numerous
+women artists of the eighteenth century, rather than eminent talent in
+special instances. Yet this was not wholly wanting, while the standard
+of excellence was elevated, and a more general spirit of emulation
+prevailed.</p>
+
+<p>Contrary to the experience of preceding ages, we discover the greatest
+evidence of artistic activity among women in Germany; next to that,
+in France; then in Italy. The Netherlands and England may be classed
+together, while Spain and the Scandinavian countries are at the minimum
+in this respect. These proportions are not owing to chance, but
+correspond with the general development of art among the nations at
+this time.</p>
+
+<p>The aspect of female culture also corresponded with<span class="pagenum" id="Page_135">[Pg 135]</span> national
+characteristics. The decorative was of rapid growth and early bloom in
+Prussia; Berlin, hardly mentioned heretofore, became suddenly alive
+with energetic talent superior to that which displayed itself in any
+other German city. Art sprang into luxuriance, too, at the Electoral
+court, and Dresden claimed no insignificant rank in the scale. France
+meanwhile sustained her old renown; while Nuremberg and Munich should
+not be slighted. But the Austrian and Rhine countries had less reason
+to boast; and many cities of northern Germany were in like poverty of
+women artists.</p>
+
+<p>During the first half of the eighteenth century, the order of things
+differed not essentially from the close of the seventeenth; in fact,
+the same influences predominated, both in literature and art. The
+Pegnitzschäfer and other poetical orders were still in existence; the
+sacred poems composed by noble ladies had their imitations; female
+authors wrote after the established fashion, while they entered on
+a wider field, and partook of the new spirit breathed into German
+poetry. Women then became not only creators in the realm of fancy and
+imagination, but exercised a controlling influence, by their relations
+of friendship and intimacy with distinguished literary characters. Meta
+arose beside her Klopstock; Herder sought inspiration from his bride;
+by Wieland stood Sophie Delaroche; Schiller was aided by Caroline
+Wolzogen and Madame von Kalb; Goëthe by Madame von Stein. Princesses
+and the noble ladies of the land gave their patronage and protection to
+letters, and sought to gather round them the choice spirits of their
+day. This, in the beginning of the century, did Sophie Charlotte, the
+great Queen of Prussia; and<span class="pagenum" id="Page_136">[Pg 136]</span> Amalia von Weimar thus aided the richest
+development of German mind.</p>
+
+<p>Though nothing new or striking can be said to have been accomplished
+in art by women during the first half of this century, the latter part
+witnessed a revolution in which they greatly aided to spread and deepen
+the growth of new ideas. It became necessary to the complete education
+of ladies of the higher classes, that they should possess some
+knowledge of art. Hagedorn mentions the fact that a teacher who could
+give instruction in drawing and painting could much more readily obtain
+a situation than one ignorant of those branches. Fashion and custom
+enjoined not only a degree of knowledge, but also of skill, on those
+who wished to be thought accomplished. There were many aristocratic
+dilettanti, and a few royal ladies emulated the fame of the princely
+dames of an older time in the pictorial crafts.</p>
+
+<p>Among these may be mentioned, Anna Amalia, of Brunswick; the
+Archduchesses Charlotte and Maria Anna, of Austria; Duchess Sophia,
+of Coburg-Saalfeld; the Margravine of Baden-Durlach; the Princess
+Victoria, of Anhalt-Bernburg, and Elizabeth Ernestine Antonia,
+of Saxe-Meiningen; besides the excellent Elizabeth Christina, of
+Brunswick, who sought to promote the restoration of art and the advance
+of knowledge, for the love of Frederick, her royal husband, and who
+will ever be honored as the ornament of a house that henceforward
+showed itself ready to foster and appreciate the liberal arts.</p>
+
+<p>We observe here, as before, that many painters of note had female
+pupils or assistants, who endeavored to carry out the ideas they
+originated. Dietrich, esteemed one of the best masters of the eclectic
+school of<span class="pagenum" id="Page_137">[Pg 137]</span> the eighteenth century, had his enthusiasm shared by his
+two sisters; Tischbein, who cultivated the French style, as Dietrich
+did the Dutch, found appreciative companions and co-laborers in his
+wife and daughter; and there were other women who strove to ennoble the
+eclectic system by greater purity of tone and a more ardent study of
+the antique. Oeser had several female pupils; and two sisters worked
+in modest retirement beside the greatest artist of this style—Antoine
+Raphael Mengs—having been taken through the same course of severe
+study and exercise by their pedantic father.</p>
+
+<p>Carstens obtained and brought to perfection what Mengs toiled to reach
+and realize. The grand and comprehensive ideas of Winkelmann found in
+him a harmonious development. Averse to the reflective, which formed
+the chief characteristic of Mengs and Oeser, he was steeped in the
+inspiration caught from the antique ideal, and, without becoming a
+copyist of any style, was able to reproduce the seed from the fruitful
+soil of his own endowments. He may be called the founder of modern
+German art. His grand, bold, and ingenious style did not particularly
+commend itself to female talent; we do not find, therefore, that he had
+any disciples of the softer sex.</p>
+
+<p>Between Carstens and Mengs, however, stands a lovely female form,
+in age midway betwixt them, as in the peculiar bent of her genius;
+less minute and reflective than Mengs, less grand and impressive than
+Carstens. It is Angelica Kauffman, the gem of all the women artists of
+this period; preserving the forms of the antique in her own delicate,
+elegant, and charming style; wielding her power with such gracious
+sweetness that all who behold are attracted to render the homage of
+heartfelt admiration.</p>
+
+<p><span class="pagenum" id="Page_138">[Pg 138]</span></p>
+
+<p>It was now that fresh vitality was infused into German art by a
+contemplation of the antique, while the forms of humanity and nature
+were observed with greater freedom. Chodowiecki pursued this system,
+and was one of the most successful artists <i lang="fr" xml:lang="fr">de genre</i>; while
+his daughter, his pupil, Mademoiselle Bohren, and Kobell’s scholar,
+Crescentia Schott, were instrumental in preparing the way for the
+advance of painting in the style lately introduced.</p>
+
+<p>If we turn now from a general and hasty survey to the notice of
+particular branches, it becomes a duty to record the names of some
+women who practiced the most difficult and laborious of the plastic
+arts. One of these was stamp-cutting. One who first evinced skill in
+this kind of work was Rosa Elizabeth Schwindel of Leipzig, who plied
+her art in Berlin at the commencement of the eighteenth century.
+A beautiful medal of Queen Sophia Charlotte, executed by her, is
+preserved. She was accomplished also in the cutting of gems and in
+modeling in wax. In wax-work, Elizabeth Ross of Salzburg, Dorothea Menn
+of Cologne, and Madame Weis, probably of Strasburg, were noted. As a
+stone-cutter, Charlotte Rebecca Schild of Hanau worked in Paris. Rosina
+Pflauder, in Salzburg, assisted her husband in stucco-work.</p>
+
+<p>In the same kind of work, as well as in painting, Maria Juliana Wermuth
+of Gotha displayed both industry and skill. In cutting precious stones
+Susanna Maria Dorsch gained some celebrity. She was born at Nuremberg
+in 1701, and married the painter Solomon Graf, taking the noted painter
+and engraver, J. J. Preisler, for her second husband. The kind of work
+in which she excelled had been practiced by her father and grandfather,
+and her application was remarkable.<span class="pagenum" id="Page_139">[Pg 139]</span> A vast number of gems were cut by
+her hand, and her industry was not without its reward in the gaining of
+great reputation. Medals were stamped in honor of her.</p>
+
+<p>Her daughters, Anna Felicitas and Maria Anna Preisler, employed
+themselves in the same kind of work, without possessing, however, the
+variety of talent or achieving the brilliant success of Barbara Julia,
+the daughter of Johann Daniel Preisler of Nuremberg. She was skilled
+in various branches of art; she could model in wax, and work in ivory
+and alabaster, and added painting and copper-engraving to the list
+of her accomplishments. She married a painter named Oeding, and died
+in Brunswick before 1764. Several women, who were well known at the
+time as modelers in wax, and who occupied themselves in engraving and
+stone-cutting, might be named. Amid a number of names, necessarily
+passed over, may be added those of the beautiful and variously-gifted
+Mary Anna Treu of Bamberg, and her relative, Rosalie Treu, the wife of
+the painter Dom, who afterward went to take the veil in a convent at
+Mentz, giving up her resolution four days before the completion of her
+novitiate, to return to the world and her native Bamberg.</p>
+
+<p>Henriette Felicitas Tassaert, the daughter of the famous painter,
+painted in pastel, and engraved in copper admirably. Mademoiselle
+Nohren, a pupil of Chodowiecki in Berlin, became a member of the
+academy.</p>
+
+<p>It was natural that the greater number of artists of this period should
+betake themselves to painting. We will glance first at some branches
+of this, cultivated especially by women who did not achieve any thing
+noteworthy in historical and genre painting. The fashionable taste of
+the day ran much upon miniatures<span class="pagenum" id="Page_140">[Pg 140]</span> and pastel portraits, and many women
+made themselves accomplished in this species of work, as well as in
+enamel-painting, as far less study and application were required than
+in the higher branches of the art.</p>
+
+<p>Marianna Hayd, a somewhat celebrated miniature-painter, was born in
+Dantzic in 1688. She pursued her profession in Berlin, and, after
+her marriage in 1705 to the painter Werner, in Augsburg, her talents
+procured for her the honor of a call to the electoral court of Saxony
+in Dresden, where she received an appointment, and died in 1753.</p>
+
+<p>Another fair artist in miniatures was Anna Rosina Liscewska, who also
+worked in Berlin, where she was born in 1716. She achieved no mean
+success, and in 1769 was admitted a member of the academy in Dresden.</p>
+
+<p>The same city was adorned by the elegant labors of Anna Maria Mengs,
+whom Dr. Guhl calls “the most gifted of the three sisters,” and who
+is styled by Fiorillo “the daughter of the Raphael of his age.” She
+received early instruction from her father; came to Dresden in 1751,
+and devoted herself to painting—chiefly portraits. She made her first
+journey to Rome in 1777, and there married a copper-engraver, Manuel
+Salvador Carmona. She had many children, but continued to exercise
+her art while taking care of them. She produced several pastel and
+miniature paintings. Her chief works, done for the King of Spain and
+the Infant Don Luis, are in Madrid, in the Academy of San Fernando, of
+which she was chosen a member. She died in Madrid, 1793.</p>
+
+<p>As miniature and pastel painting are peculiarly adapted to female
+hands by the delicate and cleanly handling required, so flowers and
+landscapes seem to<span class="pagenum" id="Page_141">[Pg 141]</span> present objects and scenes of beauty congenial to
+the taste of the sex. It can not be wondered at, therefore, that these
+branches found several cultivators. Flower and landscape painting
+became a passion among the German women who could be classed as
+amateurs or connoisseurs. Hagedorn mentions, in his work on painting,
+as a distinguished patroness of these, a Countess von Oppendorf. With
+her may be named the Countess von Truchsetz-Waldburg, the Princess
+Anna Paar, and others of no special note. Maria Dorothea Dietrich,
+the sister of the Dresden painter, and Crescentia Schott, already
+mentioned, labored professionally in the art.</p>
+
+<p>Many were the fair painters who imitated the famous Rachel Ruysch.
+The representation of animals and objects in natural history became a
+favorite style, and the celebrity of Madame Merian stirred up many of
+her sex to emulate her success. The influence of example wrought as
+powerfully here as in every other matter.</p>
+
+<p>In the early part of this century lived at Lubeck Catharina Elizabeth
+Heinecke, born in 1685, an enthusiastic patroness of flower-painting,
+and the mother of “the famous Lubeck child.” We may mention also, amid
+a cloud of artists to be passed unnoticed, a family at Nuremberg, named
+Dietsch, that included three sisters of talent and accomplishment.
+Catharina Treu, born at Bamberg in 1742, obtained celebrity in the same
+line. She studied in Düsseldorf, attracted thither, doubtless, by the
+works of Rachel Ruysch, and received the appointment of cabinet-painter
+from Karl Theodore at Mannheim. Thence she returned to Düsseldorf to
+take the place of professor in the academy of art in that place.</p>
+
+<p><span class="pagenum" id="Page_142">[Pg 142]</span></p>
+
+<p>To the same period belongs Caroline Frederika Friedrich, the first
+female pensionnaire who exercised her art as member of the academy in
+Dresden. Gertrude Metz of Cologne was also a disciple of Rachel Ruysch
+in Düsseldorf. Of a remaining host we name only the sisters Anna and
+Elizabeth Fuessli (Fuseli), who painted in the style of their father,
+and copied from nature the flowers and insects of Switzerland.</p>
+
+<p>Copper-engraving was at this period practiced by a great number
+of women, and patronized by many fair and princely dilettanti.
+The Princess of Saxe-Meiningen, already named, possessed skill in
+this branch. We may now leave all these, to look at the women who
+distinguished themselves in the more commanding and elevated styles
+of historical and genre painting. Here appears more evidence of
+individuality in the treatment of particular subjects.</p>
+
+<p>Place must be accorded first to ladies of the highest rank. Anna Amalia
+of Brunswick was a noted painter. Maria Anna, Archduchess of Austria,
+and daughter of the Empress Maria Theresa, occupied her leisure hours
+in genre-painting and etching, and by her skill obtained considerable
+repute. Charlotte, Archduchess of Austria, was a member of the academy
+at Vienna, and as Queen of the Two Sicilies received instruction in
+Naples from Mura. The Duchess Sophia of Coburg-Saalfeld, besides her
+paintings, left some proofs of her skill in engraving toward the close
+of the century.</p>
+
+<p>To these illustrious names may be added others who, like those royal
+dames, devoted themselves to art, and gained high appreciation from
+connoisseurs. Maria Elizabeth Wildorfer of Innspruck was busied in the
+same profession a long time in Rome, where she<span class="pagenum" id="Page_143">[Pg 143]</span> painted portraits and
+church pictures under the patronage of a cardinal. Maria Theresa Riedel
+of Dresden, made pensionnaire of the academy there in 1764, occupied
+herself in copying Dutch genre-paintings. Rosina, another sister of the
+painter Dietrich, copied a number of old paintings. She married the
+painter Boehme, and lived in Berlin till 1770.</p>
+
+<p>Anna Dorothea, one of the sisters Liszeuska, born in 1722, was elected,
+on account of her portraits and historical works, a member of the
+Parisian Academy. She died in Berlin as Madame Therbusch, in 1782.
+Jacoba Werbronk worked in the latter part of the century, and died in
+1801 in the Cloister Iseghen. But none of the women artists of this
+time can be compared in point of genius or celebrity to the one of
+whom we are now to speak—one of the loveliest, most gifted, and most
+estimable of all the women who have secured immortal fame by the labors
+of the pencil.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_144">[Pg 144]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XI">CHAPTER XI.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Angelica Kauffman.—Parentage and Birth.—Beautiful Scenery
+of her native Land.—Early Impulse to Painting.—Adopts the
+Style of Mengs.—Her Residence in Como.—Instruction.—Music or
+Painting?—Beauty of Nature around her.—Angelica’s Letter about
+Como.—Escape from Cupid.—Removal to Milan.—Introduction to great
+Works of Art.—Studies of the Lombard Masters.—The Duke of Modena
+her Patron.—Portrait of the Duchess of Carrara.—Success.—Return to
+Schwarzenberg.—Painting in Fresco.—Homely Life of the Artist.—Milan
+and Florence.—Rome.—Acquaintance with Winkelmann.—Angelica
+paints his Portrait.—Goes to Naples.—Studies in Rome.—In
+Venice.—Acquaintance with noble English Families.—In London.—A
+brilliant Career.—Fuseli’s Attachment to her.—Appointed Professor
+in the Academy of Arts.—Romantic Incident of her Travel in
+Switzerland.—The weary Travelers.—The libertine Lord.—The Maiden’s
+Indignation.—Unexpected Meeting in the aristocratic Circles of
+London.—The Lord’s Suit renewed.—Rejected with Scorn.—His Rank
+and Title spurned.—Revenge.—The Impostor in Society.—Angelica
+deceived into Marriage.—She informs the Queen.—Her Father’s
+Suspicions.—Discovery of the Cheat.—The Wife’s Despair.—The
+false Marriage annulled.—The Queen’s Sympathy.—Stories of
+Angelica’s Coquetry.—Marriage with Zucchi.—Return to Italy.—Her
+Father’s Death.—Residence in Rome.—Circle of literary
+Celebrities.—Angelica’s Works.—Criticisms.—Opinions of Mengs
+and Fuseli.—The Portraits in the Pitti Gallery.—Death of
+Zucchi.—Invasion of Italy.—Angelica’s Melancholy.—Journey and
+Return.—Her Death and Funeral.</p>
+</div>
+
+
+<h3>ANGELICA KAUFFMAN.</h3>
+<p>Maria Anna Angelica Kauffman was born in Coire, the capital of the
+Grisons, in 1741. Her father, the painter Johann Joseph Kauffman, had
+been called to that place from Schwartzenberg on the Boden-See,<span class="pagenum" id="Page_145">[Pg 145]</span> by the
+bishop’s appointment, to paint church pictures. He married there, and
+remained till 1742, before removing to Morbegno in Lombardy.</p>
+
+<p>An only child, Angelica’s early years were tended by the care of
+loving parents; and the grandeur and beauty of nature around her home,
+the vine-clad hills and wild forests of her native land, the blue
+waters and bright scenery she was accustomed to contemplate in Italy,
+impressed her susceptible imagination, and awakened in her youthful
+breast a quick and joyous sympathy with nature. Though not specially
+intended by her father for the artist’s calling, the early impulse of
+genius led her to painting, and she was permitted to follow the bent of
+her inclination with such direction only as made the work appointed her
+seem like a pleasant recreation. She preferred her lessons, in fact,
+to any amusement. Very different was the early training of this gentle
+spirit to that of Raphael Mengs, compelled to labor under strict rules;
+and though Angelica afterward adopted the style of this celebrated
+German master, hers differed in the possession of a light and charming
+grace, which could only have been derived from her native endowments
+and the free indulgence of her tastes.</p>
+
+<p>At the age of nine this child of genius was much noticed on account of
+her wonderful pastel pictures. When her father left Morbegno, in 1752,
+to reside in Como, she found greater scope for her ingenious talent,
+and better instruction in that city; and, in addition to her practice
+with the brush and pencil, she devoted herself to studies in general
+literature and in music. Her proficiency in the latter was so rapid,
+and the talent evinced so decided, besides the possession of a voice
+unusually fine, that her friends, a few<span class="pagenum" id="Page_146">[Pg 146]</span> years afterward, urged that
+her life should be devoted to music. She was herself undecided for some
+time to which vocation she should consecrate her powers. In one of her
+pictures she represents herself standing, in an attitude of hesitation,
+between the allegorical figures of Music and Painting. Her love for the
+latter gained the ascendency; and so great was her success, while yet
+of tender age, that her portrait of a steward of the Bishop of Como
+gained her a number of profitable orders.</p>
+
+<p>The exquisite natural scenery by which Angelica was at this time
+surrounded, in a home on the borders of the loveliest lake in the
+world, had a genial influence on her feelings, and the time passed
+there was the happiest of her life. She is said to have painted the
+portrait of the Archbishop of Como, at a very early age. At a later
+period she recurs with pleasure to the years passed in this charming
+abode.</p>
+
+<p>“You ask, my friend,” she says, in one of her letters, “why Como is
+ever in my thoughts? It was at Como that, in my most happy youth,
+I tasted the first real enjoyment of life. I saw stately palaces,
+beautiful villas, elegant pleasure-boats, a splendid theatre. I thought
+myself in the midst of the luxuries of fairyland. I saw the urchin,
+too, young Love, in the act of letting fly an arrow pointed at my
+breast; but I, a maiden fancy free, avoided the shaft, and it fell
+harmless. After the lapse of years,” she proceeds, “the genius that
+presides over my destiny led me again into this delicious region,
+where I tasted the delights of friendship with the charms of nature,
+and listened with deeper joy than ever to the murmur of waves on that
+unrivaled shore. One day I was walking with agreeable company around
+one of the most beautiful villas<span class="pagenum" id="Page_147">[Pg 147]</span> near the lake. In the shadow of a
+wood I again saw the youthful god slumbering. I approached him. He
+awakened, looked at me, and, recognizing her who had contemned his
+power, sprang up suddenly, intent on swift revenge. He pursued me, the
+arrow sped once more, and but by a hair’s breadth failed to reach my
+heart.”</p>
+
+<p>All too quickly, indeed, passed the two years of her first residence in
+Como; and it was with poignant regret that she left her beloved home,
+when, in 1754, her father went to settle his family in Milan.</p>
+
+<p>Even this dreaded change, however, was a fortunate one; for it seemed
+to be appointed that Angelica’s youth should glide away like a stream
+in the sunshine of happiness. A new world of wonders opened to her view
+in this city, where she saw works of art surpassing in merit those
+she had yet beheld. She had copied antique models in her drawing, and
+the engravings of pictures by the early masters which were among her
+father’s treasures. Here she was first introduced to an acquaintance
+with works of great beauty and importance in the history of art. Here
+Leonardo da Vinci had labored, and founded a school in which are still
+conspicuous the gentle dignity, purity, and elevation that live in
+his creations. The impressions received from her contemplation of the
+productions of the most famous of the Lombard masters, and the care
+with which she studied them till her own style became imbued with their
+spirit, decisively influenced the professional career of the young
+artist.</p>
+
+<p>The change had a not less favorable effect upon her worldly
+circumstances. Her copies of some pictures found in the palace of
+Robert d’Este, Duke of Modena and Governor of Milan, induced him to
+declare himself<span class="pagenum" id="Page_148">[Pg 148]</span> her patron, and led to her introduction to the Duchess
+of Carrara. After she had painted by command the portrait of that
+princess, she received orders for a number of pictures for other ladies
+of rank.</p>
+
+<p>The associations to which this success gave rise contributed to give
+the youthful painter that self-possession and dignity of manner,
+combined with a quiet modesty most becoming her age and sex, which
+afterward marked her deportment in elevated circles of society.</p>
+
+<p>Thus the few years of Kauffman’s residence in this favored Italian city
+were productive of manifold advantages to his daughter. The death of
+his wife determined him to another removal, and he went to undertake
+a great work in his native city of Schwarzenberg. In this enterprise
+Angelica was of essential service, having for the first time an
+opportunity of engaging in an enterprise of magnitude, and of a kind
+not often practiced by women. She painted in fresco the figures of the
+Twelve Apostles after copper engravings from Piazetta.</p>
+
+<p>It has been said that the time spent in this country at this period
+by the young artist was in the home of her father’s brother, an
+honest “farmer, in comfortable though narrow circumstances. At first,
+Angelica, accustomed to the wonders of art and the splendor of Italian
+cities, could scarcely bring herself to endure this homely mode of
+existence. The rude manners of those by whom she was surrounded—the
+utter want of elegance or taste—displeased and disgusted her.
+Gradually, however, as habit softened down these first impressions,
+the poetic side of the picture dawned upon her mind. She learned to
+love the homely simplicity of that hospitable dwelling, with its gabled
+front and<span class="pagenum" id="Page_149">[Pg 149]</span> narrow windows—the gloom and solitude of those dark pine
+forests, through which the sunbeams could scarcely penetrate, and
+ceased to long for the marble palaces of Milan and the orange-groves
+of Como. Besides, she had little time for idle regrets, the interior
+decoration of a church in the neighborhood being intrusted to her
+father and herself. Her success in an undertaking so difficult excited
+considerable attention.”</p>
+
+<p>After the completion of this work, which won the enthusiastic
+appreciation of the Bishop of Constance, a season of disquiet followed,
+with frequent changes of residence and a crowding of commissions,
+while the artist in vain longed for an opportunity to revisit the
+depository of art treasures—Italy. To fulfill this wish, and complete
+her artistic education, Angelica first returned with her father to
+Milan, and thence went to Florence, where she threw herself with
+restless zeal into the study of the great master-pieces in which that
+city is so rich. Her performances already met with the appreciation
+that was afterward testified by the admission of her portraits into the
+collection there made of original paintings by artists of celebrity.
+Cardinal de Roth called her to Constance for his portrait.</p>
+
+<p>Yet even Florence was regarded by her only as a place of preparatory
+study; the great goal of her ambition was Rome. Thither she went in
+1763, and her usual good fortune followed her. She went through a
+course of perspective the following year. The immortal Winkelmann was
+then in the midst of his great work of breathing new life into ancient
+art, and it was his delight to interpret the inspiration for others,
+and to promote social intercourse and a good understanding among
+artists.</p>
+
+<p>It was not long ere the youthful votary became acquainted<span class="pagenum" id="Page_150">[Pg 150]</span> with this
+great man. It was beautiful to see the friendship that subsisted
+between this girl of eighteen, in the fresh bloom of life, and the
+experienced man of sixty, who had spent so many years of labor in his
+profession: she brilliant and ardent, full of hope and enthusiasm—his
+brow furrowed with study and reflection; both inspired by the same
+spirit; both having felt the same ardent desire to visit the Eternal
+City.</p>
+
+<p>Angelica found both pleasure and profit in Winkelmann’s society, always
+in the company of her friend, the wife of Raphael Mengs. A portrait of
+him, painted by her at this time, and afterward engraved by her, amply
+proved, by its excellent likeness, vivid coloring, and vigorous touch,
+and, above all, by its spiritual expression, how thoroughly she had
+comprehended the spirit of the greatest disciples of art. Winkelmann
+announced to his friends, not without evident satisfaction, that his
+portrait had been painted “by a young and beautiful woman.”</p>
+
+<p>Ere long, a command to copy some paintings in the royal gallery at
+Naples called her to that city, so favored by the beauty of its
+situation and the charm of its climate. Here she gained new ideas in
+the contemplation of numerous master-pieces of old time, as well as a
+rich reward for her labors in executing orders from many persons of
+rank. Her abode in that soft, luxurious clime, surrounded by nature’s
+loveliness, did not, however, enervate her character, nor impair the
+freshness and naiveté of her style.</p>
+
+<p>In 1764 we find her again in Rome. Here she passed a year in the
+prosecution of her studies, including architecture and perspective,
+continuing her friendship with Winkelmann. Her observations of
+Italian art<span class="pagenum" id="Page_151">[Pg 151]</span> were completed by studies of the works of the Caracci
+in Bologna, and Titian, Tintoretto, and Paul Veronese in Venice.
+In the last-mentioned city Angelica made the acquaintance of an
+English lady—the accomplished Lady Wentworth, wife of the British
+resident—who afterward took her to London.</p>
+
+<p>During her stay in Naples she had been received into relations
+of intimacy with several noble English families, and had taken
+their orders for paintings. It was thought that in London a more
+distinguished and more lucrative success would be commanded than she
+could hope for in a country so rich in artistic achievements as Italy.
+This was in truth the case; and after Angelica had passed through
+Paris, availing herself of its advantages, to London, she found open
+to her a career of brilliant success, productive of much pecuniary
+gain. Her talents and winning manners raised her up patrons and
+friends among the aristocracy. Persons attached to the court engaged
+her professional services; and the most renowned painter in England,
+Sir Joshua Reynolds, was of the circle of her friends. It is said he
+offered her his hand, and I have been told by Mr. Robert Balmanno,
+who knew Fuseli personally, that he was one of her suitors. She was
+numbered among the painters of the Royal Society, and received the rare
+honor, for a woman, of an appointment to a professorship in the Academy
+of Arts in London, being, meanwhile, universally acknowledged to occupy
+a brilliant position in the best circles of fashionable society.</p>
+
+<p>A writer in the Westminster Review gives a romantic account of an
+incident that led to the greatest misfortune of Angelica’s life:</p>
+
+<p>“It was in early girlhood, while traveling with her<span class="pagenum" id="Page_152">[Pg 152]</span> father through
+Switzerland to their native land, that she first beheld the man who was
+to exercise so fatal an influence on her destiny. Angelica was then
+only in her seventeenth year, her dawning talents had already attracted
+considerable attention, but as both father and daughter were poor, they
+were compelled to travel on foot, resting at night at the little inns
+by the wayside. One evening, when, wearied with the long day’s journey,
+they entered a humble house of entertainment, they were informed by the
+landlord that they must go farther, for a couple of “grand seigneurs,”
+just arrived, had engaged all the rooms for themselves and their suite.
+The weary travelers insisted on their right to remain, and the debate
+was growing warm, when one of the gentlemen for whose accommodation
+they were rejected made his appearance, and with great politeness
+begged them to enter the dining-room and share their repast. The good
+Kauffman, whose frank, confiding nature was always a stranger to
+suspicion, at once consented, despite the whispered entreaties of his
+daughter, who, with the intuitive perception of her sex, had discerned
+something offensive beneath the polished courtesy of their inviter.
+She was not mistaken; at the table Lord E—— soon forgot the respect
+due to youth and innocence, and attempted some liberty. Angelica
+indignantly repulsed it, and on its repetition, rising hastily from the
+table, drew her father with her, and instantly left the house.”</p>
+
+<p>Years afterward, while Angelica was living in England—“welcomed with
+enthusiasm, sought by the noblest and most gifted in the land, when all
+seemed to smile upon her path, in a fatal hour she again lighted on the
+man whose undisguised libertinism had so deeply wounded her modesty
+ten years before. It was in<span class="pagenum" id="Page_153">[Pg 153]</span> the midst of a brilliant circle, where
+all the <i lang="fr" xml:lang="fr">beaux esprits</i> of London were assembled, that they again
+met. Lord E—— had long since lost every trace of her, and great was
+his amazement to recognize in the elegant woman and celebrated artist
+the humble little pedestrian of the Swiss mountains. If he had thought
+her charming then, how much more lovely did she seem to him now; his
+heart and fancy were alike inflamed, and he resolved that this time,
+at least, she should not escape him. Feigned repentance for the past,
+assurances of unselfish devotion which sought for nothing in return
+save the friendship and esteem of its object, flattery, insinuation,
+all were employed. Angelica, trusting and guileless, believed him; nor
+was it till, fancying himself secure of triumph, he threw off the mask,
+that she even suspected his baseness. Equally shocked and indignant,
+she would no longer admit him to her society.</p>
+
+<p>“This only stimulated his passions. Perhaps he thought it a pretext
+to lure him to more honorable offers; at all events, despairing of
+winning the prize by any other means, he laid his rank and title at her
+feet. But Angelica was no Pamela to receive with humble gratitude the
+hand of him who had insulted her virtue. Her mild but resolute refusal
+stung him to madness. If what some of her biographers assert be true,
+he forced himself into her presence, and sought by violence that which
+no entreaties could win; but here, too, he failed. The rumor of his
+worthless conduct got abroad, and he found it most convenient to leave
+England for a time, vowing revenge. The subsequent portion of the story
+is well known.”</p>
+
+<p>Others say it was an English painter, who, out of jealousy of the
+talents of Angelica, instigated to his<span class="pagenum" id="Page_154">[Pg 154]</span> base plot the man who deceived
+her. Be that as it may, she was undoubtedly the victim of a conspiracy
+arranged with no less malignity than art. It was a counterpart to the
+story of the Lady of Lyons; a rejected suitor vowing revenge, and using
+as his instrument to obtain it a man very different in character from
+the noble Claude.</p>
+
+<p>A low-born adventurer, who assumed the name of a gentleman of rank
+and character—that of his master, Count Frederic de Horn—played a
+conspicuous part at that time in London society, and was skillful
+enough to deceive those with whom he associated. He approached our
+artist, who was then about twenty-six, and in the bloom of her
+existence. He paid his respects as one who rendered the deepest homage
+to her genius; then he passed into the character of an unassuming and
+sympathizing friend. Finally, he appealed to her romantic generosity
+by representing himself as threatened with a terrible misfortune, from
+which she only could save him by accepting him as her husband. A sudden
+and secret marriage he averred was necessary.</p>
+
+<p>Poor Angelica, who had shunned love on the banks of Como, and under the
+glowing skies of Italy; and since her coming to London had rejected
+many offers of the most advantageous alliance, that she might remain
+free to devote herself to her art, was caught in the fine-spun snare,
+and yielded to chivalrous pity for one she believed worthy of her
+heart’s affection. The marriage was celebrated by a Catholic priest,
+without the formality of writings, and without witnesses.</p>
+
+<p>Angelica had received commissions to paint several members of the
+royal family and eminent personages of the court, and her talents
+had procured her the favorable<span class="pagenum" id="Page_155">[Pg 155]</span> notice of the Queen of England. One
+day, while she was painting at Buckingham Palace, her majesty entered
+into conversation with her, and Angelica communicated to her royal
+friend the fact of her marriage. The queen congratulated her, and sent
+an invitation to the Count de Horn to present himself at court. The
+impostor, however, dared not appear so openly, and he kept himself very
+close at home, for he well knew that it could not be long before the
+deception would be discovered.</p>
+
+<p>At length the suspicions of Angelica’s father, to whom her marriage had
+been made known, led him to inquiries, which were aided by friends of
+influence. About this time, some say, the real count returned, and was
+surprised at being frequently congratulated on his marriage. Then came
+the mortifying discovery that the pretended count was a low impostor.
+The queen informed Angelica, and assured her of her sympathy.</p>
+
+<p>The fellow had been induced to seek the poor girl’s hand from motives
+of cupidity alone, desiring to possess himself of the property she had
+acquired by her labors. He now wished to compel her to a hasty flight
+from London. Believing herself irrevocably bound to him, Angelica
+resolved to submit to her fate; but her firmness and strength of nature
+enabled her to evade compliance with his requisition that she should
+leave England, till the truth was made known to her—that he who called
+himself her husband was already married to another woman still living.
+This discovery made it dangerous for the impostor to remain in London,
+and he was compelled to fly alone, after submitting unwillingly to the
+necessity of restoring some three hundred pounds obtained from his
+victim, to which he had no right.</p>
+
+<p><span class="pagenum" id="Page_156">[Pg 156]</span></p>
+
+<p>The false marriage was, of course, immediately declared null and
+void. These unhappy circumstances in no way diminished the interest
+and respect manifested for the lady who, in plucking the rose of
+life, had been so severely wounded by its thorns; on the contrary,
+she was treated with more attention than ever, and received several
+unexceptionable offers of marriage. But all were declined; she chose to
+live only for her profession.</p>
+
+<p>One of Angelica’s biographers pronounces her “proof against flattery.”
+Nollekens, on the other hand, accused her of having been a coquette
+in her youth. While at Rome, before her marriage, he said she
+was extremely fond of personal admiration. “One evening she took
+her station in one of the most conspicuous boxes of the theatre,
+accompanied by two artists, both of whom, as well as many others, were
+desperately enamored of her. She had her place between her two adorers;
+and while her arms were folded before her in front of the box over
+which she leaned, she managed to press a hand of both, so that each
+imagined himself the cavalier of her choice.”</p>
+
+<p>After fifteen years’ residence in England, when the physician who
+attended her suffering father advised return to Italy, and the invalid
+expressed his fear of dying and leaving her unprotected, Angelica
+yielded to his entreaties, and bestowed her hand upon the painter
+Antonio Zucchi.</p>
+
+<p>This gentleman was born in Venice in 1728, and had worked there
+upon historical pieces. He afterward took to landscape-painting and
+architecture, and many of his designs were published in learned works
+of the day. Being induced to go to England, he obtained an excellent
+place, and won the warm friendship<span class="pagenum" id="Page_157">[Pg 157]</span> of Mr. Kauffman. The marriage
+with his daughter took place in 1781, and proved a most happy one,
+undisturbed by any untoward occurrence till the death of Zucchi.</p>
+
+<p>Angelica, with her husband and her father, now returned to the sunny
+south. Stopping in Schwarzenberg to visit their relatives, they
+proceeded to Italy, settling themselves for a prolonged stay. In
+January of the following year Kauffman expired in the arms of his
+loving child.</p>
+
+<p>The wedded pair, anxious to escape from the shadow of this sorrow,
+hastened to Rome, where they fixed their permanent abode, paying only
+a few visits to Naples at the command of the royal family. Their house
+was the centre of attraction to the artistic and literary society of
+that capital of art; and Madame Zucchi did the honors and dispensed
+hospitalities with a grace peculiarly her own, without losing a
+particle of her energy in the prosecution of her painting, or any
+portion of the love for it that had distinguished her early years.
+This may account for the uniform individuality discernible in her
+productions, in the merits and defects of which may be traced the
+peculiarities of her nature and training.</p>
+
+<p>In Rome, Angelica became acquainted with Goethe, Herder, and other
+great men who at different times visited the Eternal City. Goethe says
+of her in one of his letters, “The good Angelica has a most remarkable,
+and, for a woman, really unheard-of talent; one must see and value
+what she does and not what she leaves undone. There is much to learn
+from her, particularly as to work, for what she effects is really
+marvelous.” And in his work entitled “Winkelmann and his Century,” he
+observes concerning her: “The<span class="pagenum" id="Page_158">[Pg 158]</span> light and pleasing in form and color,
+in design and execution, distinguish the numerous works of our artist.
+No living painter excels her in dignity, or in the delicate taste with
+which she handles the pencil.”</p>
+
+<p>At the same time she has been thought deficient in strength of outline,
+variety and force of touch; her coloring has been said to lack depth
+and warmth; while all acknowledge her grace, sweetness, and delicacy,
+and the freedom and ease, with the correctness and elegance of her
+drawing. Her works have been justly called “light and lovely May-games
+of a charming fantasy.”</p>
+
+<p>Among her character-pictures have been noted particularly “Allegra”
+and “Penserosa,” and fancy portraits of Sappho and Sophonisba, with
+the goddesses of Grecian mythology; also figures and scenes from the
+modern poets, such as the delicate and bewitching Una, from Spenser’s
+“Faery Queen,” and simple allegorical representations. These last
+were favorite subjects with her, and were taken both from classic and
+romantic history, as “Venus and Adonis,” “Rinaldo and Armida,” “The
+Death of Heloise,” “Sappho inspired by Love,” etc. The praise can not
+be denied her of having essentially aided the progress of modern art,
+without parting with any portion of her feminine reserve and purity.
+Her pictures, with Mengs’s writings, helped to liberate painting from
+the exclusive school of Carlo Maratti.</p>
+
+<p>Among her best compositions have been noted “Leonardo da Vinci Dying in
+the arms of Francis I.;” “The Return of Arminius”—painted for Joseph
+II.—“The Funeral Pomp of Pallas;” and “The Nymph Surprised,” covering
+herself hastily with a white veil. In painting portraits, she had the
+habit of waiting, before<span class="pagenum" id="Page_159">[Pg 159]</span> sketching, to seize on some favorite attitude
+or expression. She understood the effects of clare-obscure, and took
+care to avoid confusion in her figures. Her draperies were designed
+with taste, and not superfluous.</p>
+
+<p>An amateur once said to her, “Your angels could walk without deranging
+their robes.”</p>
+
+<p>She was in the habit of throwing on paper her reflections, and
+preserving the souvenirs. The following words were written on one of
+her pictures:</p>
+
+<p>“I will not attempt to express supernatural things by human
+inspiration, but wait for that till I reach heaven, if there is
+painting done there.”</p>
+
+<p>Art to her had been as the breath of life, and labor her greatest
+delight. They continued to be so, even when, crowned with fame, she was
+the centre of an admiring circle in the best society of Rome. Zucchi,
+in the hope of beguiling her from too assiduous application, purchased
+a beautiful villa—Castle Gandolfo—for their residence; but Angelica
+could not bear to be long distant from Rome. Strangers who came to the
+city were soon attracted to pay their respects to the lovely artist;
+and in the companionship of the great and gifted, either in her own
+circle, or with friends like Klopstock and Gessner—who have highly
+praised her genius—she exercised an influence that did not fail to
+promote the growth of literary and artistic cultivation.</p>
+
+<p>De Rossi says: “It was interesting to see Angelica and her husband
+before a picture. While Zucchi spoke with enthusiasm, Angelica remained
+silent, fixing her eloquent glance on the finest portions of the work.
+In her countenance one could read her feelings, and her observations
+were always limited to a<span class="pagenum" id="Page_160">[Pg 160]</span> few brief words. These, however, seldom
+expressed any blame; only the praises of that which was worthy of
+praise. It belonged to her nature to be struck by the beautiful alone,
+as the bee draws only honey out of every flower.”</p>
+
+<p>Raphael Mengs pronounced upon her a flattering eulogium. “As an
+artist,” he says, “she is the pride of the female sex in all times and
+all nations. Nothing is wanting; composition, coloring, fancy, all are
+here.” But he was her friend, and wrote thus while the recollection of
+her charms and virtues were fresh in his memory.</p>
+
+<p>Fuseli, who was honored by her friendship, was a more severe judge.
+He says, he “has no wish to contradict those who make success the
+standard of genius, and, as their heroine equals the greatest names
+in the first, suppose her on a level with them in power. She pleased,
+and desired to please, the age in which she lived and the race for
+which she wrought. The Germans, with as much patriotism, at least, as
+judgment, have styled her the Paintress of Minds (Seelen Mahlerin);
+nor can this be wondered at for a nation who, in A. R. Mengs, flatter
+themselves that they possess an artist equal to Raphael.</p>
+
+<p>“The male and female characters of Angelica never vary in form,
+feature, or expression from the favorite ideal in her own mind. Her
+heroes are all the man to whom she thought she could have submitted,
+though him, perhaps, she never found. Her heroines are herself, and,
+while suavity of countenance and alluring graces shall be able to
+divert the general eye from the sterner demands of character and
+expression, can never fail to please.”</p>
+
+<p>The lighter scenes of poetry were painted by her<span class="pagenum" id="Page_161">[Pg 161]</span> with a grace and
+taste entirely her own, and happily formed, withal, to meet that of an
+engraver, whose labors contributed to the growth and perpetuity of her
+fame. This was Bartolozzi, whose talents were in great part devoted to
+her.</p>
+
+<p>One feels naturally desirous of knowing something about the personal
+appearance of one so much admired. Her portrait, painted by herself,
+the size of life, is in the Pitti Gallery at Florence, with that of
+two other female artists; and the three attract the attention of every
+visitor.</p>
+
+<p>The following is the description of one spectator: “The first in
+feature and expression bears the stamp of a masculine intellect; the
+touch is vigorous, the coloring has the golden tint of the Venetian
+school, but it presents no mark of individuality; this is Maria Robusti
+Tintoretto. The second can not be mistaken; even the most unpracticed
+eye would discern at a glance that it is a Frenchwoman—piquant,
+lively, graceful, evidently not so much engrossed with her art as to be
+insensible to admiration as a woman—this is the well-known Madame Le
+Brun. Opposite the fair Parisian is a third portrait, a woman still in
+the bloom of life, but destitute of all brilliancy of coloring, with an
+expression grave and pensive almost to melancholy. She is seated on a
+stone, in the midst of a solitary landscape, a portfolio with sketches
+in one hand, a pencil in the other. The attitude is unstudied almost
+to negligence. There is no attempt at display; you feel as you look on
+her that every thought is absorbed in her vocation. This is Angelica
+Kauffman.”</p>
+
+<p>The quiet tenor of her life was broken up by the death of her husband
+in 1795. This domestic calamity<span class="pagenum" id="Page_162">[Pg 162]</span> was followed by political events that
+shook the world, and our artist suffered amid the universal agitation.
+She was much disquieted by the invasion of Italy by the French, though
+she found in her art both relief from care and a protection from the
+dread of poverty. General L’Espinasse exempted the house in which she
+lived from lodging soldiers, and offered her his services for her
+security and protection. But no kindness could restore her lost energy
+or bring back the cheerfulness that had once sustained her.</p>
+
+<p>In 1802 Angelica was seized with illness, and on recovery was advised
+to travel for the strengthening of both her bodily and mental
+faculties, and for relief from the oppression of sadness that paralyzed
+even her love of art. She visited Florence, Milan, and Como, where she
+lingered with a melancholy pleasure amid the scenes of her youthful
+days. In Venice she staid to visit the family of her deceased husband.
+She then returned to Rome, where she was received by her friends with a
+jubilant welcome.</p>
+
+<p>Her time passed thenceforward in her accustomed employments, and the
+society of those who loved her. Her health continued to decline, but
+her intellect remained bright and vigorous to the period of her death
+in November, 1807. Not long before she expired she requested her cousin
+by signs to read to her one of Gellert’s spiritual odes. In the midst
+of Italian life she was ever true to the German spirit; as, amid her
+more than masculine labors, she preserved her gentle, womanly nature.
+The news of her decease caused profound grief throughout Rome. All
+the members of the Academy of St. Luke assisted at her funeral; and,
+as at the obsequies of Raphael, her latest pictures were borne after
+her bier. Her remains were placed<span class="pagenum" id="Page_163">[Pg 163]</span> in the Church of St. Andrew della
+Fratte. Her bust was preserved in the Pantheon.</p>
+
+<p>Her works are scattered all over Europe, and are to be found in Vienna,
+Munich, London, Florence, Rome, Paris, etc.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_164">[Pg 164]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XII">CHAPTER XII.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Female Artists in the Scandinavian Countries.—In Sweden.—Ulrica
+Pasch.—Danish Women Artists.—A richer Harvest in the
+Netherlands.—The Belgian Sculptress.—Maria Verelst.—Her
+Paintings and Attainments in the Languages.—Residence in
+London.—Curious Anecdote.—Walpole’s Remark.—Women Artists in
+Holland.—Poetry.—Henrietta Wolters.—Her Portraits.—Invitation
+from Peter the Great.—Dutch Paintresses.—The young
+Engraver.—Caroline Scheffer.—Landscape and Flower Painters.—A
+Follower of Rachel Ruysch.—An Engraver.—In England.—Painting
+suited to Women.—Literary Ladies.—Effect of the Introduction
+of a new Manner in Art.—Numerous Dilettanti.—Female
+Sculptors.—Mrs. Samon.—Mrs. Siddons and others.—Mrs.
+Damer.—Aristocratic Birth.—Early love of Study and Art.—Horace
+Walpole her Adviser.—Conversation with Hume.—First Attempt at
+Modeling.—The Marble Bust and Hume’s Criticism.—Surprise of
+the gay World.—Miss Conway’s Lessons and Works.—Unfortunate
+Marriage.—Widowhood.—Politics.—Walpole’s Opinion of Mrs. Damer’s
+Sculptures.—Darwin’s Lines.—Sculptures.—Envy and Detraction.—Going
+abroad.—Escape from Danger.—Noble Ambition.—Return to
+England.—Politics and Kissing.—Private Theatricals.—The three
+Heroes.—Friendship with the Empress.—Walpole’s Bequest.—Parlor
+Theatricals, etc.—Removal.—Project for improving India.—Mrs.
+Damer’s Works.—Opinions of her.</p>
+</div>
+
+
+<p>From Germany we now turn to the northern countries, to the Netherlands,
+and England, to glance at their female artists of the eighteenth
+century.</p>
+
+<p>Few are found among the Scandinavian nations. Female talent had greatly
+aided to bring about the rise of literature in Sweden, as in the
+instance of Charlotte Nordenflycht and Ulrica Widström by their lyric<span class="pagenum" id="Page_165">[Pg 165]</span>
+poems, and Maria Lenngren by her dramatic productions; but only one
+artist of merit appears—the painter Ulrica Frederika Pasch, who, in
+1773, was elected a member of the Academy at Stockholm.</p>
+
+<p>In Denmark, where many women cultivated the muses, gaining celebrity
+for lyric and dramatic productions, a flower-painter, C. M. Ryding,
+and an engraver on copper, Alexia de Lodde, may be mentioned, as well
+as Margaretta Ziesenis, who devoted herself to painting portraits and
+historical pieces, and was somewhat famous for her copies in miniature,
+such as that of Correggio’s Zingarella.</p>
+
+<p>A much richer harvest opens in the Netherlands, in which the number of
+women pursuing art as a profession was not less than it had been in the
+preceding century. Among the Belgians the name of the sculptress Anna
+Maria von Reyschoot of Ghent must not be omitted.</p>
+
+
+<h3>MARIA VERELST.</h3>
+
+<p>Maria Verelst was born in 1680, at Antwerp. She was the daughter of
+the painter Herman Verelst, and belonged to a family abounding in
+celebrated artists. She received instruction from her uncle, Simon
+Verelst, and was highly esteemed, not only for her very uncommon skill
+in small portraits, while she attempted historical pieces successfully,
+but also for her attainments in the languages and music. She went with
+her father to London, then, as before and afterward, the rendezvous of
+foreign talent, and died there in 1744.</p>
+
+<p>Descampes mentions a curious anecdote of her proficiency in the
+languages. During her residence in London, one evening at the theatre,
+she chanced to sit<span class="pagenum" id="Page_166">[Pg 166]</span> near six German gentlemen of high rank. They were
+struck with her beauty and distinguished air, and expressed their
+admiration in conversation with each other, in the most high-flown
+terms which the German language could supply. The lady turned and
+addressed them in the same tongue, observing that such extravagant
+praise in the presence of a lady conveyed to her no real compliment.
+One of them soon after repeated his encomium in Latin. She again
+turned, and, replying in the same language, said, “It was unjust to
+deprive the fair sex of that classic tongue, the vehicle of so much
+true learning and taste.”</p>
+
+<p>With increased admiration the strangers begged permission to pay their
+respects in person to a lady so singularly endowed. Maria answered that
+she was a painter by profession, and lived with her uncle, Verelst
+the flower-painter. They did not lose time in availing themselves of
+the opportunity of seeing the fair artist and her works. Each of the
+gentlemen sat for his portrait, for which he gave liberal compensation.
+The story spread abroad, and proved an introduction for Maria into the
+best society.</p>
+
+<p>Walpole remarks of this artist that she painted in oil both large
+and small portraits, and drew small history-pieces. She spoke Latin,
+German, Italian, and other languages fluently.</p>
+
+<p>In Protestant Holland women artists are found in still greater numbers.
+Here the same favorable circumstances which had in former ages brought
+art to early bloom existed with little change. As women assumed an
+influential position in literature, so they did in the pictorial arts.</p>
+
+<p>The religious spirit that animated many breathed in the hymns and
+odes of Petronella Mocas, and in the<span class="pagenum" id="Page_167">[Pg 167]</span> didactic poetry of Lucretia van
+Merken; Elizabeth Wolff made herself known by her poetical epistles;
+and the national drama, the fair fruit of the seventeenth century,
+had a votary in the Baroness von Launoy, who made translations from
+Tyrtæus. In like manner did women show their enterprise in the branches
+of study which belong to our subject.</p>
+
+
+<h3>HENRIETTA WOLTERS.</h3>
+
+<p>Henrietta Wolters of Amsterdam gained no inconsiderable fame as a
+miniature-painter. She was the pupil of her father, Theodore van Pee,
+and was early accustomed to copy from Van der Velde and Vandyck. The
+miniature portraits afterward painted by her were so perfect in finish
+and execution, that the Czar Peter the Great, who seems to have become
+acquainted with her during his journey incognito through Holland,
+offered her a salary of six thousand florins as court-painter if she
+would remove to his capital. She received as much as four hundred
+florins for a single picture. She declined the imperial invitation, and
+remained in her home, where, having lived with her husband, the painter
+Wolters, since 1719, she died in 1741.</p>
+
+<p>Passing over several of little note as artists, though among them are
+numbered the Princess Anna of Orange and Cornelia de Ryk, we may pause
+to mention Christina Chalon, who was born in Amsterdam in 1749, and
+received her education with another artist, Sarah Troost. She painted
+chiefly in gouache scenes from country life and family groups, and is
+said to have learned the engraver’s art so young that she engraved a
+picture when only nine years old. She died at Leyden in 1808.</p>
+
+<p><span class="pagenum" id="Page_168">[Pg 168]</span></p>
+
+<p>Caroline Scheffer belongs to the close of this century. She was the
+daughter and pupil of a painter, Ary Lamme, and married another, J.
+B. Scheffer of Mannheim, with whom she lived long in Amsterdam and
+Rotterdam. After her husband’s death, in 1809, she went to Paris with
+her two sons, Ary and Henry, to give them the advantage of the best
+instruction in painting. They did credit to the care of this good
+and affectionate mother in the fame they acquired, and returned her
+devotion with due tenderness and filial love. She died at Paris in 1839.</p>
+
+<p>To these names should be added those of several women who devoted
+themselves especially to landscape and flower painting—two branches in
+which Holland could boast artists of skill and renown. Among these are
+Elizabeth Ryberg, who lived in Rotterdam; Maria Jacoba Ommegank, and
+Alberta ten Oever of Gröningen, some of whose landscapes, in the manner
+of Ruysdael and Hobbema, were seen in the exhibition of 1818. Anna
+Moritz, Susanna Maria Nymegen, and Cornelia van der Myin, are named by
+Dr. Guhl.</p>
+
+<p>Elizabeth Georgina van Hogenhuizen, a dilettante, born in Hague in
+1776, became a disciple of Rachel Ruysch, and gave promise of attaining
+to a kindred celebrity, had not her life been cut short in the bloom of
+eighteen.</p>
+
+<p>Among engravers on copper, who employed themselves with the pencil
+as well as the graver, may be mentioned Maria Elizabeth Simons; she
+engraved several pictures from Rubens and Van der Velde in the early
+part of the century.</p>
+
+<p>In England, the political greatness of the nation and the appreciation
+of art among the nobility, more<span class="pagenum" id="Page_169">[Pg 169]</span> than any natural predisposition of the
+people, proved favorable to the progress of a cultivated taste, and
+rewarded talent from other countries. Corresponding to the improvement
+in the prospects of art, we find a number of women occupied diligently
+in its pursuit.</p>
+
+<p>A writer in one of the British reviews observes: “The profession of
+the painter would seem, in many respects, peculiarly fitted for woman.
+It demands no sacrifice of maiden modesty nor of matronly reserve;
+it leads her into no scenes of noisy revelry or unseemly license; it
+does not force her to stand up to be stared at, commented on, clapped
+or hissed by a crowded and often unmannered audience, who forget the
+woman in the artist. It leaves her, during a great portion of her time
+at least, beneath the protecting shelter of her home, beside her own
+quiet fireside, in the midst of those who love her and whom she loves.
+But, on the other hand, to attain high eminence, it demands the entire
+devotion of a life; it entails a toil and study, severe, continuous,
+and unbroken.” There is enough in this twofold truth to account both
+for the number of women artists and the failure of many to reach the
+distinction they aimed at.</p>
+
+<p>The assiduous cultivation of literature among ladies of the higher
+class in the eighteenth century is sufficiently attested by productions
+that yet remain for popular admiration. The names of Joanna Baillie,
+Mrs. Montague, Clara Reeve, Fanny Burney, Harriet and Sophia Lee, Mrs.
+Cowley, etc., posterity will not willingly let die; and the improvement
+in general education owes much to the beneficial influence of women who
+labored for this end, and strove also to introduce into society a less
+frivolous tone of manners and a more pervading respect for morality and
+religion.<span class="pagenum" id="Page_170">[Pg 170]</span> Mrs. Trimmer, Hannah More, Mrs. Barbauld, are remembered
+with gratitude as having done their part in the good work; as also
+Elizabeth Smith, who added to her literary acquirements extraordinary
+talents and accomplishments both in music and painting.</p>
+
+<p>It was after the introduction of a new manner by artists who had
+partaken of the inspiration of Carstens—such as Flaxman and Fuseli,
+near the close of the century—that the greater number of English
+female artists came into notice. It is necessary to mention only the
+most prominent. One third, at least, of the entire body in England were
+distinguished chiefly as amateurs, while in France the contrary was
+true, very few having been noted among the artists of this period.</p>
+
+<p>First let us pay some attention to the sculptors. In the early part of
+the century Mrs. Samon modeled figures and historical groups in wax. It
+is said that the world-renowned Siddons was accustomed to amuse herself
+occasionally by attempts in sculpture. Lady E. Fitzgerald, Miss Ogle,
+Mrs. Wilmot, and Miss Andross, were also noted for their attempts in
+sculpture. But the place of pre-eminence, above all who had appeared
+down to the later years of the eighteenth century, belongs to Mrs.
+Damer.</p>
+
+
+<h3>ANNE SEYMOUR DAMER.</h3>
+
+<p>A rarer honor it is to a nation to be able to boast of a successful
+artist of aristocratic origin than of a celebrated statesman. The
+subject of this sketch was descended from families of the best blood
+of England. Born in 1748, she was the only child of Field Marshal
+Henry Seymour Conway (brother to the Marquis of Hertford) and Caroline
+Campbell, only daughter of<span class="pagenum" id="Page_171">[Pg 171]</span> John, the fourth Duke of Argyle, and
+widow of the Earl of Aylesbury and Elgin. “Her birth entitled her to
+a life of ease and luxury; her beauty exposed her to the assiduities
+of suitors and the temptations of courts, but it was her pleasure to
+forget all such advantages, and dedicate the golden hours of her youth
+to the task of raising a name by working in wet clay, plaster of Paris,
+stubborn marble, and still more intractable bronze.”<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a></p>
+
+<div class="footnote">
+
+<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Allan Cunningham.</p>
+
+</div>
+
+<p>The foundation of a pure and correct taste was laid in her superior
+education. She devoted herself early to study, and acquired a knowledge
+of general literature rare among women; became well acquainted with the
+history and arts of the nations of antiquity, and with the standard
+authors of England, France, and Italy. Her cousin, Horace Walpole, was
+greatly pleased with her enthusiasm, and took delight in directing her
+studies.</p>
+
+<p>She had long been accustomed to gaze with admiration on the few
+beautiful pieces of ancient sculpture which she had opportunity of
+seeing, and she felt in her own soul that inspiration which is almost
+always the prophecy of success. It is said the bent of her genius
+was discovered by an adventure with David Hume, the historian. When
+eighteen or twenty years old, Anne was walking with him one day. They
+were accosted by an Italian boy who offered for sale some plaster
+figures and vases. The historian examined his wares, and spent some
+minutes talking with the little fellow. Miss Conway afterward rallied
+Mr. Hume in company upon his taste for paltry plaster casts. He
+replied, with a touch of sarcasm, that the images she had viewed with
+such contempt had not<span class="pagenum" id="Page_172">[Pg 172]</span> been made without the aid of both science and genius, adding that a
+woman, even with all her attainments, could not produce such works.
+The young lady formed a determination from that moment to convince her
+monitor of his mistake.</p>
+
+<p>She procured wax and modeling tools, worked in secret, and in a short
+time finished a head—some say a portrait of the philosopher, which she
+presented to him in no small triumph.</p>
+
+<p>“This is very clever,” observed Hume. “It really deserves praise for a
+first attempt; but, remember, it is much easier to model in wax than to
+chisel a bust from marble.”</p>
+
+<p>The persevering girl was resolved to compel the satirist to the
+admission that a woman could do more than he had supposed. Without
+any announcement of her design, she supplied herself with marble and
+all the necessary implements of labor. It was not long before she had
+copied out in marble, roughly perhaps, but faithfully, the head she had
+modeled in wax. She placed it before the historian, who was actually
+surprised into admiration, though he found something still to criticise
+in the want of fine workmanship and delicate finish. His fault-finding
+probably went far to stimulate her to new exertions. From this time the
+impulse of genius was strong within her, and she was firmly resolved
+even to seclude herself from the brilliant society by which she was
+surrounded for the purpose of devoting her life to the pursuit she
+found so congenial to her taste.</p>
+
+<p>It could not long be concealed from the world of fashion that the
+admired Miss Conway had forsaken the mask and the dance, and was
+working, like any day-laborer, in wet clay; that she moved amid
+subdued<span class="pagenum" id="Page_173">[Pg 173]</span> lights; that her glossy hair was covered with a mob cap
+to keep out the white dust of the marble, while an unsightly apron
+preserved her silk gown and embroidered slippers; that her white and
+delicate fingers were often soiled with clay, or grasped the hammer
+and the chisel. The strange story ran like wild-fire among the circles
+of her acquaintance. Several titled ladies had wielded the pencil
+and the brush, but scarcely one could be remembered who had taken
+to sculpture. It may well be imagined that the spirited girl found
+pleasure in showing her independence, and that she was animated by a
+noble ambition to carve out for herself with the chisel a place among
+the honored among artists, worthy of a descendant of the Seymours and
+the Campbells. Works of genius seemed more than coronets to her; and
+noble actions, than Norman blood!</p>
+
+<p>She now took lessons in modeling and the elemental part of sculpture,
+from Cerrachi—the same conspirator who was brought to the guillotine
+for plotting against Napoleon—while she perfected herself in the
+practical part of working in marble in the studio of the elder Bacon,
+and studied anatomy with Cruikshanks. She produced a number of ideal
+heads and busts, and some figures of animals, executed with skill; but
+her progress was slow, and she produced no work of note till seven
+years after her marriage.</p>
+
+<p>At the age of nineteen she bestowed her hand upon the Hon. John
+Damer, the eldest son of Lord Milton, and the nephew of the Earl of
+Dorchester. This marriage proved a sad drawback to the improvement
+of our young artist. Damer—“heir in expectancy to thirty thousand a
+year—was at once eccentric and extravagant. Those were the days of
+silk, and lace, and<span class="pagenum" id="Page_174">[Pg 174]</span> embroidery, and he adorned his person with all
+that was costly, and loved to surprise his friends and vex his wife by
+appearing thrice a day in a new suit.” He furnished for Miss Burney,
+remarks Mrs. Lee, “in her celebrated novel of Cecilia, a character in
+real life—Harrington, the guardian of her heroine.” He became the
+prey of tailors and money-lenders in London; his extravagance daily
+increased, and he scattered a princely fortune in a few years. In nine
+years this unhappy union was terminated by the suicide of the husband,
+who shot himself with a pistol, in the Bedford Arms, Covent Garden, in
+August, 1776. His wardrobe, which was sold at auction, is said to have
+brought fifteen thousand pounds—perhaps half its cost.</p>
+
+<p>The widow, left childless, availed herself of her recovered freedom
+to take journeys with the object of gaining new ideas in the art she
+loved. She traveled through France, Spain, and Italy, renewing her
+studies in sculpture. At this time it was the fashion for ladies to
+take a warm interest in politics. Mrs. Damer became an ardent partisan
+of the Whig cause, and active in helping to carry elections.</p>
+
+<p>Mrs. Lee observes: “Gentlemen have no objection to ladies being
+politicians if they take the right side: to wit, that to which they
+themselves belong; and Mrs. Damer conscientiously adopted the opinions
+of the Whig party. At that time Great Britain was waging war with her
+American colonies. She took the part of the rebellious subjects, warmly
+espoused our cause, and bravely advanced her opinions.” She was a warm
+friend of Fox.</p>
+
+<p>Walpole thus speaks of his cousin’s works, which soon acquired her
+fame as a sculptor: “Mrs. Damer’s busts from the life are not inferior
+to the antique. Her<span class="pagenum" id="Page_175">[Pg 175]</span> shock dog, large as life, and only not alive,
+has a looseness and softness in the curls that seemed impossible
+to terra-cotta; it rivals the marble one of Bernini in the royal
+collection. As the ancients have left us but five animals of equal
+merit with their human figures—viz., the Barberini goat, the Tuscan
+boar, the Mattei eagle, the eagle at Strawberry Hill, and Mr. Jenning’s
+dog—the talent of Mrs. Damer must appear in the most distinguished
+light.” Cerrachi gave a whole figure of Anne as the Mùse of Sculpture,
+preserving the graceful lightness of her form and air.</p>
+
+<p>The poet Darwin says:</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“Long with soft touch shall Damer’s chisel charm;</span><br>
+<span style="margin-left: 1em;">With grace delight us, and with beauty warm.”</span><br>
+</p>
+
+<p>After 1780, she produced several fine specimens of sculpture, both in
+marble and terra-cotta. She made a group of sleeping dogs, in marble,
+for the Duke of Richmond, her brother-in-law, and another for Queen
+Charlotte. She presented a bust of herself, in 1778, to the Florentine
+Gallery, and executed several of her titled lady relatives, which were
+esteemed as works of great merit, and still adorn the galleries of
+noble connoisseurs. Two colossal heads of her workmanship, representing
+Thames and Isis, were designed for the keystones of the bridge at
+Henley.</p>
+
+<p>Envy was busy, as it generally is, in disputing the claims of this
+noble lady to the entire authorship of her celebrated productions; but,
+though they exhibit a varied character, there was no proof that she
+availed herself of more assistance than is usual for all sculptors,
+both in modeling and marble-work. Subordinate hands are always employed
+in preparing the model and removing the superfluous material.</p>
+
+<p>Mrs. Damer complied with the fancy of the day in<span class="pagenum" id="Page_176">[Pg 176]</span> idealizing the
+portraits of some of her friends into muses and deities. To please her
+fast friend, Horace Walpole, she presented him with two kittens in
+marble, wrought by herself, as an addition to the curiosities of his
+villa. Still more endearing than their relationship was her agreement
+with him in political opinions.</p>
+
+<p>She had lost her father at the time she went abroad in 1779. The
+seas were filled with the armed vessels of France, America, and
+Great Britain, and there was some danger in crossing the Channel.
+The sculptress was protected, it is true, by her sympathy with the
+Transatlantic “rebels” and by her character of artist. However, the
+vessel in which she sailed encountered a French man-of-war, with which
+a running fight was kept up for four hours. But “the heroic daughter of
+a hero” manifested both sense and coolness. The French prevailed; the
+packet struck its colors within sight of Ostend; but Mrs. Damer was not
+detained in captivity.</p>
+
+<p>She now devoted herself more assiduously to the study of classic
+authors, with the view of entering more fully into the feeling and
+character of antique sculpture. She kept notes of her reflections
+as she contemplated the works of art in Italy, with the remarks of
+critics. She was bent on accomplishing some great work, the glory of
+which should eclipse the lustre of her hereditary dignity. She had more
+ambition to become distinguished as a sculptor than as the descendant
+of the high aristocracy of Britain.</p>
+
+<p>Returning from Italy and Spain, she took part in the election that
+terminated in the triumph of Charles Fox. Mrs. Crewe and the lovely
+Duchess of Devonshire joined her in canvassing for their favorite,
+the<span class="pagenum" id="Page_177">[Pg 177]</span> Whig candidate, “rustling their silks in the lowest sinks of sin
+and misery, and, in return for the electors’ ‘most sweet voices,’
+submitting, it is said, their own sweet cheeks to the salutes of
+butchers and barge-men.”</p>
+
+<p>An old elector said to Cunningham: “It was a fine sight to see a grand
+lady come right smack up to us hard-working mortals, with a hand held
+out, and a ‘Master, how d’ ye do?’ and laugh so loud, and talk so kind,
+and shake us by the hand, and say, ‘Give us your vote, worthy sir—a
+plumper for the people’s friend, our friend, every body’s friend.’ And
+then, sir, if we hummed and hawed, they would ask us for our wives and
+children; and if that didn’t do, they’d think nothing of a kiss—ay, a
+dozen on ’em. Kissing was nothing to them, and it came all so natural.”</p>
+
+<p>It is recorded, also, that Mrs. Damer was fond of private theatricals,
+and recited poetry and personated characters in plays performed at
+the Duke of Richmond’s and elsewhere. Her talents in high comedy won
+deserved applause, and many of our actresses would be eclipsed by her
+performance in the standard old pieces. But though she took part in
+such entertainments for the pleasure of others, her own delight was in
+sculpture alone. Her busts in bronze, marble, and terra-cotta became
+ornaments to the rich collections of her friends. Her statue of the
+king in marble was established in the Edinburgh Register Office. She
+consecrated a monumental bust to the memory of the countess her mother,
+whose pieces of needle-work had equaled the finest paintings. She
+formed a design to perpetuate the memory of a noble act by Lord William
+Campbell, her uncle, he having once leaped from a boat into the Thames,
+and dived down sixteen feet, to<span class="pagenum" id="Page_178">[Pg 178]</span> save the life of a drowning man. This
+work was never finished in marble.</p>
+
+<p>Mrs. Damer’s heroes, out of her own family, were Fox, Nelson, and
+Napoleon; and she was acquainted with them all. She executed the
+busts of the first two, and it was one of her fancies to record in
+a small book the remarks of “the Napoleon of the waves” during his
+conversations with her. During her visit in France she formed a
+friendship for the Viscountess Beauharnais; and many years afterward
+a French gentleman brought her a letter from the wife of the First
+Consul, with a splendid present of porcelain. She was invited to Paris
+by her former friend, who desired to present her to Napoleon. The
+latter asked her for a bust of Fox, which Mrs. Damer brought to the
+emperor on a subsequent visit to Paris. The emperor presented her with
+a splendid snuff-box and his portrait set with diamonds.</p>
+
+<p>Walpole died in 1797, bequeathing to this daughter of General Conway
+for her life, his Gothic villa of “Strawberry Hill,” with its rich and
+rare contents—books and artistic curiosities—and two thousand pounds
+a year to keep the place in repair. It has “become famous from its
+connection with the studies of the accomplished author of the Castle
+of Otranto.” Here Mrs. Damer was happy in entertaining her friends,
+not only with feasts of good things at her table, but with private
+theatrical performances, in which she often took part. Joanna Baillie,
+the matchless Siddons, Mrs. Garrick, Mrs. Berry and her daughters,
+were among her chosen companions. The classic villa, however, had been
+entailed upon Lord Waldegrave, and Mrs. Damer was induced to give it up
+to him ten years previous to her own death. She purchased<span class="pagenum" id="Page_179">[Pg 179]</span> York House
+in the neighborhood, the birth-place of Queen Anne. This was her summer
+residence, her winter house being in Park Lane.</p>
+
+<p>As she approached the close of life, and saw the heroes of her early
+enthusiasm pass away, her love of sculpture increased. She thought
+the art might be made to render important aid in the civilization and
+religious improvement of Hindostan and the Indian isles, and often
+talked with Sir Alexander Johnston of substituting Christian subjects
+in sculpture for the idols of heathenism in those regions. She was,
+unfortunately, no longer young enough for such an enterprise; yet the
+idea was a noble one. She executed the bust of Nelson in marble for
+a present to the King of Tanjore—a Hindoo sovereign of power and
+influence in the south of Asia. That specimen of her skill may have
+tended to disseminate in that remote nation a desire for statuary by
+British artists.</p>
+
+<p>A list of thirty of her works has been published. A beautiful bust of
+herself, executed by her in marble, was in the collection of Richard
+Payne Knight, and was bequeathed by him to the British Museum. Her
+group of “The Death of Cleopatra,” represented the closing scene of
+Shakspeare’s tragedy. The Queen of Egypt, having failed to excite the
+pity of Octavius Cæsar, and resolved to follow her departed love, has
+applied the “venomous worm of Nile” to her breast. The words</p>
+
+<p class="poetry" >
+<span style="margin-left: 9em;">“Come, mortal wretch,</span><br>
+<span style="margin-left: 1em;">With thy sharp teeth this knot intrinsicate</span><br>
+<span style="margin-left: 1em;">Of life at once untie,”</span><br>
+</p>
+
+<p class="p0">are embodied in the expression.</p>
+
+<p>This tasteful composition was modeled in basso-relievo, and was
+engraved by Hellyer as a vignette title to the second volume of
+Boydell’s Shakspeare.</p>
+
+<p><span class="pagenum" id="Page_180">[Pg 180]</span></p>
+
+<p>Mrs. Damer’s health declined in the spring of 1828, and on the 28th
+of May she departed this life, in her eightieth year. She left to her
+relative Sir Alexander Johnston all her works in marble, bronze, and
+terra-cotta, and her mother’s needle pictures, with directions that her
+apron and tools should be buried in her coffin, and that her manuscript
+memoranda and correspondence should be destroyed. She was interred in
+the church of Tunbridge, Kent.</p>
+
+<p>Whatever difference of opinion there may be respecting the genius and
+works of this sculptress, there can be none in pronouncing her an
+extraordinary woman. She would have been called “strong-minded” in
+our day, for she sent a friendly message to Napoleon on the eve of
+Waterloo, canvassed an election for Fox, and entertained Queen Caroline
+during her trial! In her estimation, genius and generous impulse were
+above the conventionalities of birth and fashion. It is difficult
+to estimate fairly the productions of a favored child of wealth and
+splendor, and one eminent for learning and wit. Her works have been
+severely criticised, and those who most admire her independent career,
+are disposed to deny her the possession of great originality and such
+a practical knowledge of art as would enable her to finish with a
+good degree of perfection. It has been remarked, however, that her
+conception was generally superior to her execution.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_181">[Pg 181]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XIII">CHAPTER XIII.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Mary Moser.—Nollekens’ House.—Skill in Flower-painting.—The
+Fashions.—Queen Charlotte.—Patience Wright.—Birth
+in New Jersey.—Quaker Parents.—Childish Taste for
+Modeling.—Marriage.—Widowhood.—Wax-modeling.—Rivals
+Madame Tussaud.—Residence in England.—Sympathy with America
+in Rebellion.—Correspondence with Franklin.—Intelligence
+conveyed.—Freedom of Speech to Majesty.—Franklin’s Postscript.—“The
+Promethean Modeler.”—Letter to Jefferson.—Patriotism.—Art the
+Fashion.—Aristocratic lady Artists.—Princesses Painting.—Lady
+Beauclerk.—Walpole’s “Beauclerk Closet.”—Designs and Portrait.—Lady
+Lucan.—Her Illustrations of Shakspeare.—Walpole’s Criticism.—Other
+Works.—Mary Benwell and others.—Anna Smyters and others.—Madame
+Prestel.—Mrs. Grace.—Mrs. Wright.—Flower-painters.—Catherine Read
+and others.—Maria Cosway.—Peril in Infancy.—Lessons.—Resolution
+to take the Veil.—Visit to London.—Marriage.—Cosway’s
+Painting.—Vanity and Extravagance.—The beautiful Italian
+Paintress.—Cosway’s Prudence and Management.—Brilliant
+evening Receptions.—Aristocratic Friends.—The Epigram on the
+Gate.—Splendid new House and Furniture.—Failing Health.—France
+and Italy.—Institution at Lodi.—Singular Occurrence.—Death of
+Cosway.—Return to Lodi.—Maria’s Style and Works.</p>
+</div>
+
+
+<h3>MARY MOSER.</h3>
+
+<p>This lady, a member of the Royal Academy in London, is mentioned by the
+biographers of Nollekens as “skillful in painting flowers, sarcastic
+when she held the pen.” She liked to visit the illiterate Nollekens, at
+whose house, with a cup of tea, she occasionally enjoyed the company of
+Dr. Johnson. Smith does not hesitate to charge her with having set her
+cap at Fuseli,<span class="pagenum" id="Page_182">[Pg 182]</span> “but his heart, unfortunately, had already been deeply
+pierced by Angelica Kauffman.”</p>
+
+<p>She was the daughter of a German artist in enameling, but was educated
+in England. She was truly wonderful in flower-pieces. The tasteful
+decorations of some new apartments in Windsor Palace were executed by
+her hand.</p>
+
+<p>While in London she wrote thus to her friend Mrs. Lloyd:</p>
+
+<p>“Come to London and admire our plumes; we sweep the sky! A duchess
+wears six feathers, a lady four, and every milkmaid one at each corner
+of her cap! * * * Fashion is grown a monster; pray tell your operator
+that your hair must measure just three quarters of a yard from the
+extremity of one wing to the other.”</p>
+
+<p>Queen Charlotte took particular notice of Miss Moser, and for a
+considerable time employed her for the decoration of one chamber, which
+her majesty commanded to be called Miss Moser’s room, and for which the
+queen paid upward of nine hundred pounds.</p>
+
+
+<h3>PATIENCE WRIGHT.</h3>
+
+<p>This extraordinary woman, as Dunlap rightly calls her, was born, like
+West, among a people who professed to eschew all that is imaginative
+or pictorial. Her parents, who were Quakers, lived at Bordentown, New
+Jersey, where Patience Lovell was born in 1725. Her uncommon talent for
+imitation was shown long before she had an opportunity of seeing any
+work of art. The dough meant for the oven, or the clay found near her
+dwelling, supplied her with materials out of which she moulded figures
+that bore a recognizable resemblance to human beings, and, ere long, to
+the persons with whom she was most familiar.</p>
+
+<p><span class="pagenum" id="Page_183">[Pg 183]</span></p>
+
+<p>She married Joseph Wright of Bordentown in 1748. He lived only nineteen
+years. Before 1772 the lady had gained not a little celebrity in some
+of the cities of the United States for her astonishing likenesses in
+wax. A widow, with three children dependent on her for support, she was
+obliged to seek a larger field for her efforts. The prospect of success
+in London was good, and to London she went.</p>
+
+<p>There is testimony in English journals of the day that her works
+were thought extraordinary of their kind. She bade fair to rival
+the famous Madame Tussaud. Her conversational powers and general
+intelligence gained her the attention and friendship of several among
+the distinguished men of the day. Though a resident of England, her
+sympathies were engaged in behalf of her countrymen during the struggle
+of the American Revolution. It is said she even rendered important
+aid to the cause by sending to American officers intelligence of the
+designs of the British government. She corresponded with Franklin while
+he was in Paris; and as soon as a new general was appointed, or a
+squadron began to be fitted out, he was sure to know it. She was often
+able to gain information in families where she visited, and to transmit
+to her American friends accounts of the number of British troops and
+the places of their destination.</p>
+
+<p>At one time she had frequent access to Buckingham House, and was
+accustomed to express her sentiments freely to their majesties, who
+were amused with her originality. The great Chatham honored her with
+his visits, and she took the full-length likeness of him, which appears
+in a glass case in Westminster Abbey.</p>
+
+<p>The following is the postscript to one of Franklin’s<span class="pagenum" id="Page_184">[Pg 184]</span> letters, offering
+service should she return to America through France:</p>
+
+<p>“My grandson, whom you may remember when a little saucy boy at school,
+being my amanuensis in writing the within letter, has been diverting
+me with his remarks. He conceives that your figures can not be packed
+up without damage from any thing you could fill the boxes with to
+keep them steady. He supposes, therefore, that you must put them
+into post-chaises, two and two, which will make a long train upon
+the road, and be a very expensive conveyance; but, as they will eat
+nothing at the inns, you may the better afford it. When they come to
+Dover, he is sure, they are so like life and nature, that the master
+of the packet will not receive them on board without passports. It
+will require, he says, five or six of the long French stage-coaches to
+convey them as passengers from Calais to Paris; and a ship with good
+accommodations to convey them to America, where all the world will
+wonder at your clemency to Lord N——, that, having it in your power to
+hang or send him to the lighters, you had generously reprieved him for
+transportation.”</p>
+
+<p>Mrs. Wright was sometimes called “Sibylla,” as she professed to
+foretell political events. In a London magazine of 1775 she is called
+“the Promethean modeler,” with the remark: “In her very infancy she
+discovered such a striking genius, and began making faces with new
+bread and putty to such an extent that she was advised to try her skill
+in wax.”</p>
+
+<p>Her likenesses of the king, queen, Lord Temple, Lord Chatham, Barry,
+Wilkes, and others, attracted universal attention. Critics gave her
+credit for wonderful natural abilities, and said she would have been
+a<span class="pagenum" id="Page_185">[Pg 185]</span> miracle if the advantages of a liberal education had fallen to her
+lot. Noticing her quick and brilliant eyes, their glance was said to
+“penetrate and dart through the person looked on.” She had a faculty of
+distinguishing the characters and dispositions of her visitors, and was
+rarely mistaken in her judgment of them.</p>
+
+<p>Dunlap farther speaks of “an energetic wildness in her manner. While
+conversing she was busy modeling, both hands being under her apron.”</p>
+
+<p>Her eldest daughter married Mr. Platt, an American; she inherited some
+of her mother’s talents. She became well known in New York about 1787
+by her modeling in wax. The younger was the wife of Hoppner, the rival
+of Stuart and Lawrence in portrait-painting. The young lady’s sweet
+face may be recognized in some historical compositions. The British
+Consul at Venice, mentioned by Moore in his Life of Byron, was the
+grandson of Mrs. Wright.</p>
+
+<p>Mrs. Wright lost favor with George III. by her earnest reproofs for his
+sanction of the war with America. She went to Paris in 1781, but was
+in London in 1785, when she wrote to Jefferson that she was delighted
+that her son Joseph had painted the best likeness of Washington of any
+painter in America. Washington himself said he “should think himself
+happy to have his bust done by Mrs. Wright, whose uncommon talents,”
+etc.</p>
+
+<p>She wished not only to make a likeness of the hero, but of those
+gentlemen who had assisted at signing the treaty of peace. “To shame
+the English king,” she says, “I would go to any trouble and expense, to
+add my mite to the stock of honor due to Adams, Jefferson, and others,
+to send to America.” And she<span class="pagenum" id="Page_186">[Pg 186]</span> offered to go herself to Paris and mould
+the likeness of Jefferson. She wished to consult him how best to honor
+her country by holding up the likenesses of her eminent men, either in
+painting or wax-work; and hinted at the danger of sending Washington’s
+picture to London, from the enmity of the government and the espionage
+of the police; the latter, she observes, having “all the folly, without
+the ability, of the French.”</p>
+
+<p>The exercise of artistic accomplishment was now so popular, that
+culture in painting, drawing, and etching became general in the
+education of young ladies. The fashion of patronizing the arts, too,
+was in vogue among women of the highest rank. Lady Dorothea Saville
+painted portraits and drew admirable sketches. Lady Louisa de Greville
+and her sister Augusta were ardent connoisseurs. The Countess Lavinia
+Spencer was celebrated for her skill in etching; and Lady Amherst, Lady
+Temple, and Lady Henry Fitzgerald, were noted artists.</p>
+
+<p>Two princesses of the royal family took pleasure in painting. Princess
+Elizabeth drew with taste and skill. She engraved a “Birth of Love”
+after Tomkins, and produced several original specimens of great beauty.
+One of her fancy-pieces was “Cupid turned Volunteer,” which appeared,
+in 1804, in a series of prints engraved with poetical illustrations.
+The designs were beautiful. Three years later, a series of twenty-four
+etchings by her royal highness was published. They evinced spirit and
+taste, and a deep feeling for the beautiful.</p>
+
+<p>Charlotte Matilda, afterward Queen of Wurtemberg, drew and painted
+landscapes after the manner of Waterloo.</p>
+
+<p><span class="pagenum" id="Page_187">[Pg 187]</span></p>
+
+
+<h3>LADY DIANA BEAUCLERK.</h3>
+
+<p>Lady Diana Spencer, the wife of Topham Beauclerk, and the daughter
+of the Duke of Marlborough, was celebrated as an amateur artist, and
+produced drawings that gained the enthusiastic admiration of Walpole.
+In 1776 he built a hexagonal tower, which he called “Beauclerk
+Closet,” as it was constructed “purposely for the reception of seven
+incomparable drawings by Lady Diana, illustrating scenes in his
+‘Mysterious Mother.’” They were conceived and executed in a fortnight.
+In 1796 the lady produced designs for a translation of Bürger’s ballad
+of “Leonore,” by her nephew, published in folio the following year.
+Lady Diana also finished a series of designs for a splendid edition of
+Dryden’s Fables in folio. These show that she possessed an elegant and
+fertile imagination, with a truly classic taste. In her portrait of the
+Duchess of Devonshire, the nymph-like grace of the figure is like what
+a Grecian sculptor would give to the form of a dryad or river-goddess.</p>
+
+<p>She died in 1808, at the age of seventy-four.</p>
+
+
+<h3>MARGARET, COUNTESS OF LUCAN,</h3>
+
+<p class="p0">possessed a remarkable talent for copying miniatures and illuminations.
+She completed a series of embellishments of Shakspeare’s historical
+plays, in five folio volumes, now preserved in the library at Althorp.
+For sixteen years she devoted herself to the pursuit, indulging in “the
+pleasurable toil” of illustrating that great work. She commenced this
+enterprise when fifty years of age, and ended it at sixty-six. Walpole
+says: “Whatever of taste, beauty, and judgment in decoration, by means
+of landscapes, flowers, birds, heraldic<span class="pagenum" id="Page_188">[Pg 188]</span> ornaments and devices, etc.,
+could dress our immortal bard in a yet more fascinating form, has
+been accomplished by a noble hand, which undertook a Herculean task,
+and with a true delicacy and finish of execution that has been rarely
+equaled.”</p>
+
+<p>Lady Lucan also copied the most exquisite works of Isaac and Peter
+Oliver, Hoskins, and Cooper; “with genius,” says her admiring friend,
+“that almost depreciated those masters;” and “transferring the vigor of
+Raphael to her copies in water-colors.” She died in 1815.</p>
+
+<p>The Countess of Tott exhibited in 1804 her portrait of the famous
+Elfi Bey. Lord Orford speaks of Mrs. Delany’s skill in painting
+and imitating flowers with cuttings of colored paper. This lady is
+mentioned by Madame d’Arblay, in her Diary, as the queen’s friend, the
+wife of Patrick Delany, who was the intimate friend of Dean Swift.</p>
+
+<p>Among a host of minor women artists may be mentioned Mary Benwell, who
+painted portraits and miniatures in oil and crayons, exhibited from
+1762 to 1783. She married Code, who was in the army, and purchased
+rank for him. He was stationed at Gibraltar, where he died. Mrs. Code
+retired from her profession in 1800. Miss Anna Ladd, skilled in the
+same branch, died in 1770. Agatha van der Myn also painted flowers,
+fruits, and birds in England.</p>
+
+<p>Anna Smyters, the wife of a sculptor and architect, acquired celebrity
+for her miniatures and water-color paintings. One, representing a
+wind-mill with sails spread, a miller with his sack on his shoulder, a
+carriage and horse, and a road leading to a village, was complete, of a
+size so small that it could be covered by a grain of corn.</p>
+
+<p><span class="pagenum" id="Page_189">[Pg 189]</span></p>
+
+<p>Miss Anna Jemima Provis was said to have made known to some English
+artists the receipt for coloring used by the great Venetian masters. It
+had been brought from Italy by her grandfather.</p>
+
+<p>Mrs. Dards opened a new exhibition with flower-paintings, in the
+richest colors. They were exact imitations of nature, done with
+fish-bones.</p>
+
+<p>Mrs. Hoadley, wife of the Bishop of Winchester, was well skilled
+in painting. Caroline Watson was eminent in engraving. She was
+born in London, 1760. Receiving instruction from her father, she
+engraved several subjects in mezzotinto and in the dotted manner. Her
+productions were said to possess great merit. Miss Hartley, who etched
+admirably, preceded her.</p>
+
+<p>Maria Catharine Prestel was the wife of a German painter and engraver.
+She aided him in some of his best plates, particularly landscapes. The
+marriage was not happy, and the pair separated. Madame Prestel came
+to England in 1786, where she engraved prints in a style surpassed by
+no artist for spirit and delicacy. She made etchings, and finished in
+aquatinta in a fine picturesque manner. She died in London in 1794.</p>
+
+<p>Mrs. Grace exhibited her works seven years in the Society of Artists.
+They were chiefly portraits in oil, rather heavy in coloring. She
+attempted a historical subject in 1767: Antigonus, Seleucus, and
+Stratonice. Her residence was in London.</p>
+
+<p>Mrs. Wright, the daughter of Mr. Guise—one of the gentlemen of his
+majesty’s Chapel Royal at St. James’s, and master of the choristers
+at Westminster—was a successful painter in miniature. She married,
+unfortunately, a French emigrant, who shortly afterward left her, and
+went to France, where he died. Her second<span class="pagenum" id="Page_190">[Pg 190]</span> husband was Mr. Wright, a
+miniature-painter. She died in 1802.</p>
+
+<p>Fiorillo also mentions Betty Langley, Miss Noel, Miss Linwood,
+Miss Bell, Madame Beaurepas, and the eldest daughter of Smirke the
+academician.</p>
+
+<p>Walpole mentions Elizabeth Neal as a distinguished paintress, who went
+to Holland. She painted flowers so admirably, that she was said to
+rival the famous Zeghers.</p>
+
+<p>Among English flower-painters should not be forgotten Miss Elizabeth
+Blackwell, Miss Gray, Anna Ladd, Anna Lee, and Mary Lawrence, who
+busied herself with a splendid work on roses—painting and engraving
+the illustrations.</p>
+
+<p>Catherine Read painted beautiful family scenes, and obtained
+considerable reputation as a painter of portraits, both in oil and
+crayon. A crayon, in the possession of a lady of New York, was
+recognized as hers by an eminent American painter. She lived near
+St. James’s, and frequently sent pieces to the exhibition. Several
+mezzotint prints after her pictures were published. In 1770 she went to
+the East Indies, staid a few years, and returned to England. Her niece,
+Miss Beckson, also an artist, who went with her to the East Indies,
+afterward married a baronet.</p>
+
+<p>Some of Anna Trevingard’s pictures were engraved. Miss Drax and Miss
+Martin engraved from Tomkins and Der Petit; Miss Morland and Catharine
+Mary Fanshawe drew and engraved twenty pictures of historical scenes.
+The zealous and industrious Mary Spilsbury’s studies from country life,
+and particularly those in which she represented her rural scenes and
+sports of children, have been reproduced in engravings.</p>
+
+<p>It is certainly surprising that engraving and flower-painting<span class="pagenum" id="Page_191">[Pg 191]</span> did not
+boast at this time a greater number of distinguished followers.</p>
+
+<p>It now becomes our task to linger a moment over the history of a
+paintress whose genius and attainments won for her an enviable
+reputation, and whose life experience illustrates the condition and
+circumstances of art amid the higher classes of English society.</p>
+
+
+<h3>MARIA COSWAY.</h3>
+
+<p>Maria Hadfield was the daughter of an Englishman who became rich
+by keeping a hotel in Leghorn. It is said he lost four children in
+infancy, and detected a maid-servant in the avowal that she sent them
+to heaven out of love, and meant that the fifth, Maria, should follow
+the rest. The woman was imprisoned for life, and the child was sent
+to a convent to be educated. There she received lessons in music and
+drawing, in common with other branches. Returning home, she devoted
+herself to painting, and the acquaintance she afterward formed at Rome
+with Battomi, Mengs, Maron, and Fuseli, with her contemplation of
+the works of art in churches and palaces, contributed to the farther
+development of her talents.</p>
+
+<p>At her father’s death she formed the resolution of entering a cloister,
+but her mother persuaded her to accompany her first to London. There
+the young girl became acquainted with the interesting and popular
+Angelica Kauffman, who easily prevailed on her to relinquish all idea
+of taking the veil.</p>
+
+<p>The change of resolution was followed not long afterward by Maria’s
+marriage with Richard Cosway, a portrait and miniature painter, who
+occupied a high position, and whose soft, pliant, and idealized style
+was well adapted to please rich patrons whose vanity<span class="pagenum" id="Page_192">[Pg 192]</span> desired the most
+favorable representation. In his carefully-finished miniatures the most
+ordinary features were transformed into beauty, and pale, watery eyes
+were made to sparkle with intellectual expression. This faculty of
+beautifying rendered him the favorite of the wealthy and aristocratic.
+He was, moreover, a member of the Academy, and had the honor of
+being called a friend by the Prince of Wales, circumstances which
+contributed still more to make him the “fashion.” But, unfortunately,
+he had not good sense enough to wear these honors meekly. Vanity led
+him into ridiculous extravagances. He dressed in the extreme of the
+mode, and kept his servants costumed in the like absurd manner; he
+gave expensive entertainments, and succeeded in drawing around him a
+number of frivolous young sprigs of nobility, who would do him the
+favor of drinking his Champagne and scattering his money at play, and
+the next morning would amuse their “set” by laughing heartily over the
+pretensions of the “parvenu.”</p>
+
+<p>Such was the situation of Cosway when he fell in love with Maria
+Hadfield, wooed, and won her, and took his wife to his magnificently
+furnished house. Maria was very young, and, having come recently from
+Italy, was inexpert both in the English language and English customs.
+Her fashionable husband chose to keep her strictly isolated from all
+society till she should learn to appear with dignity and grace in the
+distinguished circles where he meant she should move.</p>
+
+<p>Meanwhile he caused her to complete her artistic education, and to
+practice on the lessons she received. Her miniatures soon gained such
+appreciation that the highest praise was awarded to them of all that
+appeared at the Royal Academy exhibitions. Maria was<span class="pagenum" id="Page_193">[Pg 193]</span> even pointed out
+in the street as the successful artist. Then arrived the time when,
+in Cosway’s opinion, she was fitted to become the central point of
+attraction in his house for the brilliant society he loved.</p>
+
+<p>Very soon the talk every where was of the young, beautiful, and gifted
+Italian. Cosway’s receptions were crowded, and half the carriages at
+his door contained sitters ambitious of the honor of being painted by
+the hand of his lovely wife. Her portrait of the beautiful Duchess of
+Devonshire in the character of Spenser’s Cynthia raised her to the
+pinnacle of reputation.</p>
+
+<p>Cosway, however, was too prudent, and, at the same time, too proud to
+permit his wife to be esteemed a professional painter, for he knew
+well that her productions would have greater value as the work of an
+amateur. To be painted by her was thus represented and regarded as
+a special favor; and costly presents were frequently added to the
+customary payments for her pictures.</p>
+
+<p>In another matter the husband was more indulgent. Maria was
+passionately fond of music, and he permitted her to exercise her gift
+of song at the brilliant companies invited to his magnificent abode.
+This completed the enchantment. Visitors came in such numbers that the
+house would scarcely contain them; and all who were fashionable, or
+had any aristocratic pretensions, were sure to be found in Cosway’s
+drawing-rooms. There would be the poet whose latest effusion was
+the rage in high circles; the author of the last sensation-speech
+in Parliament; any rising star in art, or any hero of a wonderful
+adventure; in short, all the lions of London were gathered in that
+place of resort, to see and to be seen, and, above all, to listen to
+the charming Cosway. The Honorable Mrs. Damer,<span class="pagenum" id="Page_194">[Pg 194]</span> Lady Lyttleton, the
+Countess of Aylesbury, Lady Cecilia Johnston, and the Marchioness of
+Townshend, were Maria’s most intimate friends, and were usually present
+to add splendor to her receptions; while among the men were General
+Paoli, Lords Sandys and Erskine, and his royal highness the Prince
+of Wales, the foreign embassadors being also invited upon special
+occasions.</p>
+
+<p>The mansion in Pall Mall was soon found too small to accommodate such
+an influx of visitors, and to display its master’s works and finery. A
+new one was taken in Oxford Street.</p>
+
+<p>Several of Cosway’s biographers mention the fact that the figure of a
+lion beside the entrance put it into some wag’s head to stick on the
+door an epigram that had a severe point, as the foppish little painter
+was “not much unlike a monkey in the face:”</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“When a man to a fair for a show brings a lion,</span><br>
+<span style="margin-left: 1em;">’Tis usual a monkey the sign-post to tie on;</span><br>
+<span style="margin-left: 1em;">But here the old custom reversed is seen,</span><br>
+<span style="margin-left: 1em;">For the lion’s without, and the monkey’s within.”</span><br>
+</p>
+
+<p>The artist left the house in consequence of this foolish joke, and
+fitted up another in the same street, with the magnificence of a fairy
+palace. The author of “Nollekens and his Times” says:</p>
+
+<p>“His new house he fitted up in so picturesque, and, indeed, so princely
+a style, that I regret drawings were not made of the general appearance
+of each apartment; for many of the rooms were more like scenes of
+enchantment, penciled by a poet’s fancy, than any thing perhaps before
+displayed in a domestic habitation. His furniture consisted of ancient
+chairs, couches, and conversation-stools, elaborately carved and
+gilt, and covered with the most costly Genoa velvets; escritoirs<span class="pagenum" id="Page_195">[Pg 195]</span> of
+ebony, inlaid with mother-of-pearl; and rich caskets for antique gems,
+exquisitely enameled, and adorned with onyxes, opals, rubies, and
+emeralds. There were also cabinets of ivory, curiously wrought; mosaic
+tables set with jasper, blood-stone, and lapis lazuli, having their
+feet carved into the claws of lions and eagles; screens of old raised
+Oriental Japan; massive musical clocks, richly chased with ormolu and
+tortoise-shell; ottomans superbly damasked; Persian and other carpets,
+with corresponding hearth-rugs, bordered with ancient family crests,
+and armorial ensigns in the centre; and rich hangings of English
+tapestry. The carved chimney-pieces were adorned with the choicest
+bronzes, models in wax, and terra-cotta; the tables were covered with
+old Sèvre, blue Mandarin, Nankin, and Dresden China; and the cabinets
+were surmounted with crystal cups, adorned with the York and Lancaster
+roses, which might probably have graced the splendid banquets of the
+proud Wolsey.”</p>
+
+<p>But splendor, fashionable position, success as an artist, and the
+friendship of princes and nobles could not make Richard Cosway happy.
+He saw the sneers lurking beneath the smiles of his aristocratic
+guests, and he heard the rumor that he was accused by other artists
+of using his talents to flatter the great, whose fleeting favor could
+not, after all, confer upon him lasting reputation. Maria’s health,
+too, began to fail; and, as the London climate was no longer endurable
+for her, her husband took her to travel on the Continent. They went
+to Paris and Flanders. One day, as they walked in the Gallery of the
+Louvre, Cosway pointed to the naked wall, and said his cartoons would
+look well in that place. He presented them to the French king,<span class="pagenum" id="Page_196">[Pg 196]</span> who
+accepted and hung them up, giving the painter in return four splendid
+pieces of Gobelin tapestry, which Cosway presented to the Prince of
+Wales.</p>
+
+<p>With improved health, Mrs. Cosway returned to England and resumed her
+brilliant parties. But her spirits again failing, she accompanied her
+brother to Italy, expecting her husband to join her.</p>
+
+<p>Three years’ residence in that soft clime quite restored her health,
+and she set out on her return to London. A new and terrible trial
+awaited her there: she was called to mourn the death of her only
+daughter.</p>
+
+<p>Again she departed for France, and, after the breaking out of the war
+between that country and England, pursued her journey to Italy. She
+established at Lodi a college for the education of young ladies on a
+plan she had arranged for a similar institution at Lyons.</p>
+
+<p>On the establishment of peace she returned to England, and became the
+tender nurse of her invalid husband, trying to solace the weary hours
+which were passed in weakness and pain.</p>
+
+<p>Upon Mrs. Cosway’s return, Smith informs us, “she had caused the body
+of their departed child, which her husband had preserved in an embalmed
+state within a marble sarcophagus that stood in the drawing-room of
+his house in Stratford Place, to be conveyed to Bunhill row, where it
+was interred, sending the sarcophagus to Mr. Nollekens, the sculptor,
+to take care of for a time. It is a curious coincidence that the same
+hour this sarcophagus was removed from Mr. Nolleken’s residence, Mr.
+Cosway died in the carriage of his old friend, Miss Udney, who had
+been accustomed, during his infirm state, occasionally to give him an
+airing,” and had taken him out that morning, as the weather was fine.</p>
+
+<p><span class="pagenum" id="Page_197">[Pg 197]</span></p>
+
+<p>Maria heard the sound of the returning wheels, and, hastening down
+to receive her husband, found only his lifeless corpse. He had died
+suddenly, upon a third and last attack of paralysis, July 4, 1821, at
+the advanced age of eighty.</p>
+
+<p>The widow returned to Lodi, where her ladies’ college was still
+flourishing. The place was endeared to her by many happy memories, and
+there she was loved and respected by a large circle of friends. She
+died in 1821.</p>
+
+<p>In her style Mrs. Cosway appears to have taken much from Flaxman and
+Fuseli. In many of her works something fantastic is embodied, which is
+associated with more of the wild and terrible than we usually find in
+the creations of a mind at ease. No doubt her inconsolable grief for
+the loss of her child was the cause of this unfeminine peculiarity. She
+originated compositions from Virgil and Homer, as well as from Spenser
+and Shakspeare.</p>
+
+<p>The engraving from a portrait of Maria Cosway represents her in the
+bloom of youth, with a profusion of light hair dressed after the
+then prevailing mode. The fresh and delicate loveliness of the face
+is most attractive, and there is a wonderful beauty in the large,
+soft eyes, and the artless innocence that beams in their expression.
+The celebrated Mrs. Cowley, in a letter to her, thus speaks of her
+portrait: “If you can draw every body as justly as the fair Maria
+Cosway, you will be the first portrait-painter in the kingdom.”</p>
+
+<p>She painted a portrait of Madame Le Brun. One of her latest works was
+a picture representing Madame Recamier as a guardian angel watching a
+slumbering child. “The Winter’s Day,” in twelve pieces, was a series
+by her, and she also published a book of<span class="pagenum" id="Page_198">[Pg 198]</span> drawings jointly with
+Hopner. Her “Lama,” exhibited at the Royal Academy in 1788, showed a
+female figure reclining by a stream; and the striking likeness to Mrs.
+Fitzherbert caused no little sensation.</p>
+
+
+<h3>MADAME TUSSAUD.</h3>
+
+<p>Madame Tussaud’s famous wax-work collection was first opened in Paris
+about 1770, by M. Courcius, her uncle. Though consisting then chiefly
+of busts, with a few full-length figures, it attracted much attention
+as a novelty; and Louis XVI. was wont to amuse himself by placing
+living figures, costumed, among the wax ones. In 1802 Madame Tussaud
+opened her exhibition in London; afterward visiting all the large towns
+in Great Britain. Her rooms were large and splendidly decorated, and
+her figures were magnificently dressed—some in their own royal robes,
+with crowns, stars, orders, and regal finery. Among the historical
+groups is one of Henry VIII. and his family. The exhibition is still
+kept up in the largest saloon in Europe, more than forty persons being
+kept constantly employed in the care of it.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_199">[Pg 199]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XIV">CHAPTER XIV.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Close of the golden Age of Art in France.—Corruption of
+Manners.—Influence of female Genius.—Reign of Louis XVI.—Female
+Energy in the Revolution.—Charlotte Corday.—Greater Number of
+female Artists in Germany.—Reasons why.—French Women devoted
+to Engraving.—Stamp-cutters.—A Sculptress enamored.—A few
+Paintresses.—The Number increasing.—Influence of the great
+French Masters.—Sèvres-painting.—Genre-painting.—Disciples
+of Greuze.—Portrait-painting in vogue.—Caroline
+Sattler.—Flower-painters, etc.—Engravers.—Two eminent
+Paintresses.—Adelaide Vincent.—Marriage.—Portraits and other
+Works.—The Revolution.—Elizabeth Le Brun.—Talent for Painting.—Her
+Father’s Delight.—Instruction.—Friendship with Vernet.—Poverty and
+Labor.—Avaricious Step-father.—Her Earnings squandered.—Success
+and Temptation.—Acquaintance with Le Brun.—Maternal Counsels
+to Marriage.—Secret Marriage.—Warnings too late.—The Mask
+falls.—Luxury for the Husband, Labor and Privation for the
+Wife.—Success and Scandal.—French Society.—Friendship with
+Marie Antoinette.—La Harpe’s Poem.—Evening Receptions.—Splendid
+Entertainments.—Scarcity of Seats.—Petits Soupers.—The Grecian
+Banquet.—Reports concerning it.—Departure from France.—Triumphal
+Progress.—Reception in Bologna.—In Rome.—In Naples.—In
+Florence.—Madame Le Brun’s Portrait.—Goethe’s Remarks.—New
+Honors.—Reception at Vienna.—An old Friend in Berlin.—Residence
+in Russia.—Return to France.—Loyalty.—Her Pictures.—Death of her
+Husband and Daughter.—Advanced Age.—Autobiography.—An emblematic
+Life.</p>
+</div>
+
+
+<p>The golden age of French literature and art came to a close with the
+life of Louis XIV. A shadow only of that fortunate epoch lingered
+during the years succeeding, and the general corruption of manners soon
+obliterated even that. But in the reign of Louis XV.<span class="pagenum" id="Page_200">[Pg 200]</span> were glimpses of
+a better state of things, and the influence of female genius and merit
+was apparent, as a long list of names in literature can testify. Vice
+held sway, however, in the latter years of this monarch, and hypocrisy
+became the only homage paid by the court to virtue.</p>
+
+<p>The sceptre passed into the hands of Louis XVI., a feeble prince, whose
+virtues were those of the man, not the sovereign. When the throne was
+shattered, and revolution broke out, the women of France regained
+their energy. They were heroines under the sway of the Decemvirs. What
+self-sacrifice, for example, can outshine that of Charlotte Corday—the
+greater than Brutus? And what was begun by a woman, a woman completed:
+Madame Cabarrus shared in the glory of those great events! Those days
+had writers, too, whom posterity has crowned with the garland woven by
+their contemporaries.</p>
+
+<p>In comparing woman’s progress and her cultivation of art in France
+with those of other nations, and especially the German, we may notice
+important differences. The number of female artists was far greater in
+Germany, perhaps because many cities in that land were central points,
+affording employment to labor, and appreciation to those who devoted
+themselves to the profession; whereas in France Paris alone was the
+great rendezvous. There were, also, several branches of art cultivated
+in Germany which in France were little practiced by women, such as
+landscape-painting, for instance. The French women devoted themselves
+much more to engraving than in Germany; in fact, engravers formed the
+majority of female artists in France, where, moreover, female effort
+was more in a strictly business line than in any other country. With<span class="pagenum" id="Page_201">[Pg 201]</span>
+this professional devotion among the women engravers in France, it
+follows that there were few amateurs; while, on the other hand, those
+in Germany and England who handled the implements of art as dilettanti
+were very numerous.</p>
+
+<p>Glancing over the prominent Frenchwomen who enjoyed a reputation among
+their contemporaries during the eighteenth century, we may notice the
+stamp-cutters Marie Anne de St. Urbin and Elise Lesueur, with the
+sculptress Mademoiselle Collot, who afterward married Falconnet, and
+assisted him in the completion of the statue of Peter the Great. She
+was said to be enamored of the czar, and to have executed the finest
+bust of him extant. The female painters of this period are but little
+known. In the early part of the century, Lucrece Catherine de la Ronde
+and Elizabeth Gauthier engraved after Edelinck and Langlais. Marie
+Catherine Herault accompanied her husband, the painter Silvestre, to
+Dresden; and Geneviéve Blanchot, and the Dames Godefroy and Davin,
+among others less noted, complete the list during the first half of the
+century.</p>
+
+<p>The number of devotees to art, however, was rapidly increasing, as the
+ateliers of Regnault, David, and Redouté could bear witness, when they
+became central points of reunion for female enterprise and study.</p>
+
+<p>The influence of those celebrated men, whose fair scholars have
+exercised their talents in the nineteenth century, brought more into
+vogue the tender and emotional kind of genre-painting, shown by Greuze
+and Fragonard to be so well adapted to the taste and the feeling of
+woman. Marguerite Gérard, the sister-in-law and pupil of Fragonard,
+in this manner painted scenes of domestic life and family groups
+with much<span class="pagenum" id="Page_202">[Pg 202]</span> grace and repose. A Madame Gérard has been mentioned as a
+dilettante, who possessed a large fortune, and had a hotel furnished
+with facilities for painting Sèvres. Her splendid cupboards of polished
+mahogany were gilded and bronzed, and their contents looked like a
+rich collection for the gratification of taste rather than for sale.
+She purchased some pieces for sixty and eighty louis-d’ors. A pair
+of vases, not very large, painted with sacred subjects, sold for
+twenty-six thousand livres.</p>
+
+<p>The genre style was practiced by Mademoiselle Duquesnoy and Madame
+Gois. Greuze’s manner was also imitated by his wife, Anna Gabrielle,
+with Marie Geneviéve Brossard de Beaulieu, who had the honor of
+membership in the Academies of Paris and Rome.</p>
+
+<p>Other disciples of this school entered into their profession after the
+commencement of the nineteenth century; and they, with the pupils of
+Regnault, Redouté, and David, belong to a later period than that under
+discussion.</p>
+
+<p>Portrait-painting was more in vogue than any other kind, and that
+almost altogether in oil; while miniature-painting, so much in favor
+among the women of Germany, was in France much less practiced. Among
+those who gained some celebrity, Caroline Sattler deserves mention. She
+studied in Paris, and was not only received as a member of the Academy
+in that city, but was honored with the title of Professor. Some time
+afterward she gave her hand to a merchant named Tridon, and went to
+live in Dresden.</p>
+
+<p>Landscape-painting was practiced by very few women. In flower-painting
+Madeleine Françoise Basseporte was noted. She was born in 1701,
+received her instruction from Aubriet, and in 1743 succeeded him in<span class="pagenum" id="Page_203">[Pg 203]</span>
+his official appointment in the <i lang="fr" xml:lang="fr">Jardin des Plantes</i>. She painted
+a series of pieces for the collection of the Duc Gaston d’Orleans,
+which are still exhibited as masterworks of art.</p>
+
+<p>Madame Kugler, the wife of Von Weyler, painted the portraits of
+distinguished persons in ivory, and had fine pieces, in enamel and
+pastel, in the exhibition in 1789. She was employed by the government,
+and worked after her husband’s plans. For twelve years she was
+distinguished for her labors.</p>
+
+<p>Mesdames Charpentier, Surigny, Capet, Bruyère, Michaud, Davin, Mirnaux,
+Anzon, and Benoit—who painted the emperor—were also well known as
+artists.</p>
+
+<p>Susanna Silvestre came of a French family of painters. She copied heads
+and portraits after Vandyck.</p>
+
+<p>As to the class of women, already noticed, who embraced the profession
+of engravers, they were almost innumerable; yet it is difficult to
+select any who merit special attention. One of the number—Marguerite
+Leconte—about the middle of the century was a member of Art-academies
+in Rome, Florence, and Bologna, and enjoyed a position of high
+distinction. Geneviéve Naugis, born in Paris in 1746, worked before
+she became the wife of Regnault. She copied plants from nature, and
+engraved in copper; she also copied history-pieces after different
+masters.</p>
+
+<p>Fanny Vernet engraved the pictures painted by her husband, Charles
+Vernet; and, in her son Horace, gave to French art one of its greatest
+ornaments.</p>
+
+<p>Elizabeth Clara Tardieu was the wife of an eminent French engraver, and
+was accustomed to practice the art herself with success.</p>
+
+<p>Mary Magdalen Hortemels, the daughter of a French engraver, and the
+wife of Cochin, was a noted engraver.<span class="pagenum" id="Page_204">[Pg 204]</span> She executed with the point and
+finished with the graver, in a light and pleasing style. Several of
+the plates for Monicart’s treatise on the pictures, statues, etc., at
+Versailles were done by her.</p>
+
+<p>Marie Rosalie Bertaud and Louise Adelaide Boizot were excellent
+engravers.</p>
+
+<p>Anne Philibert Coulet was an ingenious engraver of landscapes and
+marine views; she wrought in a delicate and pleasing style.</p>
+
+<p>We will now throw back a look upon two female painters, who won for
+themselves a nearly equal renown, and who are admirably adapted—each
+in her own personal history, and the view of her early efforts—to be
+representatives of the condition and characteristics of French art at
+that period; and, withal, of the prevalent state of society. These
+women are Adelaide Vincent and Louise Elise Le Brun.</p>
+
+
+<h3>ADELAIDE VINCENT.</h3>
+
+<p>Adelaide Vertus Labille was born in Paris in 1749, and received her
+earliest lessons in painting in that city, from J. E. Vincent, of
+Geneva. This artist had come to Paris a short time before her birth,
+had gained consideration as a painter of miniature portraits, and was
+received a member of the Academy. Adelaide’s teacher in pastel-painting
+was at first Latour; but when the son of her childhood’s
+master—François Antoine Vincent, who had shared her studies in his
+father’s atelier, as a boy, three years older than herself—came back
+to Paris, she determined to join him both in the pursuit of art and the
+journey of life. Her first husband had been M. Guyard; her second was
+the younger Vincent.</p>
+
+<p>Adelaide painted a great number of portraits, among<span class="pagenum" id="Page_205">[Pg 205]</span> which those of
+artists were most noted. One of these—the portrait of the sculptor
+Gois—won the prize offered by the Academy, and gained for the fair
+artist such celebrity that even the works of her famous rival Madame Le
+Brun were thought inferior to it.</p>
+
+<p>A distinguished mark of appreciation was the appointment of Madame
+Vincent as regular member of the Academy; this took place on the 31st
+March, 1781. When the storm of the Revolution burst upon France she
+adhered to the party of her husband, whose attachment to the royal
+family caused him to live in continual hostility with the republican
+painter David. One of her works was a large picture, in which the
+figures were of life size, representing herself before the easel, and
+her pupils around her; among them Mademoiselle Capet, the Duchess of
+Angoulême, and several other members of the royal family, by whom she
+was greatly esteemed and frequently employed.</p>
+
+<p>Another of her greatest productions represents the reception of a
+member into the Order of St. Lazarus, by Monsieur, the king’s brother,
+grand master of the order, who had given her the appointment of court
+painter. This picture was destroyed during the Revolution, and its loss
+caused the artist so much vexation that she would rarely touch the
+brush afterward. Among her subsequent productions, a portrait of her
+husband was celebrated at the time.</p>
+
+<p>This accomplished woman, crowned with honors by her contemporaries,
+both as an artist and in social life, and esteemed by a large circle of
+friends, died in 1803.</p>
+
+<p><span class="pagenum" id="Page_206">[Pg 206]</span></p>
+
+
+<h3>ELIZABETH LE BRUN.</h3>
+
+<p>The other distinguished artist alluded to is Marie Louise Elizabeth
+Vigée, who, under her married name, Le Brun, is widely known as one of
+the most celebrated women belonging to the eighteenth and nineteenth
+centuries.</p>
+
+<p>She was born in Paris, April 16th, 1755. Her father was a skillful
+portrait-painter, and, amid the sports of childhood in her home, she
+became acquainted with the principles that form the ground-work of this
+art. She showed very early both disposition and talents for painting.
+When only seven or eight years of age she drew a sketch of a bearded
+man, which when her father saw, recognizing it as a token of the
+presence of genius, he exclaimed, rapturously, “You shall be a painter,
+my daughter, or there never was one!”</p>
+
+<p>Elizabeth long remembered this occurrence, and, in her memoir of
+herself, speaks of the deep impression made upon her childish feelings
+by the praises her father lavished on this early production.</p>
+
+<p>The lessons she received at home were soon found insufficient for her
+rapidly-developing talent. She was introduced, as a pupil in drawing,
+to Briard, a painter of considerable merit, who excelled in outline and
+sketching. Her teacher in coloring was Davesne, after whom a picture
+of Marie Antoinette as Dauphine of France was engraved. The celebrated
+Joseph Vernet, then in the midst of his brilliant career, gave her
+valuable advice, and always took a fatherly interest in the gifted
+child. Her own father died when she was only thirteen years old, but
+her mother permitted her to continue her studies of the great masters
+in the public galleries.</p>
+
+<p><span class="pagenum" id="Page_207">[Pg 207]</span></p>
+
+<p>Here the maiden copied from the mighty works of Rubens, from the
+portraits of Rembrandt and Vandyck, and from the delicate and charming
+female heads of Greuze. Thus the ground-work was laid of her future
+eminence as a colorist, and it was not long ere she was sufficiently
+advanced to make considerable profit out of her labors.</p>
+
+<p>Her father had left no property at his death, and her mother had
+been too long accustomed to a brilliant and luxurious Parisian life
+not to feel privations sorely. She sought the means of indulgence in
+her accustomed pleasures by availing herself of the talents of her
+daughter, who now found herself obliged to support the family with her
+earnings.</p>
+
+<p>Even when the mother entered into a second marriage, some years
+later, the condition of things was not improved. Madame Vigée, wedded
+to a rich jeweler, found herself disappointed in the expectation of
+increased means to minister to her vanity and extravagance. From
+the day of the bridal the husband showed himself so avaricious and
+penurious, that he refused to furnish his wife and step-daughter even
+the necessaries of life.</p>
+
+<p>The labors of our poor little Elizabeth were again in requisition;
+and though her old friend Vernet advised her to give her parents only
+an allowance from her earnings, and reserve the remainder for her
+own use, all she could procure was taken from her and spent, either
+in the purchase of articles for the family, or for the gratification
+of her mother’s unbounded fondness for dress, promenades, and public
+amusements.</p>
+
+<p>Wherever the youthful maiden appeared she was noticed for her extreme
+beauty, as well as talked about for her wonderful talents, and the
+general interest in<span class="pagenum" id="Page_208">[Pg 208]</span> her professional career seemed to go hand in hand
+with admiration of her rare personal loveliness. She tells us, in her
+memoirs, of several men enamored of her, who bespoke portraits from
+her hand in the hope, during the sittings, of making progress in her
+favor; but her love for art, as well as the principles of morality and
+religion in which she had been reared, rendered her proof against all
+such attempts to undermine her virtue.</p>
+
+<p>When only fifteen years old she painted a portrait of her mother,
+which proved so admirable a piece of work that Vernet counseled her
+to present it to the Academy with an application for admission.
+Elizabeth’s extreme youth prevented her being received as a member, but
+she was permitted, a few years later, to be present at all the public
+sittings of the Academy.</p>
+
+<p>It was about this time that she became acquainted with Jean Baptiste
+Pierre Le Brun, a painter and picture-dealer, who was then considered
+one of the first connoisseurs of Europe. He paid devoted attention
+to the lovely young artist, inducing her to visit his rare and rich
+collection for the purpose of study, while he manifested the deepest
+interest in her success. Six months after his introduction he became a
+suitor for her hand. She says, in her autobiography,</p>
+
+<p>“I was far from the thought of marrying M. Le Brun, although he
+possessed a handsome face and agreeable person; but my mother, who
+imagined him very rich, never ceased urging me not to refuse so
+advantageous a proposal. So at length I yielded; but the marriage was
+only an exchange of one kind of trouble for another. Not that M. Le
+Brun was a bad-hearted man. His character showed a mixture of softness
+and vehemence; and his complaisance to every<span class="pagenum" id="Page_209">[Pg 209]</span> one made him popular. But
+he was unhappily too fond of the society of disreputable females, and
+this degrading propensity led him to a passion for gaming that ruined
+both of us in point of fortune. So completely had he run through all we
+possessed, that in 1789 I had not twenty francs for my journey out of
+France, although my earnings had amounted to more than a million.”</p>
+
+<p>The marriage, which on the husband’s part was a mere matter of
+speculation, for he relied on the talents of his bride to rid him
+of his creditors, and enable him to live in ease and luxury, was
+one of those alliances common in Paris in the reign of Louis XV.
+The experience of our heroine was characteristic of the times. Le
+Brun had been previously engaged to the daughter of a wealthy Dutch
+picture-dealer, with whom he had transacted business. He begged
+his wife to keep their marriage a secret till his former business
+arrangements were satisfactorily adjusted. Madame consented, although
+she was placed in a most painful position, being beset with warnings
+and entreaties from her friends, urging her not to enter into a union
+sure to be productive of unhappiness—when, alas! the mischief was
+already accomplished. The Duchesse d’Aremberg predicted misery as
+the result of such a marriage; the court jeweler, Auber, a friend
+of her youth, advised her “rather to tie a stone round her neck and
+throw herself into the river than to commit such a piece of folly and
+madness.”</p>
+
+<p>The young wife, however, still kept her faith in the excellence of her
+beloved. At last the completion of his business arrangements enabled
+him to declare the marriage publicly, and very soon it appeared that
+all these warnings were but too well founded. Le Brun<span class="pagenum" id="Page_210">[Pg 210]</span> first took
+possession of all the hard-earned property of his wife, and compelled
+her to increase her income by taking pupils. The sole advantage
+this accession of means procured for her was the more active and
+incessant employment that prevented her from feeling too bitterly the
+disappointment of her hopes of happiness in domestic life. Her husband
+took the money paid for her pictures and lessons to squander it on his
+own selfish indulgences. He occupied the first floor of the house,
+furnished in magnificent style, and surrounded himself with costly
+luxuries; while his wife was obliged to content herself with the second
+story, and with very plain living. Such a state of things in married
+life, however, was not unusual toward the close of the reign of Louis
+XV., and it excited no surprise.</p>
+
+<p>While matters stood thus, Le Brun obtained the credit of being an
+indulgent husband by the indifference he showed in allowing even
+persons of questionable character to visit his wife, while he seldom
+appeared in her circles, and by his disregard of sundry cautions and
+rumors on the subject. Scandal, which rarely spares an ill-used wife,
+unless the austere seclusion of her life be more than hermit-like,
+whispered terrible things of Madame Le Brun, and she was even accused
+of owing the large sums paid for her pictures more to personal favors
+than to her merit as a painter. Conscious of innocence, she was wont
+to complain to her husband of such injustice, and he would answer,
+jestingly,</p>
+
+<p>“Let people talk. When you die I will put up a lofty pyramid in my
+garden, inscribed with a list of the portraits you have painted, and
+then the world will know how you have come by the money you have made.”</p>
+
+<p><span class="pagenum" id="Page_211">[Pg 211]</span></p>
+
+<p>Such mocking sympathy was all the return for her confidence and earnest
+appeals for protection from the unworthy husband who continued to live
+in luxury at her expense.</p>
+
+<p>When twelve thousand francs were sent Elizabeth for a portrait of the
+son of Princess Lubomirska, Le Brun appropriated to his own use the
+entire sum except two louis-d’ors, which he gave his wife out of it.</p>
+
+<p>With feelings wounded, and alienated from him by such treatment, Madame
+Le Brun at length appears to have resolved to make herself as happy
+as possible in her own way. French society was then corrupted to the
+core, and it was difficult to move in it without partaking of the
+contamination. It was especially so for one whose education had been
+superficial, and who had never learned to emulate the example of those
+pure devotees to art who had found in that a power to preserve and
+guide them, even amid the intrigues and dissipation of the circles that
+surrounded them.</p>
+
+<p>Madame Le Brun had obtained the favor and intimate friendship of
+persons of very high rank. Marie Antoinette not only sent to her for
+her picture, but was accustomed to ask her to sing with her, the
+painter being almost as celebrated for her “silver voice” as for her
+professional merits. The public honors lavished upon her aided to make
+her labors profitable.</p>
+
+<p>On one occasion, at a sitting of the French Academy, La Harpe recited a
+poem in honor of female genius. When he came to the lines—</p>
+
+<p class="poetry" lang="fr" xml:lang="fr">
+<span style="margin-left: 1em;">“Le Brun—de la beauté le peintre et le modèle,</span><br>
+<span style="margin-left: 1em;">Moderne Rosalba, mais plus brillante qu’elle,</span><br>
+<span style="margin-left: 1em;">Joint la voix de Favart au sourire de Vénus—”</span><br>
+</p>
+
+<p class="p0">the whole assembly rose, not even, excepting the Duchesse de Chartres
+and the King of Sweden, and<span class="pagenum" id="Page_212">[Pg 212]</span> the fair artist was stunned with a burst
+of enthusiastic applause.</p>
+
+<p>Her admission into the Academy, which had been hitherto prevented by
+personal jealousies and other hinderances, now took place, on the
+presentation of her own portrait, in 1783. This picture she had painted
+after the famous one by Rubens—“<i lang="fr" xml:lang="fr">Le chapeau de paille</i>”—which
+she had seen the year before when on a visit to Belgium. Her work was
+so admirable that Vernet, her ever faithful friend, saw at once that he
+could by its means procure the immediate enrollment of her name among
+the members of the Academy.</p>
+
+<p>In the “poor dwelling” to which M. Le Brun’s extravagance consigned
+her, she managed to hold every week an evening reception,
+notwithstanding the limited accommodations. Her house became the
+rendezvous for all the celebrities of Paris, and for much of its
+beauty and high rank. Curious stories were afloat in regard to her
+expenditures in entertaining the dignified personages who visited
+her. It was said that her table was covered with gold plate; that her
+apartments were warmed with aloes-wood, and even that she kindled her
+fire with bank-notes. The absurdity of such rumors may well lead one
+to doubt others in the <i lang="fr" xml:lang="fr">chroniques scandaleuses</i> of the day, more
+nearly affecting her reputation.</p>
+
+<p>It is certain, however, that she received guests of the highest
+distinction, and that her receptions were crowded to excess. The want
+of chairs often compelled her visitors to seat themselves on the
+ground. Madame Le Brun herself describes, with evident pleasure in the
+recollection, the embarrassment of the fat old Duc de Noailles, who one
+evening had to stand a long time, on account of the scarcity of seats.</p>
+
+<p><span class="pagenum" id="Page_213">[Pg 213]</span></p>
+
+<p>Music was generally a part of the entertainment, and the fair hostess,
+though she had paid little attention to the superior cultivation of
+that art, sang most charmingly. Grétry, Sachini, and Martini here
+rehearsed scenes from the new operas before their representation;
+Garat, Azevedo, Richer, and Madame Le Brun supplied the vocal music,
+while the instrumental would be furnished by Viotti, Jarnowich,
+Maestrino, Cramer, Hülmandel, and Prince Henry of Prussia, brother to
+Frederick William III. He was said to be a celebrated amateur.</p>
+
+<p>The <i lang="fr" xml:lang="fr">petits soupers</i> which usually terminated these delightful
+<i lang="fr" xml:lang="fr">soirées</i>, and to which only a few favored guests were invited,
+became renowned throughout France. They were said to be brilliant in
+Attic elegance and Parisian luxury. The popular Delille, the piquant
+author Le Brun, who first flattered the royal family and then became
+the Pindar of the Revolution; the luxurious Boufflers, the Vicomte de
+Segur, were among the frequenters of this sanctuary of the muses and
+the graces. The suppers, indeed, had a European celebrity.</p>
+
+<p>One day the brother of Madame Le Brun read aloud from the travels of
+Anacharsis a description of an ancient Grecian banquet. The fancy came
+into the lady’s head of arranging one of her suppers in imitation of
+the feasts of the luxurious Aspasia.</p>
+
+<p>The cook was immediately furnished with receipts for Greek sauces; the
+“little” supper-room was changed into a classic banqueting-hall, and a
+table made according to the antique fashion was set in the middle of
+the room, surrounded with Grecian draperied couches. A request was sent
+to the Comte de Pezay, who lived in the same building, for an antique<span class="pagenum" id="Page_214">[Pg 214]</span>
+mantle of regal purple, while the Marquis de Cubières was levied on for
+a golden lyre, on which he was skilled in playing.</p>
+
+<p>Le Brun—not the husband, but the poet—was arrayed by the fair
+hands of the artist—whose taste in picturesque costume none could
+question—with the purple robe and a classic wig, adorned with a laurel
+wreath. He was thus fitted to bear his part as Pindar or Anacreon! Some
+young ladies, noted for their beauty, were dressed in Greek tunics,
+with classic coiffures, to figure as Athenian maidens; while the
+gentlemen guests underwent a corresponding transformation.</p>
+
+<p>Those favored with invitations to this select entertainment took their
+places to the music of the golden lyre, and the classic air composed by
+Gluck,</p>
+
+<p class="poetry" xml:lang="fr" lang="fr">
+<span style="margin-left: 1em;">“Le Dieu de Paphos et de Gnide,”</span><br>
+</p>
+
+<p class="p0">while the Pindar of the evening sang Anacreontic odes.</p>
+
+<p>Among the delicacies that covered the board were eels and birds dressed
+with Greek sauces and garnished with honey-cakes; figs, and olives,
+and grapes of Corinth. Two beautiful slaves—Mademoiselle de Bonneuil
+and Mademoiselle Le Brun—served the guests with Cyprian wine, in cups
+brought from buried Herculaneum.</p>
+
+<p>Two guests arrived late—the Comte de Vaudreuil and the financier
+Boutin—who had not been prepared for the surprise. They stood still,
+dumb with amazement, at the threshold, and seemed to think themselves
+transported to Athens in her day of intellectual glory!</p>
+
+<p>The next day the classic banquet given by Madame Le Brun was the talk
+of all Paris. She was entreated to repeat the entertainment, but with
+proper tact declined.<span class="pagenum" id="Page_215">[Pg 215]</span> Some of her acquaintances took offense at the
+refusal and at their own exclusion, and revenged the slight (as she
+says) by slandering her to the king. It was averred the supper had cost
+twenty thousand francs, and Cubières had much ado to undeceive his
+majesty.</p>
+
+<p>The story and the fame of the banquet traveled over the Continent; by
+the time it had reached Rome the cost had swelled to forty thousand;
+and in Vienna, the Baroness Strogonoff assured Madame Le Brun, it
+was reported she had spent sixty thousand. In St. Petersburg it was
+naturally as much as eighty thousand. “The fact is,” says Madame Le
+Brun, “the little affair cost me only fifteen francs.” She may be
+relied on as to her share of the expense, although the cost to others
+may have been somewhat greater.</p>
+
+<p>Such exaggerated rumors, and the gossip growing out of them, caused
+some disagreement in the general estimation of Madame Le Brun’s talents
+and character. The homage she had received and continued to receive
+from the nobility, with her appointment as painter-in-ordinary to the
+queen, and the favors heaped on her by the court, helped to render her
+obnoxious to a people among whom attachment to royalty and aristocratic
+forms began to be regarded as a crime.</p>
+
+<p>France was on the eve of that Revolution which was destined to uproot
+the existing order of things, and the woman whom Marie Antoinette
+had made her companion was not likely to escape without opprobrium.
+Besides, had she not, in 1774, before her marriage, published a work
+entitled “<i lang="fr" xml:lang="fr">Amour des Français pour leur roi</i>?”</p>
+
+<p>When the Revolution broke out, Madame Le Brun<span class="pagenum" id="Page_216">[Pg 216]</span> perceived that she could
+no longer remain in France. The law protecting artists, and permitting
+them to travel in their vocation, was available for her departure.</p>
+
+<p>She resolved to go to Italy, and, with poignant grief, bade adieu to
+her home and friends. But the journey commenced so sadly proved a
+triumphant progress, crowned with tokens of respect and homage.</p>
+
+<p>In Bologna she was at once declared a member of the Academy. At Rome
+she was welcomed by a deputation of artists, who went to meet her;
+while the painter Menageot, who had just been appointed director of
+the French Academy, assigned her apartments in the palace of the
+institution.</p>
+
+<p>In Naples she was received with marks of distinction by the queen, the
+sister of Marie Antoinette, and here several residents of rank sat to
+her for their portraits—among others, the beautiful Lady Hamilton,
+whom the artist painted as a Bacchante reclining on the sea-shore. This
+picture was highly praised, and spread far and wide the fame of Madame
+Le Brun.</p>
+
+<p>In Florence she was requested to paint a portrait of herself for the
+collection of originals to which reference has already been made.
+She finished the portrait for this gallery, where it was placed in
+1790, two years after that of Angelica Kauffman had been added to the
+collection.</p>
+
+<p>Goethe says of the portrait of Angelica Kauffman, comparing it with
+that of Madame Le Brun in the same gallery: “It has a truer tone in
+the coloring; the position is more pleasing, and the whole exhibits
+more correct taste and a higher spirit in art. But the work of Le
+Brun shows more careful execution; has more vigor in the drawing, and
+more delicate touches.<span class="pagenum" id="Page_217">[Pg 217]</span> It has, moreover, a clear, though somewhat
+exaggerated coloring. The Frenchwoman understands the art of adornment;
+the head-dress, the hair, the folds of lace on the bosom—all are
+arranged with care, and, as one might say, <i lang="fr" xml:lang="fr">con amore</i>. The
+piquant, handsome face, with its lively expression, its parted lips
+disclosing a row of pearly teeth, presents itself to the beholder’s
+gaze as if coquettishly challenging his admiration, while the hand
+holds the pencil as in the act of drawing. The picture of Angelica,
+with the head gently inclined, and the soft, intellectual melancholy of
+the countenance, evinces higher genius, even if, in point of artistic
+skill, the preference would be given to the other.”</p>
+
+<p>From a comparison of the two portraits, a contrast might be drawn in
+the contemplation of the lives and characters of the two artists. But
+we will return to Madame Le Brun, whom we find pursuing the journeys
+she made as a conqueror, receiving new honors and new tributes wherever
+she passed.</p>
+
+<p>After visiting Florence and Parma, where she was elected a member
+of the Academy, she went to Venice, Verona, and Milan. Italy—the
+land where the fairest fruits of female genius in painting had been
+found—seemed eager to pay the homage of admiration to the gifted
+daughter of another clime. Compliments and felicitations were showered
+upon her by the countrymen of a Sirani and a Robusti.</p>
+
+<p>She came at length to Vienna, where the Count Kaunitz received her with
+friendly welcome, and immediately introduced her at court. A golden
+harvest here awaited her efforts, and gallant attentions from persons
+in high places were not wanting. The Prince de Ligne—a type of the
+cavaliers of the <i lang="fr" xml:lang="fr">ancien régime</i>,<span class="pagenum" id="Page_218">[Pg 218]</span> whom she had known in former
+years at the court of Versailles—devoted himself to her service, and
+sang her praises in amatory verses.</p>
+
+<p>Visiting Berlin, she found an old friend in the person of Prince Henry,
+and had a very favorable reception at court. Thence she went to St.
+Petersburg, where she lived some years in a brilliant circle of society
+under the protection of the Empress Catherine II. and Paul I.</p>
+
+<p>The honors heaped upon her were crowned in 1800 by her election to
+membership in the Academy of Arts; but, notwithstanding the favor in
+which she stood with the imperial family and the nobility, and the
+influx of wealth that grew out of their kindness and the extended
+appreciation of her paintings, the condition of her health at last
+obliged her to quit Russia. The entreaties of the emperor and empress
+could not prevail upon her to remain longer than 1801.</p>
+
+<p>In July of that year she returned to Berlin and received the honor
+of being chosen a member of the Academy. Orders for portraits were
+not wanting, but her short stay made it impossible to undertake them.
+Passing through Dresden she returned to the native land for which her
+heart had ever pined, arriving in safety at Paris in the winter of the
+same year.</p>
+
+<p>The misfortunes of the Bourbons had filled her breast with sympathizing
+grief wherever the news had reached her. She remained true to them
+through all reverses, living to witness both the restoration and second
+and final exile of that royal line. This loyal feeling manifested
+itself even in her relations to the imperial family, when they were in
+possession of the throne.</p>
+
+<p><span class="pagenum" id="Page_219">[Pg 219]</span></p>
+
+<p>Her picture of “Venus binding Love’s wings” had been engraved in Paris
+by Pierre Villu, in 1787. In London she was attacked by the painter
+Hoppner, who depreciated her works, and charged her with mannerism. She
+succeeded, nevertheless, in obtaining distinguished patrons. Two pieces
+that spread her renown were, a knee-piece of the Prince of Wales, and
+one of the Signora Grassini in a classic character. The draperies are
+luxuriant and rainbow-colored.</p>
+
+<p>Sir Joshua Reynolds, when questioned by Northcote on the merits of two
+of her portraits, pronounced them “as fine as those of any painter,”
+and he would not except Vandyck, though his remark has been attributed
+to a generous unwillingness to interfere with the brief summer of her
+popularity. After a residence of three years in England she came to
+Paris to paint the portrait of Madame Murat.</p>
+
+<p>At Coppet, whither she went on a journey into Switzerland in
+1808-9, she painted a portrait of Madame de Staël, which aided much
+in spreading her reputation. Having returned from this tour, she
+purchased a country-seat near Marly, which became, as her house in
+Paris had been, the resort of a highly cultivated and brilliant
+society. Especially at the period of the Restoration, public attention,
+influenced by that of the court, seemed turned to Madame Le Brun with
+greater earnestness than ever.</p>
+
+<p>The husband of this accomplished woman died in 1813, and five years
+afterward she lost her only daughter. Her death was followed by that
+of the brother to whom Madame Le Brun was so much attached. These
+multiplied afflictions weighed heavily upon her desolate heart. She
+sought consolation in renewed devotion to her art, and worked in her
+profession as<span class="pagenum" id="Page_220">[Pg 220]</span> assiduously as ever, notwithstanding the infirmities of
+advanced age. When eighty years old she painted the portrait of her
+niece, Madame de Riviere, and so remarkable for vigorous coloring and
+lively expression was this picture that it has been preserved among the
+best specimens of her powers in their prime of energy.</p>
+
+<p>About this time, in 1835, she gave the world her autobiography, in the
+work entitled “Souvenirs.” In this memoir she enumerates the paintings
+which she had at that time executed during her life. She had finished
+six hundred and sixty-two portraits, fifteen large compositions, and
+two hundred landscape-pieces, sketched during her travels in England
+and Switzerland.</p>
+
+<p>She had nearly completed her eighty-seventh year at the time of her
+death, March 30th, 1842. Her long life had been as richly productive in
+earnest labor as in the reward of success, and in manifold enjoyment.
+It may, indeed, be regarded, in its rare bloom and vigor, as a type of
+that brilliant period, gay and luxuriant on the surface, but concealing
+numerous imperfections, which preceded the French Revolution, and led,
+as a natural consequence, to that tremendous outbreak.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_221">[Pg 221]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XV">CHAPTER XV.<br><span class="small">THE EIGHTEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Women Artists in Spain.—Their Participation a Test of general
+Interest.—Female Representatives of the most important Schools.—That
+of Seville.—Of Madrid.—The Paintress of Don Quixote.—Ladies
+of Rank Members of the Academy.—Maria Tibaldi.—Two female
+Artists besides two Poetesses in Portugal.—The Harvest greater
+in Italy.—Few attained to Eminence.—Learned Ladies.—Female
+Doctors and Professors.—Degrees in Jurisprudence and Philosophy
+conferred on them.—Examples.—The Scholar nine Years old.—A lady
+Professor of Mathematics.—Women Lecturers.—Comparison with English
+Ladies.—Brilliant Devotees of the Lyre.—Female Talent in the
+important Schools of Art.—Women Artists in Florence.—Engravers and
+Paintresses.—In Naples.—Kitchen-pieces.—In the Cities of northern
+Italy.—In Bologna.—Princesses.—In Venice.—Rosalba Carriera.—Her
+childish Work.—Her Genius perceived.—Instruction.—Takes to
+Pastel-painting.—Merits of her Works.—Celebrity.—Invitations
+to Paris and Vienna.—Visit from the King of Denmark.—Invited
+by the Emperor and the King of France.—Portrait for the Grand
+Duke of Tuscany.—The King of Poland her Patron.—Unspoiled by
+Honors.—Her moral Worth.—Residence in Paris.—Her Pictures.—The
+Lady disguised as a Maid-servant.—Want of Beauty.—Anecdote of the
+Emperor.—Rosalba’s Journal.—Visit to Vienna.—Presentiment of
+Calamity.—The Portrait wreathed with gloomy Leaves.—Blindness.—Loss
+of Reason.—Death and Burial.—Her Portrait.—Other Venetian Women.</p>
+</div>
+
+
+<p>A glance at the women artists of the romantic South will close this
+general survey of the eighteenth century. In Spain we find few worthy
+of mention. Since the commencement of the Bourbon dynasty interest in
+art had ceased to be the essential element in the national life that
+it had been under the sway of<span class="pagenum" id="Page_222">[Pg 222]</span> the house of Hapsburg throughout the
+seventeenth century. And in the Peninsula the truth was made apparent
+that the participation of women is a test and measure of the general
+interest in the studies and products of art prevailing among any people.</p>
+
+<p>The most important schools, however, were not entirely without female
+representatives. Linked with that of Seville, we hear the name of the
+portrait-painter, Maria de Valdes Leal; her father and tutor, Don Juan
+de Valdes, after the death of Murillo, was regarded as the first living
+master of this school.</p>
+
+<p>That of Madrid had among its disciples Clara and Anna Menendez, the
+latter being remembered as the painter of a series of scenes from Don
+Quixote. To the same school belong Donna Barbara Maria de Hueva, and
+Donna Maria de Silva, Duchess of Arcos, both celebrated for their skill
+in drawing, and members of the Academy of San Fernando, as were also
+Anna Menendez, and the painter Anna Perez of Navarre. Maria Felice
+Tibaldi, born in 1707, painted in oil, and also miniatures and pastels.
+She possessed great skill in drawing from life and copying historical
+pieces. A work of her husband, Pierre Subleyras, “The Apostolic
+Supper,” was copied by her in miniature. Pope Benedict XIV. sent her
+for it a thousand scudi, and placed it in his collection at the
+Capitol. After the death of her husband Maria supported herself and her
+children by her talents.</p>
+
+<p>To these may be added Maria Prieto, the daughter of a distinguished
+<i lang="fr" xml:lang="fr">médailleur</i>; she practiced both painting and engraving, but died
+in her twentieth year at Madrid, in 1772.</p>
+
+<p>Portugal, at this period, was justly proud of two women whose poetical
+talents had won no small celebrity,<span class="pagenum" id="Page_223">[Pg 223]</span> Magdalena da Gloria and the
+Countess de Vimiero. Beside them we may note two artists of eminence,
+Doña Isabel Maria Rite of Oporto, and Catarina Vieira of Lisbon; the
+former of high repute as a miniature-painter, the latter noted for
+several church pictures which she painted after the designs of her
+brother, Don Francisco Vieira de Mattos.</p>
+
+<p>In Italy the harvest of names was greater, but fewer women attained
+to eminence during this century than in either of the two that had
+preceded it. Of women of poetical genius there was no lack at this
+period; and more than ever—though such are not wanting in the early
+annals of the principal Italian cities—learned ladies abounded. Female
+doctors and professors were far more in plenty than they promise to be
+in America in the latter half of the nineteenth century. Such phenomena
+were not rare in the classic Italian clime as women occupying the
+chair, not only of music, drawing, and modern tongues, but of Greek,
+Latin, Hebrew, mathematics, and astronomy. They took degrees as doctors
+in jurisprudence and philosophy; for example, Maria Victoria Delfini,
+Christina Roccati, and Laura Bassi, in the University of Bologna,
+and Maria Pellegrina Amoretti, in that of Pavia. Anna Manzolini, in
+1758, was Professor of Anatomy in Bologna; and Maria Agnesi—who,
+when only nine years of age, had delivered at Milan a Latin address
+on the “Studies of the Female Sex”—was appointed by the Pope to the
+professorship of mathematics in the same university at Bologna.</p>
+
+<p>It was not then esteemed unfeminine for women to give lectures in
+public to crowded and admiring audiences. They were freely admitted
+members of learned societies, and were consulted by men of pre-eminent<span class="pagenum" id="Page_224">[Pg 224]</span>
+scientific attainments as their equals in scholarship; yet, a British
+reviewer remarks, “It is doubtful whether the far-famed Novella was
+a better Greek scholar than Mrs. Browning; or Maria Porcia Vignoli,
+whose statue long adorned the market-place of Viterbo, more learned in
+natural sciences than Mrs. Somerville.”</p>
+
+<p>Among the more brilliant devotees of the lyre may be mentioned, in
+passing, Emilia Ballati and Giulia Baitelli, who emulated the fame of
+Petrarch, and Laura Vanetti, in whose poems Metastasio discerned the
+very soul of the bard of Love.</p>
+
+<p>But we must not linger over names, even of the artists who belong to
+our special field of observation. None of the important early schools
+failed in the eighteenth century, to be able to boast the ornament of
+female talent. In Florence, Violanta Beatrice Siries, after a prolonged
+course of study in Paris under Boucher and Rigaud, was noted as a
+portrait-painter. In the same branch of the profession, Anna Boccherini
+and Anna Galeotti were highly esteemed.</p>
+
+<p>In copper-engraving, Catarina Zucchi and Laura Piranesi acquired some
+celebrity. As engravers, we hear of Livia Pisani, Violanta Vanni, and
+Teresa Mogalli, the last also skilled in painting.</p>
+
+<p>In encaustic painting, Anna Parenti-Duclos was well known toward the
+close of the century. Maria Felicia Tibaldi was distinguished in Rome
+for her talents as a painter no less than for her virtues as a woman;
+and her sister, Teresa, belongs to the same category, with Rosalba
+Maria Salviani and Caterina Cherubini. In miniature-painting, Bianca
+and Matilda Festa excelled; the latter holding the professor’s chair in
+the Academy of San Luca.</p>
+
+<p><span class="pagenum" id="Page_225">[Pg 225]</span></p>
+
+<p>The wreaths of poetry and painting were intertwined around the brow of
+Maria Maratti, the daughter and pupil of the celebrated Carlo Maratti,
+and the wife of the poet Zappi. The like was true of Anna Victoria
+Dolora, who died at a great age in 1827, in a Dominican convent.</p>
+
+<p>Naples boasted at this period a famous mathematician in Maria Angela
+Ardinghelli. Three gifted sisters, Maria Angiola, Felice, and Emmanuela
+Matteis, were also noted here; with the distinguished Angelica Siscara
+and Colomba Garri, who practiced flower and genre painting, and
+produced a series of kitchen-pieces, in which they sought to idealize
+by artistic adornment the ordinary occupations of the frugal and
+industrious housewife.</p>
+
+<p>The cities of northern Italy had their share of energetic women. Turin,
+Milan, Bergamo, Roveredo, Carpi, and Parma produced artists whose fame
+was limited to a narrower circle than those of Bologna and Venice,
+where, especially in the former city, the shadow of past glories seemed
+to linger.</p>
+
+<p>Professor Anna Manzolini modeled excellent portraits in wax, and
+Clarice Vasini obtained no small celebrity as a sculptor, being a
+member of the Academy.</p>
+
+<p>Lucia Casalini, Bianca Giovannini, Barbara Burini, Eleonora Monti, Anna
+Teresia Messieri, Rosa Alboni, and Teresa Tesi, belonged to Bologna,
+and elevated the renown of its women for painting. They aspired to
+imitate the example of Elizabetta Sirani.</p>
+
+<p>Carlotta Melania Alfieri is mentioned as accomplished in literature,
+music, and painting.</p>
+
+<p>Laura Vanetti, praised as a linguist, musician, and philosopher, also
+excelled in painting. In the beginning<span class="pagenum" id="Page_226">[Pg 226]</span> of this century the Princess
+Elizabeth of Parma, afterward married to the King of Spain, was a
+famous dilettante. Another Princess Elizabeth, the wife of the Archduke
+Joseph of Austria, was, in 1789, on account of her pastels, admitted to
+membership of the Academy in Vienna.</p>
+
+<p>In Venice, on the other hand, the fair students of art zealously
+emulated the fame of Maria Robusti. This “city of the sea” had many
+daughters who did well in painting, though even their names are now
+forgotten. She gave birth to one, however, whose fame was destined to
+spread into a wider circle, and to renew even in foreign lands the
+ancient lustre of the Italian name in art. This gifted being stands
+almost alone in the century as one who will be remembered by posterity
+with admiration.</p>
+
+
+<h3>ROSALBA CARRIERA.</h3>
+
+<p>Rosalba Carriera was born in Venice in 1675. Her father held an office
+under government, which occupied his whole time; but he, as well as
+his father, had been a painter. He loved art, and encouraged his child
+in her early fancies. Her first childish work was at point de Venise
+lace. She seemed to care little for the ordinary amusements of young
+people, but passed her leisure time in drawing. She tried to copy one
+of her father’s designs for the head of a sonnet. A student of art,
+who chanced to see this piece of work, showed it to his master, who
+instantly perceived the genius of the child artist; and, foreseeing the
+excellence to which she would attain, and wishing to encourage her to
+persevere, gave her other designs to copy.</p>
+
+<p>Rosalba was desolate when this friend left Venice;<span class="pagenum" id="Page_227">[Pg 227]</span> but a Venetian
+banker, who had noticed her proficiency, lent her some heads in pastel
+of Baroche. These studies vastly improved her; and her father, then
+satisfied of his daughter’s possession of rare talents, consented
+that she should take lessons from Antonio Nazari, who was eminent
+as a pastel-painter. The cavalier Diamantini, distinguished for the
+freshness of his pencil, also gave her instruction.</p>
+
+<p>Her most valuable knowledge of the technical part of painting,
+which gave her the mastery and command of her art that marked her
+productions, was acquired under the tuition of Antonio Balestra.
+Finally, she obtained from her kinsman, Antonio Pellegrini, a knowledge
+of the details of miniature-painting, to which the advice of a lady
+friend first directed her, and in which branch she acquired rare skill.
+She would willingly have pursued this, but the weakness of her sight
+compelled her to abandon it, and take to pastel-painting, in which she
+obtained the greatest celebrity—attaining, Zanetti says, the highest
+grade of perfection.</p>
+
+<p>Her miniatures were noted particularly for severe accuracy of drawing,
+united with rare softness and delicacy of touch; they had the
+perfection of proportion, and the brilliancy and warmth of coloring for
+which her pastels were remarkable. Her tints were blended with great
+tenderness; her heads had a lovely expression of truth and nature.</p>
+
+<p>Her talents met with due appreciation and honor while yet in their
+bloom of promise. She was celebrated in her native city as the
+“companion of the muse of painting,” and “the ornament of her sex and
+of the Venetian school.” Zanetti speaks of her with high praise in his
+“Storia della Pittura Veneziana.”<span class="pagenum" id="Page_228">[Pg 228]</span> Works evincing her extraordinary
+ability were shown at most of the courts of Europe. She was invited to
+Paris and Vienna to practice her profession there, and was elected to
+membership in the academies of Paris, Bologna, and Rome. Her miniature
+and pastel paintings were sent to the institutions which conferred
+this honor upon her. The King of Denmark came to Venice, and, having
+heard of Rosalba, expressed a curiosity to see her. After consulting
+Balestra, she presented to her royal visitor some portraits of Venetian
+ladies of rank whom he had admired, receiving from his majesty in
+return a very costly diamond. She also played and sang for his
+amusement with her two sisters, one of whom performed on the violin.</p>
+
+<p>She was invited by royalty to paint the Emperor Charles and the
+imperial court; also the King of France. The Grand-Duke of Tuscany
+placed her portrait in his gallery; it is painted in pastel, with one
+of her sisters. The style is noble and sustained; the expression is
+true, and the flesh-tints are so admirable, the face seems scarcely to
+want a soul. Augustus III., King of Poland, was her special patron; and
+in Modena she painted portraits of the reigning family.</p>
+
+<p>None of these, or similar honors, had power to turn her head nor
+to corrupt her heart. Although a daughter of Venice, then the most
+luxurious and licentious city in Europe, the deep seriousness, and
+even enthusiastic melancholy of her character—dispositions that find
+expression in many of her works—kept her aloof from contact with vice,
+and her moral purity and worth were as conspicuous and as universally
+recognized as her genius. Her own house at Venice was adorned with
+portraits and original compositions.<span class="pagenum" id="Page_229">[Pg 229]</span> This valuable collection she sold
+at a high price to the King of Poland, who placed them in a special
+cabinet of his palace in Dresden.</p>
+
+<p>In the bloom of her career and her fame, Rosalba accompanied her
+brother-in-law Pellegrini to France. She remained a year at the house
+of M. Crozat. Two portraits of the king were done by her in pastel, and
+one in miniature, besides a victoire for a snuff-box which his majesty
+gave to Madame de Ventadour.</p>
+
+<p>Several groups and demi-figures, designed by Pellegrini and executed
+by Rosalba, are preserved in Paris, with many heads in pastel done for
+Crozat. Many of her symbolical pictures—such as the Muses, Sciences,
+Seasons, etc.—were purchased by English travelers. Her crayon-drawings
+were distinguished by softness and life-like freshness. She became a
+member of the Paris Academy in October, 1720. Her tableau de reception
+was a Muse in pastel. The connoisseurs esteemed her portraits for their
+perfect likeness, delicacy of touch, wonderful lightness, peculiar
+grace, and admirable coloring and expression. They were unrivaled of
+their kind.</p>
+
+<p>An anecdote has been mentioned of a lady of rank who wished to study
+painting under Rosalba, but knew she could not be prevailed on to take
+pupils. The lady presented herself in the disguise of a maid-servant,
+and desired employment at the house of the distinguished paintress.
+Rosalba was pleased with her appearance, and at once engaged her
+services. While faithfully performing her tasks, the lady incessantly
+watched the proceedings of the artist; and, by dint of careful
+observation, succeeded in learning much of the art. Rosalba noticed
+the extraordinary quickness of her maid in these matters; and, willing
+to give to native<span class="pagenum" id="Page_230">[Pg 230]</span> talent all the aid in her power, invited the girl
+to observe her while painting, and gave her valuable instruction. The
+secret was at last discovered. The lady became afterward an artist so
+skillful in miniatures, that she received an appointment from a German
+prince as painter at his court.</p>
+
+<p>An Italian writes concerning her: “Nature had endowed Rosalba with
+lofty aspirations and a passionate soul, and her heart yearned for that
+response which her absence of personal attractions failed to win. She
+was aware of her extreme plainness; and had she ignored it, the Emperor
+Charles XI. enlightened her, when, turning to Bertoli, a court artist,
+who presented her in Vienna, he said, ‘She may be clever, Bertoli mio,
+this painter of thine, but she is remarkably ugly.’ But Rosalba, even
+if annoyed, could well afford to smile, for Charles XI. was the ugliest
+of men.”</p>
+
+<p>While in France, Rosalba wrote a journal which was entitled “Diario
+degli anni 1720 e 1721. Scritto da Rosalba Carriera.” It appeared
+in Venice in 1793, with notes by Giovanni Vianelli, who had a fine
+collection of her paintings.</p>
+
+<p>From Paris she went laden with honors to the imperial court at Vienna,
+where, besides the emperor and empress, she painted the archduchesses
+and others of the court. The King of Poland had a number of her
+pastels, which were highly valued.</p>
+
+<p>Zanetti remarks: “Much of interest may be said of this celebrated and
+highly-gifted woman, whose spirit—in the midst of her triumphs and the
+brightest visions of happiness—was weighed down with the anticipation
+of a heavy calamity. On one occasion—when she had painted a portrait
+of herself, with the brow wreathed with gloomy leaves, significant of<span class="pagenum" id="Page_231">[Pg 231]</span>
+death—her friends asked why she had done this. She replied that the
+representation was an image of her life, and that her end would be
+tragic, according to the meaning here shadowed forth. This portrait was
+afterward in the possession of Giambattista Sartori, a brother of her
+famous pupil Felicità Sartori. He preserved it as a sacred relic. His
+sister married Von Hoffmann, and painted with much success at the court
+of the Elector of Saxony.”</p>
+
+<p>It seemed, indeed, that the presentiment of a fast approaching and
+terrible affliction, amid the strict seclusion in which Rosalba lived,
+had taken possession of this noble and gifted spirit. It might be that
+her solitary existence tended to sadden her temperament, and deepen
+its natural inclination to melancholy. The forewarning, of which even
+in youth she felt conscious, was mournfully fulfilled ere she had
+long passed her prime. Before she was fifty years of age she became
+totally blind, as she had feared. Her mind struggled long with weakness
+and incurable sorrow, but sank at last, and the light of reason too
+departed.</p>
+
+<p>The latter part of her life was a blank, yet she lingered to old
+age, dying in Venice, on the 15th of April, 1757. Amid the universal
+expression of unaffected sorrow and commiseration, she was buried in
+the church of San Sista a Modesta. She left considerable property. Her
+grave is still pointed out to the traveler as the last resting-place of
+one whose genius was an ornament to Venice.</p>
+
+<p>Many of her works have been engraved. The Dresden Gallery has the
+largest collection, numbering one hundred and fifty-seven pieces.</p>
+
+<p>The engraving of Rosalba’s portrait shows a youthful face, with a
+pleased expression of childish innocence.<span class="pagenum" id="Page_232">[Pg 232]</span> The hair is brushed back
+from the forehead on the top, but curls cluster around the face on the
+sides; earrings are worn, and the corsage is low. The eyes are dark,
+the forehead is high, and the whole head has a graceful air.</p>
+
+<p>Like Rosalba Carriera, Ippolita Venier was a native of Venice, though
+she lived at Udina with the painter her father. In 1765 she painted the
+Adoration of the Kings, for a church in the sea-born city. Felicità
+Sartori was a pupil of Rosalba, and worked in Dresden, whither she went
+with her husband.</p>
+
+<p>Apollonia de Forgue, born in 1767, assisted her husband, Seydelman,
+with his pictures. She was a member of the Academy in Dresden.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_233">[Pg 233]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XVI">CHAPTER XVI.<br><span class="small">THE NINETEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>More vigorous Growth of the Branches selected for female
+Enterprise.—Progress accelerated toward the Close of last
+Century.—Still more remarkable within the last fifty Years.—Great
+Number of Women active in Art.—Better intellectual Cultivation
+and growing Taste.—Increased Freedom of Woman.—Present Prospect
+fair.—Growing Sense of the Importance of Female Education.—Women
+earning an Independence.—The Stream shallows as it widens.—Few
+Instances of pre-eminent Ability.—Fuller Scope of the Influence
+of the French Masters in the nineteenth Century.—David, the
+Republican Painter.—His female Pupils.—Angélique Mongez.—Madame
+Davin and others.—Disciples of Greuze.—Female Scholars of
+Regnault.—Pupils of the Disciples of David.—Pupils of Fleury
+and Cogniet.—Madame Chaudet.—Kinds of Painting in Vogue.—The
+Princess Marie d’Orleans.—Her Statue of the Maid of Orleans.—Her
+last Work.—Promise of Greatness.—Sculpture by Madame de
+Lamartine.—“Paris is France.”—Painting on Porcelain.—Madame
+Jacotot and others.—Condition of Art in Germany.—Carstens.—Women
+Artists.—Maria Ellenrieder.—Louise Seidler.—Baroness von
+Freiberg.—Madame von Schroeter.—Female Artists of the Düsseldorf
+School.—The greatest Number in Berlin.—Rich Bloom of Female Talent
+in Vienna and Dresden.—Changes in Italy.—Prospect not fair in Spain
+and Scandinavia.—In England, Sculpture and Painting successfully
+cultivated.—Fanny Corbeaux.—Superior in Biblical Scholarship.—The
+Netherlands in this Century.—Encouragement for Women to
+persevere.—Dr. Guhl’s Opinion.—History the Teacher of the Present.</p>
+</div>
+
+
+<p>With the foregoing glimpses, the sketch of woman’s active efforts
+in art during the eighteenth century may be closed; completing our
+bird’s-eye view of her share in those ennobling pursuits during
+a history covering over two thousand years. As we approach the
+present time, the various branches in which her<span class="pagenum" id="Page_234">[Pg 234]</span> enterprise has been
+influential develop into more distinct and vigorous growth. It may now
+be interesting to notice the indications of our own—the nineteenth
+century.</p>
+
+<p>The progress of female talent and skill, accelerated toward the close
+of the preceding age, has become more remarkable than ever within the
+last fifty years. The number of women engaged in the pursuits of art
+during that time far exceeds that of the whole preceding century.</p>
+
+<p>This accession is probably owing, in a great measure, to the more
+general appreciation of art, growing out of better intellectual
+cultivation, and to the growing taste for paintings and statuary as
+ornaments of the abodes of the wealthy. But it is due, in some degree,
+to the increased freedom of woman—to her liberation from the thraldom
+of old-fashioned prejudices and unworthy restraints which, in former
+times, fettered her energies, rendered her acquisition of scientific
+and artistic knowledge extremely difficult, and threw obstacles in the
+way of her devotion to study and the exercise of her talents. We have
+seen that, the more enlarged is the sphere of her activity among any
+people, the greater is the number of female artists who have done and
+are doing well, by their sustained and productive cultivation of art.</p>
+
+<p>At the present time, the prospect is fair of a reward for study and
+unfaltering application in woman as in man; her freedom—without
+regarding as such the so-called “emancipation,” which would urge her
+into a course against nature, and contrary to the gentleness and
+modesty of her sex—is greater, and the sphere of her activity is wider
+and more effective than it has ever been. The general and growing
+apprehension of<span class="pagenum" id="Page_235">[Pg 235]</span> the importance of female education will gradually lead
+to dissatisfaction with the superficial culture of modern schools, and
+to the adoption of some plan that shall develop the powers of those
+who are taught, and strengthen their energies for the active duties of
+life. Many advantages besides these have encouraged the advancement
+of women as artists beyond any point reached in preceding ages. We
+may thus find an increasing number of young women who, bent on making
+themselves independent by their own efforts, spare no pains to qualify
+themselves as teachers in various branches of art.</p>
+
+<p>The same observation we made in regard to the increase of art scholars
+in the last century is true of the present. The stream which has
+widened has grown shallower in proportion; and while the cultivation of
+taste and talent has become more general, and many more have attained
+a respectable degree of skill, there are few instances of pre-eminent
+ability, or of original genius. This seems a law of the world of art,
+as well as that of poetry and science; and it holds good no less among
+men than women. We must look, therefore, for not many remarkable
+examples of talent.</p>
+
+<p>We have already seen something of the influence of Carstens and David
+in the bent and direction given to female talent; but these had not
+full scope till the beginning of the nineteenth century. David was
+inspired by a more earnest feeling than had breathed in the frivolous
+and conventional style of a former period; and the depth and vigor,
+and more careful execution he brought into vogue, greatly improved the
+taste of his day. He may be called the Republican painter, laying the
+ground-work of French art as it now exists.</p>
+
+<p><span class="pagenum" id="Page_236">[Pg 236]</span></p>
+
+<p>David himself had a goodly number of female pupils, and some of them
+displayed no inconsiderable talent. Among them may be enumerated
+Constance Marie Charpentier, who, besides, enjoyed the advantage of
+instruction under Gérard and Lafitte, with Angélique Mongez, at first
+the pupil of David, then of Regnault. She painted a large picture
+entirely in the classic style of David. Her painting—the figures life
+size—represented “Ulysses finding young Astyanax at Hector’s Grave.”
+The design is correct of the antique costume, the disposition is
+excellent, and a free and light touch is noticed. So large a picture
+had rarely been exhibited in Paris by a woman. This artist, however,
+lacked originality and self-reliance, and seemed to follow David too
+slavishly. Another large picture was “Alexander weeping at the Death of
+the Wife of Darius.” The connoisseurs gave her the credit of a grand
+style, but thought her coloring hard.</p>
+
+<p>To these may be added Madame Leroulx and Madame Davin. The latter
+received instruction, also, from Suvé and Augustin, and obtained the
+gold medal for her miniatures and genre-paintings. Nanine Ballain was
+noted for her genre-paintings; and Marie Anne Julie Forestier, for her
+romantic ones in this style and for her classic pictures.</p>
+
+<p>Contemporary with these were some female artists who painted in the
+manner of Greuze; as Constance Mayer, afterward a disciple and friend
+of Prudhon; Madame Elie, and Philiberte Ledoux; the first well known
+for her portraits, the latter for her scenes and child-pictures. We may
+mention, in passing, Madame Villers, whose numerous works were marked
+by truth and pleasing expression. One of her pieces, “A Child asleep in
+a Cradle,” carried away by a flood, while a<span class="pagenum" id="Page_237">[Pg 237]</span> faithful dog plunges in to
+save it, with eager expression, is very striking and graceful.</p>
+
+<p>Regnault, the rival of David, had the honor of many more female
+scholars. One of them, Madame Anzon, painted large pictures in 1793.
+Sophie Guillemard sent to the Exhibition, in 1802, “Alcibiades
+and Glycerion,” and, two years later, her “Joseph and Potiphar’s
+Wife.” After this, Claire Robineau produced historical pictures and
+landscapes, and Rosalie de Lafontaine her delicate genre-paintings.
+Aurore Etienne de Lafond and Eugénie Brun obtained medals for their
+master-pieces in miniature-painting. Madame Lenoir painted Sage’s
+portrait, and was much esteemed. A host of names might be added, were a
+mere list desirable.</p>
+
+<p>The disciples and imitators of David also numbered women among
+their pupils. Drolling’s daughter, Louise Adéone, studied under his
+direction; her first husband was Pagnierre the architect. Fanny Robert
+was trained in Girodet’s atelier; Abel de Pujol taught Adrienne Marie
+Louise Grandpierre Deverzy; and Gérard finished some of David’s
+scholars, as Eléonore Godefroy, who exhibited portraits and copies from
+her master after 1810, and Louise de Montferrier, Comtesse de Hugo,
+whose genre-paintings were brought to the Exhibition nine years later.
+Madame von Butlar, of Dresden, studied under this master in 1823.</p>
+
+<p>These were the latest masters in serious historical painting till
+Robert Fleury and Léon Cogniet, who could perhaps boast the greatest
+number of gifted female pupils. We should mention here Jeanne Elizabeth
+Gabiou, the wife of Antoine Denis Chaudet, born in 1767, and dying
+about 1830. She was a pupil of her husband, and painted “A Child
+Teaching a Dog<span class="pagenum" id="Page_238">[Pg 238]</span> to Read,” with many charming little pieces of the kind;
+excelling, too, as a portrait-painter. The empress bought one of her
+pictures.</p>
+
+<p>The majority of French women artists of this period busied themselves
+with portraits. Flower-painting was also much in vogue, and miniature
+and porcelain painting furnished continual employment for female
+industry and talent.</p>
+
+<p>In modeling and sculpture France has produced some excellent artists
+since the commencement of the present century.</p>
+
+
+<h3>MARIE D’ORLEANS.</h3>
+
+<p>One in particular, of illustrious station and royal blood, too early
+snatched away by death, has conferred lustre upon the whole class by
+whom the difficult and delicate art has been cultivated.</p>
+
+<p>Marie of Orleans, the daughter of Louis Philippe, is thus mentioned in
+Mrs. Lee’s “Sketches.”</p>
+
+<p>“She was born at Palermo in 1813, and was married in 1837 to Duke
+Alexander of Wurtemberg. Her health was impaired, and she went to Pisa
+in the hope of recovering, but died there in 1839. Her statue of the
+Maid of Orleans is of the size of life, and is placed at Versailles; it
+is full of animation and spirit. But her last work, an angel in white
+marble, seems to be the result of inspiration. It is in the chapel
+of Sablonville, on the sarcophagus of her brother. It may be deeply
+lamented that the Princess Marie did not live to give additional proofs
+of the capability of her sex for works of sculpture. Her early death
+frustrated the efforts of a genius which bade fair to compete with the
+graceful forms of Canova or Flaxman.”</p>
+
+<p>Mrs. Lee says, “We were much gratified by seeing<span class="pagenum" id="Page_239">[Pg 239]</span> a font in the church
+St. Germain de l’Auxerrois in Paris, by Madame Lamartine, the wife of
+the poet and historian; the font is surrounded by marble angels, who
+rest on its margin. It is a beautiful record of her taste, ingenuity,
+and benevolence.”</p>
+
+<p>Paris at this period, more emphatically than ever, was the centre of
+active efforts among artists. “<i lang="fr" xml:lang="fr">Paris—c’est la France</i>” was an
+expression as true as in the literary and political life of the nation.
+This was advantageous for the development of talent, and the advance of
+skill in details; bringing rival merits more keenly into conflict, and
+furnishing the student with more varied means of instruction.</p>
+
+<p>Painting on porcelain became much practiced by French women in the
+early part of the present century. Amélie Legris was skilled in it, as
+well as in painting in oil, miniatures, and aquarell.</p>
+
+<p>Madame Jacotot was noted for her beautiful paintings on porcelain. She
+was sent to Italy by the French government to copy the paintings of
+Raphael. She lived in style, was in much society, and was distinguished
+for her wit.</p>
+
+<p>Madame Ducluzeau is the wife of a physician, and has gained
+considerable celebrity as an artist. The Comtesse de Mirbel painted
+miniatures. Louis Philippe, and many persons of his court, and the
+nobility, sat to her. She was employed to copy paintings for cadeaus to
+royalty.</p>
+
+<p>Madame Aizelin had some charming pieces in pastel in the Paris
+Exhibition, 1857. Transparency of tissue was never better rendered than
+in her gauze drapery. Madame Fontaine, a pupil of Cogniet, excelled in
+the department of still-life. Mademoiselle Augustine Aumont had twelve
+panels, giving the flowers of each<span class="pagenum" id="Page_240">[Pg 240]</span> month. Miss Mutrie, Mademoiselle
+Alloin, pupil of Rosa Bonheur, and many other women, were praised for
+beautiful groups of fruit and flowers. In this branch, as in portraits,
+miniatures, and porcelain-painting, the palm of excellence is awarded
+to lady artists. The productions of Madame Herbalin were conspicuous
+for delicacy and purity of execution and coloring.</p>
+
+<p>Casting a glance at the condition of art at this period in Germany,
+it is noticeable that women took part with enthusiasm in almost every
+branch. We have observed the grounding of modern art in this country by
+Carstens. He went back to the purer forms of the antique, as his French
+contemporary, David, had done; and his restoration of purity, vigor,
+and tenderness, found earnest sympathy among his fair countrywomen.
+A style expressing the heart’s deepest feelings, and the religious
+veneration which had become traditional, could not fail to meet the
+aspirations of noble-minded female artists.</p>
+
+<p>Among artist-women who flourished at the close of the eighteenth and
+in the present century we may mention Mademoiselle Sonnenschein, who
+died in 1816, a member of the Academy in Stuttgard. We should not
+drop, among minor names, that of Sophie Ludovika Simanowitz, born
+Reighenbach, whose portrait of Schiller is well known.</p>
+
+<p>Magdalena Tischbein, a flower-painter, the daughter of a noted artist,
+married the court painter Strack, of Oldenburg, in 1795.</p>
+
+<p>The Princess of Saxe-Meiningen was noted for her beautiful pictures
+illustrating Bible history.</p>
+
+<p>Mary Anna Bösenbacher, of Cologne, an engraver, was engaged in the
+service of the Elector Max Francis.</p>
+
+<p><span class="pagenum" id="Page_241">[Pg 241]</span></p>
+
+<p>Barbara Krafft, born Steiner, of Iglau, painted a number of
+genre-pictures of life size, and in this branch was the precursor of
+Madame Jerichow-Baumann. She died in Bamberg, in 1825, aged sixty.</p>
+
+<p>One who was busy in Rome at this time was Maria Ellenrieder. She had
+before visited the Academy in Munich for the purpose of educating
+herself in historical painting. In her works she sought to revive the
+spirit of ancient German art, and her longings drew her to the city
+which has long been the resort of ambitious art-students, where we find
+her in 1820. Among her productions are many altar-pieces, representing
+the Holy Family. Some have been lithographed. Since 1825 she has lived
+in Germany, where she has completed many works, and has practiced the
+art of etching.</p>
+
+<p>Louise Caroline Seidler was at the same time in Rome. Born in Jena,
+she studied painting in Munich under Professor Von Langer, afterward
+going to Italy to profit by the works of Pietro Perugino and Raphael.
+She received the appointment of court painter in Weimar, and executed
+several pictures that belong to the romantic genre school. A splendid
+fruit of her study of the old masters is a collection of heads taken
+from celebrated pictures of the fifteenth and sixteenth centuries.
+These were lithographed by Von Schmeller, and published in Weimar in
+1836.</p>
+
+<p>Among the German artists in Rome at the same period was Electrine
+Stuntz, afterward Baroness von Freiberg. She was the daughter of a
+landscape-painter of Strasburg, and devoted herself to historical
+pieces. She was in the Eternal City during 1821 and the following
+year, and was elected an honorary member of the Academy of San Luca,
+occupying a position<span class="pagenum" id="Page_242">[Pg 242]</span> similar to that held by Angelica Kauffman. Her
+works have a serious character, and Madonna pictures abound in them.
+About 1823 she was married to Baron von Freiberg, and thenceforward
+divided her cares between her family and her art. Several of her
+etchings were greatly admired, and brought her high reputation.</p>
+
+<p>Madame Caroline von Schroeter belongs to the same period. She became
+distinguished in Rome in 1826 by her beautiful miniature-paintings, and
+was there chosen member of the Academy of San Luca.</p>
+
+<p>A few female artists belonged to the Düsseldorf school, while in
+Weimar they were indefatigable in supporting the ancient reputation.
+But the greatest number is to be found in Berlin. The impetus there
+given in various departments of learning, and the patronage of royal
+connoisseurs, with the superior cultivation of the people, had the
+happiest effect, and brought out the richest bloom of female talent.
+No branch of modern art has there been neglected by women, and several
+have displayed a genius for sculpture. Dilettanti of the highest rank
+have turned their attention to painting; and those who have pursued
+art as a profession, from dignified history-pieces down to flowers and
+landscapes, have met with encouraging success. In flower-painting and
+arabesques some very important improvements have recently been made.</p>
+
+<p>In the other cities of Germany, where women have successfully engaged
+in such pursuits, less has been done. Few have taken to the profession
+in Vienna, though Dresden has maintained the old repute in this
+particular, and her Academy is to this day a genial nursery of female
+talent.</p>
+
+<p>Italy, the birthplace of the fine arts, has experienced<span class="pagenum" id="Page_243">[Pg 243]</span> the change
+common to all mundane things, and the participation of her women in
+art is by no means so great and significant as in earlier ages. Yet
+a few names may be ranked with those who have gone before. Turin,
+Milan, and Rome have each produced fair artists of distinction in
+various branches, and their success promises to open the way to future
+enterprise.</p>
+
+<p>Not so fair is the prospect in Spain and among the Scandinavian
+nations. In England, on the other hand, both sculpture and painting
+have been successfully cultivated during the present century. We may
+mention, in passing, Fanny Corbeaux, an artist and distinguished
+Biblical scholar, born in 1812. When she was only fifteen years of
+age her father suddenly lost his property, and became indigent. The
+daughter had received only superficial instruction in drawing, but
+determined to use her small skill to support her father and herself.
+With the ardent spirit of youth she threw herself into the undertaking,
+sparing herself no severe labor, and so well directed were her efforts
+that, before the end of the year, she obtained a silver medal for
+water-color drawings. Within the next three years she received another
+similar token of approbation, and the gold medal of the Society of Arts.</p>
+
+<p>All this time she had been her own instructor. She afterward painted
+small pictures in oil and water-colors, but confined herself chiefly
+to portraits. Her superiority in Biblical scholarship was shown by a
+valuable series of letters on the Physical Geography of the Exodus. She
+published another series entitled “The Rephaim.”</p>
+
+<p>Fanny is described as being small, with figure slightly bent, but
+cheerful and charming in manner. Her<span class="pagenum" id="Page_244">[Pg 244]</span> mother, living with her, is said
+to be lively and agile in movement.</p>
+
+<p>Miss Merrifield is the author of a treatise on the Art of Painting.</p>
+
+<p>A “Society of Female Artists” was established in London in 1857.
+Among its members, and now secretary to the association, is Mrs.
+Elizabeth Murray, the wife of the English Consul at Teneriffe. She
+has great celebrity as a water-color artist. Her style is dashing
+and vigorous, but highly finished; her coloring bright, transparent,
+pure, and sparkling, though something deficient in depth and middle
+tint. Mrs. Murray has lately published a book entitled “Sixteen
+Years of an Artist’s Life, etc.” She says of herself: “A vagabond
+from a baby, I left England at eighteen, independent, having neither
+master nor money. My pencil was both to me, and, at the same time, my
+strength, my comfort, and my intense delight.” Honorable Mrs. Monckton
+Mills, Miss Louisa Rayner, Miss Florence Caxton, and others, are
+mentioned with praise. Mrs. Benham Hay is known as the illustrator of
+Longfellow’s Poems; and Barbara Leigh Smith, an admirable writer, is an
+excellent artist. Of Miss Mutrie’s work Mr. Ruskin says: “It is always
+beautiful;” and Miss Howitt and Mrs. Carpenter are noted as artists.
+Many whose names are now beginning to be familiar have hardly yet done
+justice to their own powers.</p>
+
+<p>The Netherlands have done their share during the present century,
+preserving the old Dutch reputation, and producing a number of women
+who have made themselves independent by the exercise of skill in
+different departments of art.</p>
+
+<p>The encouragement Goëthe has given, in his observations on the women
+artists of his day, is applicable<span class="pagenum" id="Page_245">[Pg 245]</span> to those of the present. They
+have taken more firm hold, and manifested yet more ability in the
+profession. If many of them have been deficient in creative power, they
+have shown themselves capable of the highest excellence in the tender,
+the graceful, the pathetic, the ideal, and in the delicacy and quick
+perception, which often achieves so much, as by intuition. Dr. Guhl
+regards the indications of the present age as exceedingly promising,
+and urges women to enlarged ambition and activity. Severe exertions are
+demanded, but when was any success worth having commanded without them?
+The time is now ripe for their emulation of their most eminent rivals
+of the other sex, not by laying aside womanly delicacy, but by labors
+entirely consistent with that true modesty which will ever be the most
+attractive ornament of the sex. History is the great teacher of the
+present; and what we have seen of the achievements of by-gone ages is
+so full of encouragement, that it is but reasonable to look for still
+greater triumphs in the wider arena now opened, than have yet crowned
+the genius or the persevering industry of woman.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_246">[Pg 246]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XVII">CHAPTER XVII.<br><span class="small">THE NINETEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>Felicie de Fauveau.—Parentage.—Her Mother a Legitimist.—The
+Daughter’s Inheritance of Loyalty.—Removals.—Felicie’s
+Studies.—Learns to Model.—Resolves to be a Sculptor.—Labor becoming
+to a Gentlewoman.—Her first Works.—Early Triumphs.—Social Circle in
+Paris.—Evening Employments.—Revival of a peculiar Taste.—Mediæval
+Fashions.—The bronze Lamp.—Equestrian Sketch.—Effect of the
+Revolution of 1830.—The two Felicies leave Paris.—A rural
+Conspiracy.—A domiciliary Visit.—Escape of the Ladies.—Discovery
+and Capture.—The Stratagem at the Inn.—Escape of Madame in
+Disguise.—Imprisonment of Mademoiselle.—Works in Prison.—Return
+to Paris.—Politics again.—Felicie banished.—Breaks up her
+Studio.—Poverty and Privation.—Residence in Florence.—Brighter
+Days.—Character of Felicie.—Personal Appearance.—Her Dwelling
+and Studio.—Her Works.—The casting of a bronze Statue.—Industry
+and Retirement.—“A good Woman and a great Artist.”—<span class="smcap">Rosa
+Bonheur.</span>—Her Birth in Bordeaux.—Her Father.—Rosa a Dunce
+in Childhood.—Her Parrot.—Rambles.—The Spanish Poet.—Removal
+to Paris.—Revolution and Misfortune.—Death of Madame
+Bonheur.—The Children at School.—Rosa detests Books and loves
+Roaming.—Remarriage of Bonheur.—Rosa a Seamstress.—Hates the
+Occupation.—Prefers turning the Lathe.—Her Unhappiness.—Placed
+at a Boarding-school.—Her Pranks and Caricatures.—Abhorrence
+of Study.—Mortification at her Want of fine Clothes.—Resolves
+to achieve a Name and a Place in the World.—Discontent and
+Gloom.—Return home.—Left to herself.—Works in the Studio.—Her
+Vocation apparent.—Studies at the Louvre.—Her Ardor and
+Application.—The Englishman’s Prophecy.—Rosa vowed to Art.—Devoted
+to the Study of Animals.—Excursions in the Country in search of
+Models.—Visits the <i>Abattoirs</i>.—Study of various Types.—Visits
+the Museums and Stables.—Resorts to the horse and cattle Fairs in
+male Attire.—Curious Adventures.—Anatomical Studies.—Advantages
+of her Excursions.—Her Father her only Teacher.—The<span class="pagenum" id="Page_247">[Pg 247]</span> Family of
+Artists.—Rosa’s pet Birds and Sheep.—Her first Appearance.—Rising
+Reputation.—Takes the gold Medal.—Proclaimed the new
+Laureat.—Death of her Father.—Rosa Directress of the School of
+Design.—Her Sister a Professor.—“The Horse-market.”—Rosa’s
+Paintings.—Bestows her Fortune on others.—Her Farm.—Drawings
+presented to Charities.—Demand for her Paintings.—Her Right
+to the Cross of the Legion of Honor.—The Emperor’s Refusal
+to grant it to a Woman.—Description of her Residence and her
+Studio.—Rosa found asleep.—Her personal Appearance.—Dress.—Her
+Character.—Her Industry.—Mademoiselle Micas.—Mountain
+Rambles.—Rosa’s Visit to Scotland.—Her Life in the Mountains.—At
+the Spanish Posada.—Threatened Starvation.—Cooking Frogs.—The
+Muleteers.—Rosa’s Scotch Terrier.—Her Resolution never to marry.</p>
+</div>
+
+
+<h3>FELICIE DE FAUVEAU.</h3>
+
+<p>Felicie was born in Tuscany, but was taken, when an infant, to Paris,
+where her education commenced. Her parents were persons of much
+intelligence and culture. Her mother had great taste for music and
+painting, and it was from her that her daughter’s talents received
+their first direction and encouragement. The family favored the
+aristocrats and Legitimists, and endured much in the cause of the
+Bourbons. Madame de Fauveau’s eyes had opened on the terrors of
+the guillotine, and she was as proud of those memories of exile,
+proscription, and the scaffold as most persons are of honor and titles.
+Her chivalrous loyalty looked on them as dignities, and the privilege
+of suffering for the family to which she was devoted was cheaply earned
+in her eyes by the ruin and exile of her own.</p>
+
+<p>The daughter shared in the mother’s chivalrous sentiments, and her
+cherished ideas of monarchy and Romanism became perceptible in her
+conversation and works, while her self-sacrificing spirit of loyalty
+remained the same amid many vicissitudes. Owing to<span class="pagenum" id="Page_248">[Pg 248]</span> pecuniary losses,
+her parents were compelled, while she was yet very young, to remove
+successively to Limoux, Bayonne, and Besançon. While at Bayonne,
+in 1823, she met with many partisans in the war then raging on the
+frontiers of Spain—men whose loyalty amounted to fanaticism, and
+whose piety belonged to the ancient time of the Crusades; from these
+her youthful imagination must have received powerful and indelible
+impressions.</p>
+
+<p>Her studies were varied and profound; ancient history, classic and
+modern languages, heraldry, and archæology received her devoted
+attention. The feudal and chivalric traditions of the Middle Ages were
+explored with eagerness by her, and she reproduced and utilized the
+knowledge thus acquired. During her residence in Besançon, she executed
+some oil-paintings which were much praised; but she seemed to feel that
+canvas was not the material which would most fully express her ideas.
+She had then received no instruction in modeling. One day, in her walk,
+she paused before the shop of one of the workmen who carve images of
+virgins and saints for village churches. Impelled irresistibly, she
+entered and made inquiries as to the method of work, learning thus
+the secrets of modeling in clay or wax, and of carving wood or gold.
+It then appeared that her vocation was decidedly for the plastic art.
+She had the faculty of coloring with skill, and might have been a
+great painter, had she not resolved to be a sculptor. Her taste led
+her to adopt the mediæval manner, and she took Benevenuto Cellini for
+her prototype, occupying herself with art in both its monumental and,
+decorative character.</p>
+
+<p>At the death of her father, the family—consisting<span class="pagenum" id="Page_249">[Pg 249]</span> of the widow, two
+sons and three daughters—was in some distress. Felicie determined
+to devote her talents to their support. Some of her friends objected
+that such employment was unbecoming one who belonged to a noble
+family. “Unbecoming!” said she, drawing herself up with a noble pride;
+“<i lang="fr" xml:lang="fr">Sachez qu’un artiste tel que moi est gentilhomme.</i>”</p>
+
+<p>The first work she exhibited was a group from Scott’s novel,
+“The Abbot.” Encouraged by its brilliant success, she produced a
+basso-relievo, consisting of six figures—Christina of Sweden and
+Monaldeschi in the fatal gallery of Fontainebleau. This work was in
+the Exposition des Beaux Arts, and it received from Charles X. in
+person the gold medal awarded by the jury. The dramatic energy of the
+group, the expression of the figures, and the beauty of the minor
+details won universal admiration, and it was hailed as offering the
+brightest promise of future excellence. The triumphant artist was then
+a girl in the bloom of early youth; and, flattered and delighted at
+the appreciation she met with, it is not to be wondered at that her
+resolution to adhere to the career she had chosen was steadfast and
+immovable.</p>
+
+<p>Felicie remained in Paris with her family till 1830. Her mother’s
+house was the centre of a charming circle of persons of high rank,
+of cultivated women, and of accomplished artists, such as Scheffer,
+Steuben, Gassier, Paul Delaroche, Triqueti, Gros, Giraud, etc. So
+distinguished and agreeable was the mother, so sensible and so witty
+was the conversation of the daughter, that their society was coveted
+and prized. The friends assembled of an evening in their drawing-room
+would gather round a large centre-table, and improvise drawings in
+pencil, chalk, and pen and ink; or<span class="pagenum" id="Page_250">[Pg 250]</span> would model, in clay or wax,
+brooches and ornaments, sword handles and scabbards, dagger-hilts, etc.
+The young lady wished to revive those famous days when sculpture lent
+its aid to the gold and silver smith, the jeweler, the clock-maker,
+and the armorer. To her may be chiefly attributed the impulse given
+to this taste in Paris—a taste that infected England also, reviving
+mediæval fashions for ornaments, and also mediæval feelings and
+aspirations, which at last found expression in Puseyism in religion,
+and pre-Raphaelism in art.</p>
+
+<p>She executed, for Count Portalès, a bronze lamp of singular beauty,
+representing a bivouac of archangels armed as knights. They are resting
+round a watch-fire, while one, St. Michael, is standing sentinel. It
+is in the old Anglo-Saxon style. Round the lamp, in golden letters,
+is the device, “<i lang="fr" xml:lang="fr">Vaillant, veillant</i>.” Beneath is a stork’s foot
+holding a pebble, a symbol of vigilance, surrounded by beautiful
+aquatic plants. The work was poetically conceived, and executed with
+great spirit and finish. She also commenced a work which she called “a
+monument to Dante,” and sketched an equestrian statue of Charles VIII.
+On returning from the expedition to Naples, it was said, the monarch
+paused on the ascent of the Alps, and turned to take a last farewell
+of the beautiful country—“wooed, not wed”—which he so unwillingly
+abandoned. The sculptress was most successful in rendering this
+expression of sadness and yearning. The pose of the horse was natural,
+yet commanding; and the work would doubtless have been a master-piece;
+but, unfortunately, the model had to be destroyed, on the breaking up
+of her studio.</p>
+
+<p>Mademoiselle de Fauveau had now acquired an<span class="pagenum" id="Page_251">[Pg 251]</span> eminence and gained
+a celebrity which must have satisfied the most ambitious. She was
+incessantly occupied with commissions for most of the private galleries
+in France; and a place was promised her among those great artists who
+are employed to adorn public monuments, and whose works enrich public
+collections. She was to have modeled two doors for the gallery in the
+Louvre, after the manner of Ghiberti’s Gates of Paradise; a baptistery
+and pulpit in one of the metropolitan churches had been already spoken
+of, when the revolution of 1830 broke up this calm and noble existence,
+and ended her career in Paris.</p>
+
+<p>To Mademoiselle de Fauveau, with her extreme opinions, this revolution
+was a personal calamity. She had identified the glory and greatness of
+France with the elder branch of the Bourbons. The times for her were
+evil and out of joint; she abhorred the Paris which had overthrown
+what she considered a legitimate, to set up a pseudo royalty, and
+she longed, with all the concentration and single-mindedness of her
+character, for an opportunity of leaving the city. This soon presented
+itself. Among other noble and distinguished persons who were proud of
+their acquaintance with this gifted woman, were members of the Duras
+family. The married daughter, who bore the beloved but fatal name of La
+Roche Jacquelein, sympathized entirely with the opinions and feelings
+of her namesake, Felicie. She invited the artist to leave Paris, and
+accompany her on a visit to her estates in La Vendée. During this
+visit, which was at first considered a mere relaxation from severe
+labor and study, riding, shooting, and hunting took the place of
+designing, modeling, and casting. But, after a while, a more<span class="pagenum" id="Page_252">[Pg 252]</span> serious
+purpose was contemplated, and a loftier end proposed. Mademoiselle
+de Fauveau found herself in the thick of a political conspiracy. A
+regular <i lang="fr" xml:lang="fr">chouannerie</i> was organized, and our poetical artist
+distinguished herself by her spirit, energy, and determination. To this
+day the peasantry in that part of France always speak of her as “<i lang="fr" xml:lang="fr">la
+demoiselle</i>.”</p>
+
+<p>The authorities at last took umbrage, and a domiciliary visit was made
+to the chateau. The two ladies, warned in time, escaped, and took
+refuge in a neighboring farm-house. But arms and ammunitions were found
+in the chateau, with compromising letters and treasonable symbols.
+Orders were given to pursue and arrest the fugitives. The farm-house
+was searched in vain; the peasants were questioned, but their fidelity
+was unimpeachable. Unfortunately, however, some faint sounds were heard
+behind an oven; the grated door was removed, and the two rebels, who
+had so nearly defeated the search of their pursuers, were discovered,
+arrested, and sent under a strong guard to Angers.</p>
+
+<p>At the first stage they stopped at an inn. The captives were conducted
+to a room up stairs; the door was locked, and their guards descended to
+the kitchen to refresh themselves. Presently a maid-servant was sent
+up to receive their orders for supper. In an instant, Madame de la
+Roche Jacquelein made herself understood by this woman. As soon as the
+supper was brought up, and the door closed, she effected an exchange
+of clothes, and, thus disguised, descended boldly, plates in hand, to
+the kitchen. She quickly deposited her burden on the dresser, and then,
+taking up the milk-pail, announced in the pretty <i lang="fr" xml:lang="fr">patois</i> of the
+country her intention to fetch the milk from the dairy.<span class="pagenum" id="Page_253">[Pg 253]</span> It is said the
+lady looked so captivating in her new costume that a gallant sergeant
+made advances to her, which she was obliged to repress vigorously, so
+as to proceed unattended. She reached the dairy, went out at a back
+door, crossed some fields, and was soon out of reach. Mademoiselle
+de Fauveau remained quietly in her room, allowing the servant to
+sleep with her, so as to lull all suspicion, and give as much time as
+possible for the escape. The next morning the evasion of Madame was
+discovered, and caused great consternation. It was thought necessary
+to take the most rigid precautions, such as obliging Mademoiselle de
+Fauveau to have a guard in her sleeping-room, who was authorized to
+disturb her whenever he wished to make sure of her presence, to prevent
+her following her friend’s example. She was thus transferred to Angers,
+and remained seven months in prison.</p>
+
+<p>Her bold spirit and elastic temperament were not weakened or cast down
+by this destruction of her hopes. She took advantage of the forced
+seclusion to resume her occupations. In prison she modeled several
+small groups; one of them, composed of twelve figures, representing the
+duel of the Sire de Jarnee and the Count de la Chataignevaie in the
+presence of Henry II. and his court. She also designed a monument for
+Louis de Bonnechose, who had lately perished in an affray with some
+soldiers sent to arrest him. The background of this composition is
+architectural, in the Gothic style, adorned with the blazoned shields,
+achievements, and banners which belong peculiarly to the Vendean
+party. On the summit of the edifice is an angel, whose face is veiled,
+supporting the armorial shield of the deceased; in the foreground
+the Archangel Michael, terrible and victorious, has just killed<span class="pagenum" id="Page_254">[Pg 254]</span> the
+dragon. This dragon has a head like a cock—a type of the French
+republic. Michael bears in his right hand the avenging sword, and in
+his left holds a pair of crystal scales; in one of these are figures
+of judges, advocates, and magistrates; in the other, which weighs down
+these, is a single drop of blood, with this inscription:</p>
+
+<div class="blockquot">
+
+<p>“Quam gravis est sanguis justi inultus.”</p>
+</div>
+
+<p>In this sketch, as, indeed, in all Felicie’s works, the symbolical
+beauty inspires the whole; the ideal gives spirit to the material form,
+while the form receives its noblest distinction as the fitting vehicle
+of the idea.</p>
+
+<p>After seven months’ imprisonment, Mademoiselle de Fauveau was set at
+liberty, and returned to Paris and her studio. Very soon afterward, the
+appearance of the Duchesse de Berri in Vendée set on fire all Royalist
+imaginations. Madame de la Roche Jacquelein and our fair artist again
+left Paris, and worked day and night for the cause so dear to their
+hearts, to reap again disappointment, failure, and misfortune. This
+episode in Felicie’s life may show how strong was the political bias
+which gave tone and character to both her private and artistic life.
+“My opinions are dearer to me than my art,” she said, and her actions
+proved this. She was one of the forlorn hope that stood up in the
+breach to save a falling dynasty; and with its ruins were ingulfed her
+own fortune, her prospects, and such part of her success as depended on
+the public recognition and acceptance of art in her own country.</p>
+
+<p>After the failure of this second attempt of the Legitimists,
+Mademoiselle de Fauveau was among the persons exiled. She first took
+refuge in Switzerland;<span class="pagenum" id="Page_255">[Pg 255]</span> then returned to Paris, in the very teeth of
+the authorities, broke up her studio and establishment there, and went
+to Florence, where she fixed her permanent abode with her mother and
+brother.</p>
+
+<p>Considerable expense and outlay are necessary to carry on the art
+of sculpture, and a removal from a studio in which were accumulated
+sketches, models, and marbles—most of them not portable—was almost
+total ruin. The forced sale of furniture; the transfer, at a heavy
+discount, of funds which had to be reinvested, added serious items
+to the amount of loss. From the fragments thus thrown aside fortunes
+were made. At the very time when the little family was enduring bitter
+privation in Florence, a man realized an almost fabulous sum by selling
+walking-sticks manufactured from designs made by Mademoiselle de
+Fauveau in those happy Paris evenings before mentioned.</p>
+
+<p>The expense attendant on establishing a new studio in Florence had
+to be met by the labor of many years. Madame de Fauveau, at this
+period, was the guardian angel of the family, and thought no sacrifice
+too great for the encouragement of her daughter’s genius, and the
+advancement of her views. Her own poetical and imaginative mind aroused
+and fostered the ideas of the sculptress, while her unflinching
+resignation and humble faith soothed and solaced her heart.</p>
+
+<p>With unparalleled nobleness, in spite of extreme poverty, the family
+refused to receive a sous from the princes or the party they had so
+served. No fleck of the world’s dust can be thrown on that spotless
+fidelity. It was at this period, when each day’s labor scarcely
+sufficed to provide for daily necessities, that Mademoiselle de Fauveau
+wrote to one of her friends, “We artists are like the Hebrews of old;
+manna is<span class="pagenum" id="Page_256">[Pg 256]</span> sent to us, but on condition we save none for the morrow.”</p>
+
+<p>Brighter days dawned. Labor is not only its own reward, in the
+happiness it confers, but those who sow unweariedly and judiciously
+shall reap fairly. Our sculptress achieved a modest independence. It
+was probably at this time of her life that her friend the Baroness de
+Krafft sketched her character, dwelling on the contrasts presented
+by her history, in which her mind was developed, and the bent of her
+nature determined. “Fire, air, and water,” she says, “are in that
+organization;” and it is true that ardor, purity, and impulse are
+the characteristics of her genius. On the one hand we see the lady
+of the Faubourg St. Germaine, with all the habits, associations, and
+prejudices which belong to her order; on the other, the artist, earning
+her daily bread, and obliged to face in their reality the sternest
+necessities and most imperative obligations; the single woman treading
+victoriously the narrow and thorny path which all women tread who
+seek to achieve independence by their own exertions; and the genius
+which, to attain breadth and vigor, must freely sweep out of its path
+limitations and obstacles. These contrasts appear in her person and
+manner. Her glance, usually soft, can kindle and grow stern. Madame de
+Krafft notices that the movements of her arms are somewhat abrupt and
+angular, but her hands “are white, soft, and fine, royal as the hands
+of Cæsar, or of Leonardo da Vinci.”</p>
+
+<p>Mademoiselle de Fauveau is described by a visitor as being fair, with
+low and broad forehead; soft, brown, penetrating eyes, aquiline nose,
+and mouth finely chiseled, well closed, and slightly sarcastic. Of the
+medium height, her figure is flexible and well formed.<span class="pagenum" id="Page_257">[Pg 257]</span> Her ordinary
+studio dress is velvet, of that “<i lang="fr" xml:lang="fr">feuille morte</i>” color Madame
+Cottin has made famous; with a jacket of the same fastened by a small
+leathern belt, a <i lang="fr" xml:lang="fr">foulard</i> round the neck, and a velvet cap. Her
+hair is blonde, cut square on the forehead and short on the neck, and
+left rather longer at the sides, in the Vandyke manner. The face, and
+figure, and presence, give the impress of a firm but not aggressive
+nature, revealing the energy of resistance, not of defiance. Opinions
+strongly held and enunciated, defended to the death, if necessary, give
+such an aspect. Combined with this peculiarity is a look of thoughtful
+melancholy, such as Retzch has represented in his sketches of Faust. In
+fact, the head, in a statuette of herself, might serve as an ideal of
+the world-famous student. There are two admirable likenesses of her:
+one by Ary Scheffer and one by Giraud.</p>
+
+<p>Her dwelling is in the Via delle Fornace, where are also the studios of
+Powers and Fedi. A dark green door opens into a paved covered court,
+formerly the entrance to a convent, which is now adapted to form a
+modern habitation. On one side a flight of stairs leads to the upper
+rooms, another door leads to the studio; a third opens on a cool,
+quiet garden, shaded by trees. There are dovecotes, pigeon-houses,
+and bird-cages; and the walks are hedged with laurels and cypresses,
+while there are gay flowers mingled with Etruscan vases and jars.
+The artist’s drawing-room looks like the parlor of an abbess,
+furnished with antique hangings, carved chairs, silver crucifixes,
+and gold-grounded, pre-Raphaelite pictures, some of great beauty and
+value. From this drawing-room, half oratory and half boudoir, the
+visitor descends to the studio, which is composed of two or three large
+white-washed rooms on the ground floor.</p>
+
+<p><span class="pagenum" id="Page_258">[Pg 258]</span></p>
+
+<p>The first thing that strikes one here is the evidence of the artist’s
+indefatigable industry. Here are casts and bassi-relievi from the
+antique, but no goddesses, nymphs, or cupids; it is Christian art of
+the mediæval period. Saints and angels cover the walls; in the centre
+is a large crucifix of carved wood, beautifully executed, and full
+of vigor and expression; near it is a Santa Reparata, designed in
+terra-cotta. Mademoiselle de Fauveau has been peculiarly successful
+in her adaptation of terra-cotta to artistic purposes. A large
+alto-relievo represents two freed spirits flying heavenward, dropping
+their earthly chains. A lovely St. Dorothea looks upward, and holds up
+her hands for a basket of flowers and fruit which a descending angel
+is bringing from Paradise. Bold and rapid movement is expressed in
+the flying figure. In the background is an architectural design of a
+church, and an inscription describing how it sprang, as it were, from
+the martyr’s blood. There is a Judith addressing the Israelites from
+an open gallery, with the head of Holofernes on a spear beside her. In
+the aspect of the resolute woman of Bethulia there is an undefinable
+resemblance to the artist. The expression, indeed, is congenial to her
+character, in which there is the concentration of purpose which gives
+force, and the ardor that gives decision to the will.</p>
+
+<p>There are also works of a lighter character; the carved frame-work
+of a mirror, with an exquisite allegorical design—a fop and a
+coquette, in elaborate costume, are bending inward toward the glass,
+so intent on self-admiration as to be unconscious that a demon below
+has caught their feet in a line or snare from which they will not be
+able to extricate themselves without falling. Most of Mademoiselle
+de Fauveau’s<span class="pagenum" id="Page_259">[Pg 259]</span> works have superabundant richness of ornament and
+allegorical device. Her designs for gold and silver ornaments are
+unrivaled for elegance and imaginative picturesqueness.</p>
+
+<p>She made for Count Zichy a Hungarian costume, the collar, belt, sword,
+and spurs being of the most finished workmanship. A silver bell,
+ornamented with twenty figures, for the Empress of Russia, represents a
+mediæval household, in the costumes of the period, and their peculiar
+avocations, assembling at the call of three stewards, whose figures
+form the handle. Round the ball is blazoned, in Gothic characters,
+“<i lang="fr" xml:lang="fr">De bon vouloir servir le maître</i>.”</p>
+
+<p>It would be tedious to enumerate the works of this indefatigable
+artist. The finished specimens of twenty-five years of labor are shut
+up in private galleries, the models remaining in her studio. Her last
+and most imposing work is the monument in Santa Croce, erected to the
+memory of Louise Favreau by her parents. Madame de Krafft published a
+description of this in the <i lang="fr" xml:lang="fr">Revue Britannique</i> for March, 1857.
+Three monuments, in different styles, may be seen in the Lindsay
+chapel. In her studio are several busts of great beauty, strongly
+relieved by her method of placing an architectural back-ground. One is
+the bust of the Marquis de Bretignières, the founder of the reformatory
+school colony of Mettray.</p>
+
+<p>Besides devoting herself to the actual expression of her ideas, Madame
+de Fauveau has, all her life, studied to improve the mere mechanical
+portion of her art. She endeavored to revive certain secrets known
+to the ancients, which have been abandoned and forgotten, to the
+detriment of modern sculpture. To cast a statue entire, instead of in
+portions, and with so much precision<span class="pagenum" id="Page_260">[Pg 260]</span> as to require no farther touch
+of the chisel—to preserve inviolate, as it were, the idea, while it
+is subject to the difficult process of clothing it with form, has been
+her life-long endeavor. In bronze, by means of wax, she succeeded,
+after repeated failures, with incredible perseverance. A figure of
+St. Michael in one of her works was thus cast seven times. The least
+obstacle, were it only the breadth of a pin’s point in one of the
+air-vents which are necessary to draw the seething metal into every
+part of the mould, is enough to destroy the work. At last her head
+workman brought her St. Michael complete; all the energy and delicacy
+of the original design being preserved, and none of the pristine
+freshness lost in the translation from wax to bronze.</p>
+
+<p>Mademoiselle de Fauveau works almost incessantly, scarcely allowing
+herself any relaxation. Her principal associates are a few of the
+higher church dignitaries, and two or three distinguished Italian or
+foreign families. Retirement is agreeable to her, and her political
+opinions have drawn around her a line of demarkation. She has paid two
+visits to Rome: one when the Duc de Bordeaux was there. He paid her
+much attention, as did the two great princes of art, Cornelius and
+Tenerani, at that time in Rome. Thus situated, beloved by many, admired
+and appreciated by all, this clever artist and noble woman leads an
+honored life, which seems a realized dream of work, progress, and
+success.</p>
+
+<p>From every point of view, a life so spent is a curious and interesting
+study. There is the independence belonging to an existence devoted
+to art, with almost cloistral simplicity and formality. She had been
+hardly ever separated from her proud and devoted mother<span class="pagenum" id="Page_261">[Pg 261]</span> till her
+death, in 1858. The loss left her inconsolable. Her brother, an artist
+of merit, resides with her, assists in most of her works, and is the
+support and comfort of her life. Her happy home and domestic relations
+have helped to expand and refine her genius. A woman’s art, as well as
+her heart, suffers when the home in which she works is uncongenial. Our
+artist’s name—Felicie—has proved a good omen for one who is at once
+“a good woman and a great artist.”</p>
+
+
+<h3>ROSA BONHEUR.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a></h3>
+
+<div class="footnote">
+
+<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> This sketch was prepared under the supervision of
+Mademoiselle Bonheur.</p>
+
+</div>
+
+<p>Rosalie Bonheur—as she is called in her <i lang="fr" xml:lang="fr">acte de naissance</i>—was
+born in Bordeaux on the 16th of March, 1822. Her father, Oscar Raymond
+Bonheur, was a painter of merit, who had in youth taken the highest
+honors at the exhibitions of his native town. He devoted part of his
+time to giving drawing-lessons in families for the support of his
+aged parents. An attachment sprung up between him and one of his
+pupils—Sophie Marqués—a lovely and accomplished girl. Her family
+opposed their union on account of the artist’s poverty; and after the
+marriage the young people were thrown entirely on their own resources.
+Rosalie was the eldest of their four children. Her father was compelled
+to give up his dreams of fame and the higher labors of his art, and for
+eight years maintained his family by teaching drawing.</p>
+
+<p>Rosalie—or Rosa, as she has always called herself—was a wild, active,
+impetuous child, impatient of restraint, and having a detestation of
+study. She was a long time in acquiring even the elements of reading
+and writing. When not in the fields, she was in the<span class="pagenum" id="Page_262">[Pg 262]</span>
+garden. She remembers a gray parrot, a pet of her grandfather’s, that
+often called out “Rosa! Rosa!” in a voice like her mother’s, and would
+bring her in, when her mother would seize the opportunity to make
+her repeat her catechism. When the lesson was over, the little girl
+would scold the bird angrily for the trick it had played her. But if
+Rosa hated her books, she dearly loved all objects in nature, and was
+happiest when rambling in wood or meadow, gathering posies as large as
+herself. Her complexion was fair, with rosy cheeks; her light auburn
+hair curled in natural ringlets; and she was so plump that the Spanish
+poet Moratia, who then lived in Bordeaux, and spent his evenings at
+Bonheur’s, used to call her his “round ball.” He would romp with the
+merry child for hours together, and laugh over the rude figures she
+was fond of cutting out of paper. Rosa was fond of amusing herself in
+her father’s studio, drawing rough outlines on the walls, or burying
+her little fat hands in the clay, and making grotesque attempts at
+modeling, though these childish efforts were not noticed by her family
+as showing any genius. The exiled poet, however, saw the boldness,
+vigor, and originality of her nature, and often prophesied that his
+favorite would turn out, in some way, “a remarkable woman.”</p>
+
+<p>In 1829 Raymond Bonheur quitted Bordeaux, and established himself
+with his family in Paris. Interested in the ideas then fermenting in
+the public mind, he entered into the excitement that preceded the
+Revolution of July. Periods of national effervescence are not favorable
+to art; the painter could not sell his pictures, and had to betake
+himself once more to giving drawing-lessons. His wife gave lessons
+on the piano; but the growing agitation of the social and political<span class="pagenum" id="Page_263">[Pg 263]</span>
+world made their united exertions profitless. Madame Bonheur sustained
+her husband’s courage throughout this trying period, while she was
+often compelled, after the day’s labors, to sit up half the night to
+earn with her needle a precarious support for the morrow. When public
+tranquillity returned, Bonheur resumed his teaching, and had some of
+his works noticed in the Paris Exhibition.</p>
+
+<p>Madame Bonheur died in 1833. The father then placed the three elder
+children with an honest woman—La Mère Cathérine—who lived in the
+Champs Elysées; Juliette, the youngest, being sent to friends in
+Bordeaux. La Mère sent her little charges to the Mutual School of
+Chaillot. Rosa, now in her eleventh year, and detesting books and
+confinement as heartily as ever, generally contrived to avoid the
+school-room, and spent most of her time in the grassy and wooded
+spots afforded in the Bois de Boulogne, and other environs of Paris.
+Two years passed thus; the children being plainly clad and living on
+the humblest fare. Rosa meanwhile, with her passion for independence
+and outdoor life, incurred almost daily the angry reprimands of La
+Mère Cathérine, who was distressed at her neglect of school for her
+rambles. “I never spent an hour of fine weather indoors during the
+whole of the time,” she often said. But this sort of gipsy life could
+not last. Raymond Bonheur married again, took a house in the Faubourg
+du Roule, brought the three children home, and endeavored to put them
+in a way to make a position for themselves. The two boys—Auguste and
+Isidore—were placed in a respectable school, in which their father
+gave three lessons a week by way of payment; and Rosa, who could not be
+got to learn any thing out of a book, and seemed<span class="pagenum" id="Page_264">[Pg 264]</span> to have neither taste
+nor talent for any thing but rambling about in the sunshine, was placed
+with a seamstress, in order that she might learn to make a living by
+her needle.</p>
+
+<p>Nothing could have been more disagreeable to the poor girl than the
+monotonous employment to which she was thus condemned. The mere act of
+sitting still on a chair was torture to her active temperament; she ran
+the needle into her fingers at every stitch, and bending over her hated
+task made her head ache, and filled her with inexpressible weariness
+and disgust. The husband of the seamstress was a turner, and had his
+lathe in an adjoining room. Rosa’s sole consolation was to slip into
+this room, and obtain the turner’s permission to help him work the
+lathe. If he were absent, she would do her utmost to set the lathe in
+motion by herself, more than once doing some damage to the turner’s
+tools. But these stolen pleasures were insufficient to compensate her
+for the repulsiveness of her new avocation; and whenever her father,
+with his pockets full of bonbons, came to see her and learn how she
+was getting on, she would throw herself into his arms in a passion
+of tears, and beseech him to take her away. Every week her distress
+became more and more evident; she lost her appetite and color, and was
+apparently falling ill. Her father was much disappointed at the ill
+success of his attempt to make of his wild daughter an orderly and
+industrious needle-woman; but he was too fond of her to persevere in
+an experiment so repugnant to her feelings. He therefore broke off the
+arrangement with the seamstress, and took her home.</p>
+
+<p>After thinking over many plans for her, he at length succeeded in
+making an arrangement for her<span class="pagenum" id="Page_265">[Pg 265]</span> reception in a boarding-school in the
+Rue de Reuilly, Faubourg St. Antoine, on the same terms as those he
+had obtained for her brothers. A vast deal of good advice was expended
+on her, with many earnest exhortations to make the best use of the
+advantages of the school, by diligent application to her studies.</p>
+
+<p>For a short time after her entrance into this establishment, Rosa was
+delighted with her new life, for she speedily became a favorite with
+her young companions, the leader in all their games, and the inventor
+of innumerable pranks. But the teachers were far from being equally
+satisfied with the new pupil, who could not be got to learn a lesson,
+and who threw the household into confusion with her doings. One of
+her favorite amusements was to draw caricatures of the governesses
+and professors; which caricatures, after coloring, she cut out very
+carefully, and contrived to fasten to the ceiling of the school-room,
+by means of bread patiently chewed to the consistence of putty,
+and applied to the heads of the figures. The sensation created by
+this novel exhibition of portraiture, and the ludicrous bowings and
+courtesyings of the paper figures, as they swayed over the heads of
+their originals, may be easily imagined. The pupils would go beside
+themselves with suppressed laughter; the teachers were naturally more
+displeased than diverted. The mistress of the establishment, struck
+with the vigor and originality of these drawings, caused them to be
+detached from the ceiling, and placed them privately in an album,
+where, it is said, they have been treasured to this day. But Rosa was
+none the less pronounced a very naughty girl; and she generally found
+herself condemned to bread and water about five days in the week.</p>
+
+<p><span class="pagenum" id="Page_266">[Pg 266]</span></p>
+
+<p>Rosa Bonheur is by no means deficient in the faculty of acquiring
+knowledge, and has since made up, in her own way, for her early
+disinclination to study; but it was absolutely impossible for her,
+at that time, to constrain her mercurial temperament to the measured
+regularity of a class; and the only branch of study in which she made
+any progress was drawing, which she practiced assiduously, sharing the
+lessons given twice a week by her father in return for her schooling.</p>
+
+<p>Rosa, however, was far from happy. Besides the constant trouble in
+which her love of frolic and mischief involved her, there was another
+annoyance that poisoned her peace, and gradually rendered her stay in
+the school intolerably painful.</p>
+
+<p>All the other pupils being daughters of rich tradesmen, they were
+elegantly dressed, and had their silver forks and cups at table, and
+plenty of pocket-money for the gratification of their school-girl
+fancies. Rosa, with her calico frocks and coarse shoes, her iron
+spoon, tin mug, and empty pockets, felt keenly the inferiority of
+her position. Her father was as good and as clever as the fathers
+of her companions; why, then, was he not rich? Why must she wear
+calico and drink out of tin, while the other girls had silver mugs
+and beautiful silk dresses? Too generous to be envious, and treated
+as a favorite by the other pupils, the proud and sensitive child yet
+recoiled instinctively from a contact which awakened in her mind an
+unreasoning sense of injustice, and humiliated her, as she felt, for
+no fault of her own. She had no wish to deprive her little companions
+of the superior advantages of their lot, but she longed to possess
+the same, tormenting herself day and night with pondering on her<span class="pagenum" id="Page_267">[Pg 267]</span>
+difficulties, and seeking to devise some plan by which they might be
+overcome. To this period, with its secret mental experiences, is to be
+traced that firm resolve to achieve a name and a place for herself in
+the world—to a perception of whose social facts she was now beginning
+to awaken—which sustained her through the subsequent phases of her
+artistic development. Yet this resolve, though prompted by a galling
+sense of the humble character of her wardrobe and “belongings,”
+pointed less to the acquisition of greater elegance of dress and
+personal conditions—to which she has subsequently shown herself almost
+indifferent—than to the attainment of a superior and independent
+social position. She was determined to be something, though she could
+not see what, and felt no doubt of the accomplishment of her purpose,
+though as yet she had no idea of the mode in which it was to be carried
+out. Meanwhile, her secret discontent preyed on her spirits and
+affected her health. She became reserved and gloomy, and while seeking,
+with feverish anxiety, to devise the sort of work that should enable
+her to gain for herself the superior position she so ardently coveted,
+she became more and more neglectful of her studies, until, her teachers
+and her father being alike discouraged by her seeming idleness, the
+latter withdrew her from the school, and once more took her home.</p>
+
+<p>More than ever perplexed what to do with her, her father now left her
+for a time entirely to herself. Thus abandoned to her own spontaneous
+actions, Rosa, who felt that the idle and aimless life she had hitherto
+led was little calculated to help her to the realization of her secret
+ambition, and who was full of unacknowledged regret and remorse for her
+incapacity and uselessness,<span class="pagenum" id="Page_268">[Pg 268]</span> sought refuge from her own uncomfortable
+thoughts in her father’s studio, where she amused herself with
+imitating every thing she saw him do; drawing and modeling, day after
+day, with the utmost diligence and delight, happy as long as she had
+in her hands a pencil, a piece of charcoal, or a lump of clay. In the
+quiet and congenial activity of the studio, her excited feelings became
+calm, and her ideas grew clearer; she began to understand herself, and
+to devise the path nature had marked out for her. As this change took
+place in her mind, the desultory and purposeless child became rapidly
+transformed into the earnest, self-conscious, determined woman. She
+drew and modeled from morning till night with enthusiastic ardor; and
+her father, amazed at her progress, and perceiving at last the real
+bent of her nature, devoted himself seriously to her instruction,
+superintending her efforts with the greatest interest and care. He took
+her through a serious course of preparatory study, and then sent her to
+the Louvre to copy the works of the old masters, as a discipline for
+her eye, her hand, and her judgment.</p>
+
+<p>Surrounded and stimulated by the glorious creations of the great
+painters—the first to enter the gallery and the last to leave it—too
+much absorbed in her model to be conscious of any thing that went on
+around her, Rosa pursued her labors with unwavering zeal.</p>
+
+<p>“I have never seen an example of such application, and such ardor for
+work,” remarked M. Jousselin, director of the Louvre, in describing the
+deportment of the young student.</p>
+
+<p>The splendid coloring and form of the Italian schools, the lofty
+idealism of the German, and the broad naturalism of the Dutch, alike
+excited her enthusiasm;<span class="pagenum" id="Page_269">[Pg 269]</span> she studied them all with equal delight,
+and copied them with equal felicity. To aid her father in his arduous
+struggle for the support of his family, now increased by the birth of
+two younger children, was the immediate object of Rosa’s ambition;
+and, the admirable fidelity of her copies insuring them a speedy sale,
+this filial desire was soon gratified. She gained but a small sum for
+each, but so great was her industry that those earnings soon became an
+important item in the family resources.</p>
+
+<p>One day, when she had just put the finishing touch to a copy of <i lang="fr" xml:lang="fr">Les
+Bergers d’Arcadie</i>, at the Louvre, an elderly English gentleman
+stopped beside her easel, and, having examined her work with much
+attention, exclaimed, “Your copy, <i lang="fr" xml:lang="fr">mon enfant</i>, is superb,
+faultless! Persevere as you have begun, and I prophesy that you will be
+a great artist!” The stranger’s prediction gave the young painter much
+pleasure, and she went home that evening with her head full of joyous
+visions of future success.</p>
+
+<p>Rosa was now in her seventeenth year, vowed to art as the aim and
+occupation of her life, cultivating landscape, historical, and genre
+painting with equal assiduity, but without any decided preference for
+either; when, happening to make a study of a goat, she was so much
+enchanted with this new attempt that she thenceforth devoted herself
+to the cultivation of the peculiar province in which she has commanded
+such brilliant success. Too poor to procure models, she went out daily
+into the country on foot, in search of picturesque views and animals
+for sketching. With a bit of bread in her pocket, and laden with canvas
+and colors, or a mass of clay—for she was attracted equally toward
+painting and sculpture, and has shown<span class="pagenum" id="Page_270">[Pg 270]</span> that she would have succeeded
+equally in either—she used to set out very early in the morning, and,
+having found a site or a subject to her mind, seat herself on a bank or
+under a tree, and work on till dusk; coming home at nightfall, after
+a tramp of ten or a dozen miles, browned by sun and wind, soaked with
+rain, or covered with mud; exhausted with fatigue, but rejoicing in the
+lessons the day had furnished.</p>
+
+<p>Her inability to procure models at home also suggested to her
+another expedient, the adoption of which shows how earnest was her
+determination to overcome the obstacles poverty had placed in the way
+of her studies. The slaughtering and preparing of animals for the Paris
+market is confined to a few <i lang="fr" xml:lang="fr">abattoirs</i>, great establishments
+on the outskirts of the city, placed under the supervision of the
+municipal authorities. Each of these establishments contains extensive
+inclosures, in which are penned thousands of lowing and bleating
+victims, waiting their turn to be led to the shambles. To one of
+these—the <i lang="fr" xml:lang="fr">abattoir du Roule</i>—had Rosa the courage to go daily
+for many months, surmounting alike the repugnance which such a locality
+naturally inspired, and her equally natural hesitation to place herself
+in contact with the crowd of butchers and drovers who filled it. Seated
+on a bundle of hay, with her colors beside her, she painted on from
+morning till dusk, not unfrequently forgetting the bit of bread in
+her pocket, so absorbed would she become in the study of the varied
+types that rendered the courts and stables of this establishment so
+invaluable a field of observation for her. Not content with drawing
+the occupants of the <i lang="fr" xml:lang="fr">abattoir</i> in their pens, far from the
+sickening horror of the shambles, she felt the necessity of studying
+their attitudes under the terror<span class="pagenum" id="Page_271">[Pg 271]</span> and agony of the death-stroke, and
+compelled herself to make repeated visits to the slaughter-house;
+looking on scenes whose repulsiveness was rendered doubly painful
+to her by her affectionate sympathy with the brute creation. In the
+evening, on her return home, her hands, face, and clothes were usually
+spotted all over by the flies, so numerous wherever animals are
+congregated. Such was the respect with which she inspired the rude
+companions by whom she was surrounded, and who would often beg to see
+her sketches, which they regarded with the most naïve admiration, that
+nothing ever occurred to annoy her in the slightest degree during her
+long sojourns in the crowded precincts of the <i lang="fr" xml:lang="fr">abattoir</i>.</p>
+
+<p>After she had ceased to visit this establishment, she frequented in
+a similar manner the stables of the Veterinary School of Alfort, and
+the animals and museums of the Garden of Plants. She also resumed her
+sketching rambles in the country, and resorted diligently to all the
+horse and cattle fairs held in the neighborhood of Paris. On the latter
+occasions she invariably wore male attire; a precaution she found it
+necessary to adopt, as a convenience, and still more, as a protection
+against the annoyances that would have rendered it impossible for her
+to mingle in such gatherings in feminine costume. In her masculine
+habit Rosa had so completely the look of a good-hearted, ingenuous
+boy, that the graziers and horse-dealers, whose animals she drew,
+would frequently insist on “standing treat” in a <i lang="fr" xml:lang="fr">chopine</i> of
+wine, or a <i lang="fr" xml:lang="fr">petit verre</i> of something stronger, to the “clever
+little fellow” whose skillful portrayal of their beasts had so much
+delighted them; and it sometimes required all her address and ingenuity
+to escape from their well-meant persecutions. Her<span class="pagenum" id="Page_272">[Pg 272]</span> good looks, too, in
+the assumed character of a youth of the sterner sex, would sometimes
+make sad havoc in the susceptible hearts of village dairy-maids. Some
+laughable incidents might be related under this head. In her subsequent
+explorations of the romantic regions at either foot of the Pyrenees,
+the passion with which she has unwittingly inspired the black-eyed
+Phœbes of the south has more than once proved a source of serious
+though comical embarrassment to the artist, desirous above all things
+to maintain impenetrably the secret of her disguise.</p>
+
+<p>The young artist’s studies were not confined to the exterior forms of
+her models. She procured the best anatomical treatises and plates,
+with casts and models of the different parts of the human frame, and
+studied them thoroughly; she then procured legs, shoulders, and heads
+of animals from the butchers, carefully dissecting them, and thus
+obtaining an intimate knowledge of the forms and dependencies of the
+muscles whose play she had to delineate.</p>
+
+<p>Now that Rosa has arrived at the fame her swelling child-heart
+prophesied to itself before she had ascertained the path that should
+lead to the fulfillment of her aspirations, the richest and noblest of
+her countrymen are proud to place at her disposal the finest products
+of their farms and studs; while mules, donkeys, sheep, goats, pigs,
+dogs, and rare poultry are offered to her from one end of Europe to the
+other. But it is certain that the poverty and obscurity which, during
+her first years of effort, compelled her to frequent <i lang="fr" xml:lang="fr">abattoirs</i>
+and cattle-markets in search of subjects for her pencil were really
+of unspeakable service in forcing her to make acquaintance with a
+multitude of types under a variety of action and condition, such as
+she<span class="pagenum" id="Page_273">[Pg 273]</span> could never have seen in any other way, and in giving her a
+breadth of conception, variety of detail, and truthfulness to nature,
+which a more limited range of experience could not have supplied.</p>
+
+<p>Through all her varied studies, Raymond Bonheur was his daughter’s
+constant and only teacher. M. Léon Cogniet, whose pupil she is
+erroneously said to have been, merely took a friendly interest in her
+progress, and warmly encouraged her to persevere. She never took a
+lesson of any other teacher than her father and nature.</p>
+
+<p>Bonheur, with his family, now occupied small six-story rooms in the
+Rue Rumfort. His two sons had also devoted themselves to art under his
+auspices, Auguste being a painter, and Isidore a sculptor. The loving
+family, merry and hopeful in spite of poverty, labored diligently
+together in the same little studio. From daylight till dusk Rosa was
+always at her easel, singing like a linnet, the busiest and merriest
+of them all. In the evening, the frugal dinner dispatched and the lamp
+lighted, she would spend several hours in drawing illustrations for
+books, and animals for prints and for albums; or in moulding little
+groups of oxen, sheep, etc., for the figure-dealers—thus earning an
+additional contribution to the family purse.</p>
+
+<p>Rosa delighted in birds, of which she had many in the studio; but it
+grieved her to see them confined. To her great joy, one of her brothers
+contrived a net, which he fastened to the outer side of the window,
+so that they could be safely let out of their cages. She had also a
+beautiful sheep, with long silky wool, the most docile and intelligent
+of quadrupeds, which she kept on the leads outside their windows, the
+leads forming a terrace, converted by her into a garden, gay<span class="pagenum" id="Page_274">[Pg 274]</span> with
+honeysuckles, cobeas, convolvulus, nasturtiums, and sweet-peas. As the
+sheep could not descend six flights of stairs, yet needed occasional
+exercise and change of diet, Isidore used to place it gravely on his
+shoulders, and carry it down to a neighboring croft, where it browsed
+on the fresh grass to its heart’s content, after which he would carry
+it back to its aerial residence. Thus carefully tended, the animal
+passed two years contentedly on the terrace, affording to Rosa and her
+brothers an admirable model.</p>
+
+<p>It was in the Fine Arts Exhibition of 1841 that Rosa Bonheur made her
+first appearance before the critical Areopagus of Paris, attracting
+the favorable notice both of connoisseurs and public, by two charming
+little groups of a goat, sheep, and rabbits. The following year she
+exhibited three paintings: “Animals in a Pasture,” “A Cow lying in a
+Meadow,” and “A Horse for Sale,” which attracted still more notice, the
+first being specially remarkable for its exquisite rendering of the
+atmospheric effects of evening, and its blending of poetic sentiment
+with bold fidelity to fact.</p>
+
+<p>From this period she appeared in all the Paris exhibitions, and in
+many of those of the provincial towns, her reputation rising every
+year, and several bronze and silver medals being awarded to her
+productions. In 1844 she exhibited, with her paintings, “A Bull” in
+clay, one of the many proofs she has given of powers that would have
+raised her to a high rank as a sculptor, had she not, at length, been
+definitively drawn, by the combined attractions of form and color,
+into the ranks of the painters. In the following year she exhibited
+twelve paintings—a splendid collection—flanked by the works of her
+father and her brother<span class="pagenum" id="Page_275">[Pg 275]</span> Auguste, then admitted for the first time. In
+1846 her productions were accompanied by those of her father and both
+her brothers, the younger of whom then first appeared as a sculptor.
+The family group was completed in a subsequent exhibition by the
+admission of her younger sister, Julietta, who had returned to Paris,
+and had also become an artist. In 1849 her magnificent “Cantal Oxen”
+took the gold medal. Horace Vernet, president of the committee of
+awards, proclaimed the new laureat in presence of a brilliant crowd of
+amateurs, presenting her with a superb Sèvres vase in the name of the
+government; the value of a triumph which placed her ostensibly in the
+highest rank of her profession being immeasurably enhanced in her eyes
+by the unbounded delight it afforded to her father.</p>
+
+<p>Raymond Bonheur, released from pecuniary difficulty, and rejuvenated
+by the joy of his daughter’s success, had accepted the directorship of
+the government school of design for girls, and resumed his palette with
+all the ardor of his younger days. But his health had been undermined
+by the fatigues and anxieties he had borne so long, and he died of
+heart disease in 1849, deeply regretted by his family. Rosa, who had
+aided him in the school of design, was now made its directress. She
+still holds the post, her sister, Madame Peyrol, being the resident
+professor, and Rosa superintending the classes in a weekly lesson.</p>
+
+<p>Her already brilliant reputation was still farther enhanced by the
+appearance, in 1849, of her noble “Plowing Scene in the Nivernais,”
+ordered by the government, and now in the Luxembourg Gallery; of the
+“Horse-market,” in 1853, the preparatory studies for which occupied her
+during eighteen months;<span class="pagenum" id="Page_276">[Pg 276]</span> and the “Hay-making,” in 1855. The last two
+works created great enthusiasm in the public mind.</p>
+
+<p>More fortunate than many other great artists, whose merits have been
+slowly acknowledged, Rosa Bonheur has been a favorite with the public
+from her first appearance. Her vigorous originality, her perfect
+mastery of the technicalities and mechanical details of her art, and
+the charm of a style at once fresh and simple, and profoundly and
+poetically true, ensured for her productions a sympathetic appreciation
+and a rapid sale. She had produced, up to June, 1858, thirty-five
+paintings; and many more, not exhibited, have been purchased by private
+amateurs. In these the peculiar aspect of crag, mountain, valley, and
+plain—of trees and herbage; the effects of cloud, mist, and sunshine,
+and of different hours of the day—are as profoundly and skillfully
+rendered as are the outer forms and inner life of the animals around
+which the artist, like nature, spreads the charm and glory of her
+landscapes. She has already made a fortune, but has bestowed it
+entirely on others, with the exception of a little farm a few miles
+from Paris, where she spends a great deal of her time. Such is her
+habitual generosity, and so scrupulous is her delicacy in all matters
+connected with her art, that it may be doubted whether she will ever
+amass any great wealth for herself. Her port-folios contain nearly a
+thousand sketches, eagerly coveted by amateurs; but she regards these
+as a part of her artistic life, and refuses to part with them on any
+terms. A little drawing that accidentally found its way into the hands
+of a dealer, a short time since, brought eighty pounds in London.
+Rosa had presented it to a charity, as she now and then does with her
+drawings. Demands for paintings reach her from every<span class="pagenum" id="Page_277">[Pg 277]</span> part of the
+world; but she refuses all orders not congenial to her talent, valuing
+her own probity and dignity above all price.</p>
+
+<p>The award of the jury in 1853—in virtue of which the authoress of
+“The Horse-market” was enrolled among the recognized masters of the
+brush, and as such exempted from the necessity of submitting her works
+to the examining committee previous to their admission to future
+exhibitions—entitled her, according to French usage, to the cross of
+the Legion of Honor. This decoration was refused to the artist by the
+emperor <em>because she was a woman</em>!</p>
+
+<p>The refusal, repeated after her brilliant success of 1855, naturally
+excited the indignation of her admirers, who could not understand why
+an honor that would be accorded to a certain talent in a man should be
+refused to the same in a woman. But, though Rosa was included in the
+invitation to the state dinner at the Tuileries, always given to the
+artists to whom the Academy of Fine Arts has awarded its highest honor,
+the refusal of the decoration was maintained, notwithstanding numerous
+efforts made to obtain a reversal of the imperial decree.</p>
+
+<p>A visitor describes the studio of this world-renowned artist. At the
+southern end of the Rue d’Assas—a retired street, half made up of
+extensive gardens, the tops of trees alone visible above the high stone
+walls—just where, meeting the Rue de Vaugirard, it widens into an
+irregular little square, surrounded by sleepy-looking, old-fashioned
+houses, and looked down upon by the shining gray roofs and belfry of
+an ancient Carmelite convent—is a green garden-door, surmounted by
+the number “32.” A ring will be answered by the barkings of one or two
+dogs; and when the<span class="pagenum" id="Page_278">[Pg 278]</span> door is opened by the sober-suited serving-man, the
+visitor finds himself in a garden full of embowering trees. The house,
+a long, cozy, irregular building, standing at right angles with the
+street, is covered with vines, honeysuckles, and clematis. A part of
+the garden is laid out in flower-beds; but the larger portion—fenced
+off with a green paling, graveled, and containing several sheds—is
+given up to the animals kept by the artist as her models. There may be
+seen a horse, a donkey, four or five goats, sheep of different breeds,
+ducks, cochinchinas, and other denizens of the barn-yard, all living
+together in perfect amity and good-will.</p>
+
+<p>On fine days the artist may be found seated on a rustic chair inside
+the paling, busily sketching one of these animals, a wide-awake or
+sun-bonnet on her head. If the visitor comes on a Friday afternoon, the
+time set apart for Rosa’s receptions, he is ushered through glass doors
+into a hall, where the walls are covered with paintings, orange-trees
+and oleanders standing in green tubs in the corners, and the floor
+(since the artist crossed the Channel!) covered with English oil-cloth.
+From this hall a few stairs, covered with thick gray drugget, lead to
+the atelier, on Fridays turned into the reception-room.</p>
+
+<p>This beautiful studio, one of the largest and most finely proportioned
+in Paris, with its greenish-gray walls, and plain green curtains to
+lofty windows that never let in daylight—the room being lighted
+entirely from the ceiling—has all its wood-work of dark oak, as are
+the book-case, tables, chairs, and other articles of furniture—richly
+carved, but otherwise of severe simplicity—distributed about the room.
+The walls are covered with paintings, sketches, casts, old<span class="pagenum" id="Page_279">[Pg 279]</span> armor,
+fishing-nets, rude baskets and pouches, poles, gnarled and twisted
+vine-branches, picturesque hats, cloaks, and sandals, collected by
+the artist in her wanderings among the peasants of various regions;
+nondescript draperies, bones and skins of animals, antlers and
+horns. The fine old book-case contains as many casts, skeletons, and
+curiosities as books, and is surrounded with as many busts, groups in
+plaster, shields, and other artistic booty, as its top can accommodate;
+and the great Gothic-looking stove at the upper end of the room is
+covered in the same way with little casts and bronzes. Paintings of all
+sizes, and in every stage of progress, are seen on easels at the lower
+end of the room, the artist always working at several at a time. Stands
+of port-folios and stacks of canvas line the sides of the studio; birds
+are chirping in cages of various dimensions, and a magnificent parrot
+eyes you suspiciously from the top of a lofty perch. Scattered over
+a floor as bright as waxing can make it, are skins of tigers, oxen,
+leopards, and foxes—the only species of floor-covering admitted by
+the artist into her workroom. “They give me ideas,” she says of these
+favorite appurtenances; “whereas the most costly and luxurious carpet
+is suggestive of nothing.”</p>
+
+<p>But the suggestion of picturesque associations is not the only service
+rendered by these spoils of the animal kingdom. One sultry Friday
+afternoon, one of her admirers, going earlier than her usual reception
+hour, found her lying fast asleep under the long table at the upper end
+of the studio, on her favorite skin, that of a magnificent ox, with
+stuffed head and spreading horns; her head resting lovingly on that of
+the animal. She had come in very tired from her weekly review of the
+classes at the School of Design, and had<span class="pagenum" id="Page_280">[Pg 280]</span> thrown herself down on the
+skin, under the shade of the table, to rest a few moments. There was so
+much natural grace and simplicity in her attitude, such innocence and
+peacefulness in her whole aspect, and so much of the startled child in
+her expression, as, roused by the opening and shutting of the door, she
+awoke and started to her feet, that the picture seemed as beautiful as
+any created by the pencil.</p>
+
+<p>Here Rosa Bonheur receives her guests with the frankness, kindness,
+and unaffected simplicity for which she is so eminently distinguished.
+In person she is small, and rather under the middle height, with
+a finely-formed head, and broad rather than high forehead; small,
+well-defined, regular features, and good teeth; hazel eyes, very clear
+and bright; dark-brown hair, slightly wavy, parted on one side and cut
+short in the neck; a compact, shapely figure; hands small and delicate,
+and extremely pretty little feet. She dresses very plainly, the only
+colors worn by her being black, brown, and gray; and her costume
+consists invariably of a close-fitting jacket and skirt of simple
+materials. On the rare occasions when she goes into company—for she
+accepts very few of the invitations with which she is assailed—she
+appears in the same simple costume, of richer materials, with the
+addition merely of a lace collar. She wears none of the usual articles
+of feminine adornment; they are not in accordance with her thoughts and
+occupations. At work she wears a round pinafore or blouse of gray linen
+that envelops her from the neck to the feet. She impresses one at first
+sight with the idea of a clear, honest, vigorous, independent nature;
+abrupt, yet kindly; original, self-centred, and decided, without the
+least pretension or conceit; but it is only when you have seen her
+conversing<span class="pagenum" id="Page_281">[Pg 281]</span> earnestly and heartily, her enthusiasm roused by some topic
+connected with her art, or with the great humanitary questions of the
+day; when you have watched her kindling eyes, her smile at once so
+sweet, so beaming, and so keen, her expressive features irradiated,
+as it were, with an inner light, that you perceive how very beautiful
+she really is. To know how upright and how truthful she is, how
+single-minded in her devotion to her art, how simple and unassuming,
+fully conscious of the dignity of her artistic power, but respecting it
+rather as a talent committed to her keeping than as a quality personal
+to herself, you must have been admitted to something more than the
+ordinary courtesy of a reception-day. While, if you would know how
+noble and how self-sacrificing she has been, not only to every member
+of her own family, but to others possessing no claim on her kindness
+but such as that kindness gave them, you must learn it from those who
+have shared her bounty, for you will never know a word of it from
+herself.</p>
+
+<p>Her dislike to being written about will prevent many interesting
+particulars in regard to her from becoming known; but, if they ever
+come to light, they will show her life replete with noble teachings,
+and that the great painter whose fame will go down to coming ages was
+as admirable a woman as she was gifted as an artist; that her moral
+worth was no less transcendent than her genius.</p>
+
+<p>Rosa Bonheur is an indefatigable worker. She rises at six, and paints
+until dusk, when she lays aside her blouse, puts on a bonnet and
+shawl of most unfashionable appearance, and takes a turn through the
+neighboring streets alone, or accompanied only by a favorite dog.
+Absorbed in her own thoughts, and<span class="pagenum" id="Page_282">[Pg 282]</span> unconscious of every thing around
+her, the first conception of a picture is often struck out by her in
+these rapid, solitary walks in the twilight.</p>
+
+<p>Living solely for her art, she has gladly resigned the cares of her
+outward existence to an old and devoted friend, Madame Micas, a widow
+lady, who, with her daughter, resides with her. Mademoiselle Micas
+is an artist, and her beautiful groups of birds are well known in
+England. She has been for many years Rosa’s most intimate companion.
+Every summer the two artists repair to some mountain district to
+sketch. Arrived at the regions inhabited only by the chamois, they
+exchange their feminine habiliments for masculine attire, and spend
+a couple of months in exploring the wildest recesses of the hills,
+courting the acquaintance of their shy and swift-footed tenants, and
+harvesting “effects” of storm, rain, and vapor as assiduously as those
+of sunshine. Though Rosa is alive to the beauties of wood and meadow,
+mountain scenery is her especial delight. Having explored the French
+chains and the Pyrenees, in the autumn of 1856 she visited Scotland,
+and made numerous sketches in the neighborhood of Glenfallock, Glencoe,
+and Ballaculish. Struck by the beauty of the Highland cattle, she
+selected some choice specimens of these, which she had sent down to
+Wexham Rectory, near Windsor, where she resided, and spent two months
+in making numerous studies, from which she produced two pictures:
+“The Denizens of the Mountains” and “Morning in the Highlands.” Her
+preference for the stern, the abrupt, and the majestic over the soft,
+the smiling, and the fair, makes Italy, with all its glories, less
+attractive to her than the ruder magnificence of the Pyrenees and the
+north.</p>
+
+<p><span class="pagenum" id="Page_283">[Pg 283]</span></p>
+
+<p>Among mountains the great artist is completely in her element; out of
+doors from morning till night, lodging in the humblest and remotest of
+road-side hotels, or in the huts of wood-cutters, charcoal-burners,
+and chamois-hunters, and living contentedly on whatever fare can be
+obtained. In 1856, being furnished by families of distinction in the
+Béarnais and the Basque provinces with introductions, her party pushed
+their adventurous wanderings to the little station of Peyronère, the
+last inhabited point within the French frontier, and thence up the
+romantic defiles of the Vallée d’Urdos, across the summit of the
+Pyrenees. Their letters procured them a hospitable reception at each
+halting-place, with a trusty guide for the next march. In this way they
+crossed the mountains, and gained the lonely <i lang="es" xml:lang="es">posada</i> of Canfan,
+the first on the Spanish side of the ridge, where, for six weeks, they
+saw no one but the muleteers with their strings of mules, who would
+halt for the night at the little inn, setting out at the earliest dawn
+for their descent of the mountains.</p>
+
+<p>The people of the <i lang="es" xml:lang="es">posada</i> lived entirely on curdled sheep’s milk,
+the sole article of food the party could obtain on their arrival.
+At one time, by an early fall of snow, they were shut out from all
+communication with the valley. Their threatened starvation was averted
+by the exertions of Mademoiselle Micas, who managed to procure a
+quantity of frogs, the hind legs of which she enveloped in leaves, and
+toasted on sticks over a fire on the hearth. On these frogs they lived
+for two days, when the hostess was induced to attempt the making of
+butter from the milk of her sheep, and even to allow the conversion of
+one of these animals into mutton for their benefit. Their larder thus
+supplied,<span class="pagenum" id="Page_284">[Pg 284]</span> and black bread being brought for them by the muleteers from
+a village a long way off, they gave themselves up to the pleasures
+of their wild life and the business of sketching. The arrival of the
+muleteers, in their embroidered shirts, pointed hats, velvet jackets,
+leathern breeches, and sandals, was always a welcome event. Rosa paid
+for wine for them, and they, in return, performed their national
+dances for her, after which they would throw themselves down for the
+night upon sheepskins before the fire, furnishing subjects for many
+picturesque <i>croquis</i>. As the <i lang="es" xml:lang="es">posada</i> was a police-station,
+established there as a terror to smugglers, the little party felt
+perfectly safe, notwithstanding its loneliness.</p>
+
+<p>Rosa was much pleased with her Scotch tour. She brought away a
+wonderful little Skye terrier, named “Wasp,” of the purest breed,
+and remarkably intelligent, which she holds in great affection. She
+has learned for its benefit several English phrases, to which “Wasp”
+responds with appreciative waggings of the tail.</p>
+
+<p>Rosa Bonheur has avowed her determination never to marry. Determined
+to devote her life to her favorite art, she may be expected to produce
+a long line of noble works that will worthily maintain her present
+reputation; while the virtues and excellences of her private character
+will win for her an ever-widening circle of admiration and respect.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_285">[Pg 285]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XVIII">CHAPTER XVIII.<br><span class="small">THE NINETEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p>The Practice of Art in America.—Number of women Artists
+increasing.—Prospect flattering.—Imperfection of Sketches of
+living Artists.—Rosalba Torrens.—Miss Murray.—Mrs. Lupton.—Miss
+Denning.—Miss O’Hara.—Mrs. Darley.—Mrs. Goodrich.—Miss
+Foley.—Miss Mackintosh and others.—Mrs. Ball Hughes.—Mrs.
+Chapin.—Sketch of Mrs. Duncan.—The Peale Family.—Anecdote of
+General Washington.—Mrs. Washington’s Punctuality.—Miss Peale
+an Artist in Philadelphia.—Paints Miniatures.—Copies Pictures
+from great Artists.—She and her Sister honorary Members of the
+Academy.—Her prosperous Career.—Paints with her Sister in
+Baltimore and Washington.—Marriage and Widowhood.—Return to
+Philadelphia.—Second Marriage.—Happy Home.—Mrs. Yeates.—Miss Sarah
+M. Peale.—Success.—Removal to St. Louis.—Miss Rosalba Peale.—Miss
+Ann Leslie.—Early Taste in Painting.—Visits to London.—Copies
+Pictures.—Miss Sarah Cole.—Mrs. Wilson.—Intense Love of Art.—Her
+Sculptures.—Her impromptu Modeling of Emerson’s Head.—Mrs. Cornelius
+Dubois.—Her Taste for the Sculptor’s Art.—Groups by her.—Studies in
+Italy.—Her Cameos.—Her Kindness to Artists.—Miss Anne Hall.—Early
+Love of Painting.—Lessons.—Copies old Paintings in Miniature.—Her
+original Pictures.—Her Merits of the highest Order.—Groups in
+Miniature.—Dunlap’s Praise.—Her Productions numerous.—Mary
+S. Legaré.—Her Ancestry.—Mrs. Legaré.—Early Fondness for Art
+shown by the Daughter.—Her Studies.—Little Beauty in the Scenery
+familiar to her.—Colonel Cogdell’s Sympathy with her.—Success
+in Copying.—Visit to the Blue Ridge.—Grand Views.—Paintings
+of mountain Scenery.—Removal to Iowa.—“Legaré College.”—Her
+Erudition and Energy.—Her Marriage.—Herminie Dassel.—Reverse of
+Fortune.—Painting for a Living.—Visit to Vienna and Italy.—Removal
+to America.—Success and Marriage.—Her social Virtues and
+Charity.—Miss Jane Stuart.—Mrs. Hildreth.—Mrs. Davis.—Mrs.
+Badger’s Book of Flowers.—Mrs. Hawthorne.—Mrs. Hill.—Mrs.
+Greatorex.—Mrs. Woodman.—Miss Gove.—Miss May.—Miss Granbury.—Miss
+Oakley.</p>
+</div>
+
+
+<p>In America the practice of art by woman is but in<span class="pagenum" id="Page_286">[Pg 286]</span> its commencement.
+Although many names of female artists are now familiar to the public,
+and the number is rapidly increasing, few have had time to accomplish
+all for which they may possess the ability. The prospect, however, is
+one most flattering to our national pride.</p>
+
+<p>The sketches of living American women who are pursuing art are chiefly
+prepared from materials furnished by their friends. They are given in
+simplicity, and may appear imperfect, but we hope indulgence may be
+extended to them where they are inadequate to do justice to the subject.</p>
+
+<p>Rosalba Torrens is mentioned by Ramsay, in his History of South
+Carolina, as a meritorious landscape-painter. Praise is also bestowed
+on Eliza Torrens, afterward Mrs. Cochran. Miss Mary Murray painted in
+crayons and water-colors in New York, and produced many life-sized
+portraits, which gained her celebrity. Madame Planteau painted in
+Washington about 1820, and was highly esteemed.</p>
+
+<p>Dunlap mentions Mrs. Lupton as a modeler. She presented a bust of
+Governor Throop to the National Academy of Design in New York, of
+which she was an honorary member. Many of her paintings elicited high
+commendation. She executed many busts in clay, of her friends. There
+was hardly a branch of delicate workmanship in which she did not
+excel, and her literary attainments were varied and extensive. She
+was an excellent French scholar, and a proficient in Latin, Italian,
+and Spanish, besides having mastered the Hebrew sufficiently to read
+the Old Testament with ease. In English literature she was thoroughly
+versed, and was an advanced student in botany and natural history.</p>
+
+<p><span class="pagenum" id="Page_287">[Pg 287]</span></p>
+
+<p>She was the daughter of Dr. Platt Townsend, and was married early
+in life. Mr. Lupton, a gentleman of high professional and literary
+attainments, resided in the city of New York. After his death his
+widow devoted herself to study, that she might be qualified to educate
+her young daughter, and, after the loss of this only child, pursued
+knowledge as a solace for her sorrows. Her talents and accomplishments,
+her elevated virtues and charities, and her attractive social qualities
+drew around her a circle of warm and admiring friends. She lived a
+short time in Canada, and died at the house of a relative on Long
+Island.</p>
+
+<p>Miss Charlotte Denning, of Plattsburgh, is spoken of as a clever
+miniature-painter, and also Miss O’Hara, in New York. Miss Jane Sully
+(Mrs. Darley), the daughter of the celebrated artist, is mentioned as
+an artist of merit. Mrs. Goodrich, of Boston, painted an excellent
+portrait of Gilbert Stuart, which was engraved by Durand for the
+National Portrait Gallery. Her miniatures have great merit, and are
+marked by truth and expression.</p>
+
+<p>Margaret Foley was a member of the New England School of Design, and
+gave instruction in drawing and painting. She resided in Lowell, and
+was frequently applied to for her cameos, which she cut beautifully.
+Miss Sarah Mackintosh was accustomed to draw on stone for a large glass
+company, and other ladies designed in the carpet factory at Lowell and
+in the Merrimack print-works, showing the ability of women to engage in
+such occupations.</p>
+
+<p>Several have made a livelihood by the business of engraving on wood,
+and drawing for different works.</p>
+
+<p>Mrs. Ball Hughes, of Boston, the wife of the sculptor, supported her
+family by painting and by giving<span class="pagenum" id="Page_288">[Pg 288]</span> lessons in the art. Mrs. Chapin had a
+large drawing school in Providence, and, with facility in every style,
+is said to be admirable in crayons. Many others might be mentioned, but
+it does not comport with the design of this work to record even the
+names of <em>all</em> who deserve the tribute of praise.</p>
+
+
+<h3>ANNA C. PEALE (MRS. DUNCAN).</h3>
+
+<p>Several ladies of the Peale family have been distinguished as artists,
+and are mentioned in the histories of painting in America. The
+parents of the subject of this sketch were Captain James Peale and
+Mary Claypoole. Her maternal ancestors, the Claypooles, came to this
+country with William Penn, and were among the earliest settlers in
+Philadelphia. They claimed direct descent from Oliver Cromwell, whose
+daughter Elizabeth married Sir John Claypoole.</p>
+
+<p>James Peale had great celebrity as a painter, and excelled both in
+miniatures and oil portraits. He was not only remarkable for success
+in his likenesses, but had the faculty of making them handsome withal,
+so that he was called among his acquaintances “the flattering artist.”
+This pleasing effect he gave, not by altering the features, but by
+happy touches of expression; and it was one secret of his eminent
+success. He painted, from actual sittings, several portraits of General
+Washington and Mrs. Washington. One, a miniature, is now in the
+possession of his eldest daughter.</p>
+
+<p>On one occasion, when Washington was sitting for his portrait in Mr.
+Peale’s painting-room, he looked at his watch, and said,</p>
+
+<p>“Mr. Peale, my time for sitting has expired; but, if three minutes
+longer will be of any importance to you, I will remain, and make up the
+time by hastening<span class="pagenum" id="Page_289">[Pg 289]</span> my walk up to the State House (where Congress was in
+session). I know exactly how long it will take me to walk there; and it
+will not do for me, as President, to be absent at the hour of meeting.”</p>
+
+<p>Mrs. Washington was as remarkable for punctuality as her illustrious
+husband. At one time, during the general’s absence, he wrote to her to
+get Mr. James Peale to paint her portrait in miniature, and to send it
+to him. Mrs. Washington wrote a note to the artist, saying that her
+presence at home was indispensable when the general was away, and it
+would not be convenient for her to attend at his painting-room. She
+requested him, therefore, to come to her house for the sittings, and
+offered to accommodate herself to any hour when it would suit him to be
+away from his studio. In his reply Mr. Peale appointed seven o’clock in
+the morning. When he left his home to keep the engagement for the first
+sitting, it occurred to him that the lady might not be quite ready to
+see him at so early an hour. He walked on, accordingly, more slowly
+than usual. Mrs. Washington met him with the observation, “Mr. Peale, I
+have been in the kitchen to give my orders for the day; have read the
+newspaper, and heard my niece her lesson on the harp; yet have waited
+for you twenty minutes.”</p>
+
+<p>The gentleman, of course, felt exceedingly mortified, and remarked
+that if his engagement had been with General Washington he should have
+felt the importance of being punctual to the minute; but he thought it
+necessary to allow a lady a little more time.</p>
+
+<p>“Sir,” replied Mrs. Washington, “I am as punctual as the general.” It
+may be imagined that Mr. Peale took care to be at the house the next
+day at the time appointed.</p>
+
+<p><span class="pagenum" id="Page_290">[Pg 290]</span></p>
+
+<p>Dunlap, in his sketch of the artist, mentions his son and two
+daughters as having adopted their father’s profession. There were
+<em>three</em> daughters who did thus, out of five who showed talent
+for art, viz., Anna, Sarah, and Margaretta. The son, James Peale,
+showed, from early youth, a remarkable talent for landscape-painting.
+His sketches from nature were admirable. For many years, though not
+a professional artist, he contributed an exquisite picture to every
+opening of the annual exhibition of the Academy of the Fine Arts, in
+Philadelphia.</p>
+
+<p>Anna was born in Philadelphia, and from childhood showed extraordinary
+talent for art. When about fourteen years of age, she copied in
+oil-colors two paintings by Vernet; and these, sent to public auction,
+brought her thirty dollars, then esteemed a good price for first
+efforts. Stimulated by this reward of her labor, she resolved to
+persevere, and in time became able to command an independence. Her
+father had a large family to support by his profession of portrait and
+miniature painting, and his daughter looked forward with pleasure to
+the thought of being a help instead of a burden to him. It was not,
+however, until two years after that she was able seriously to apply
+herself to the art. One other attempt only she made in oil-colors; a
+small fruit-piece, from nature. Her father thought miniature-painting
+on ivory the most suitable employment for a lady, and urged her to make
+a trial of her powers in that branch. She had learned much by standing
+behind his chair, hours and hours at a time, and watching his progress.
+He took great pains in teaching her, pointing out the peculiar touches
+that produced his best effects, by giving a charm to the expression.</p>
+
+<p><span class="pagenum" id="Page_291">[Pg 291]</span></p>
+
+<p>Not only was Miss Peale assiduous in the study of her father’s
+exquisite miniatures, but she copied several executed by distinguished
+artists in that line. One, from a painting by the celebrated Duchésne,
+a portrait of Napoleon, was sold to a gentleman in Philadelphia for
+one hundred and fifty dollars. Her ambition to attain to excellence,
+now fairly kindled, nerved her to industry and enterprise. She painted
+a miniature of Washington from a portrait, which was purchased of her
+father by one of his friends and brother officers of the Revolution,
+Colonel Allen M‘Clain. The first miniature portraits from life which
+she undertook were those of Dr. Spencer H. Cone and his venerable
+mother. These, with one or two others, were presented at the annual
+exhibition of the Academy of the Fine Arts. She and her sister, Miss
+Sarah M. Peale, were elected honorary members of this institution. This
+sister had adopted portrait-painting in oil as her profession.</p>
+
+<p>The artistic career thus commenced went on most prosperously. Although
+she owed nothing to any public notice of her talents, Miss Anna Peale
+soon found abundant occupation in painting miniature likenesses. Her
+health, however, suffered under her incessant labors, and she was
+compelled to put a higher price on her work in order to reduce the
+number of applications. She was so frequently solicited to paint the
+likenesses of children, and found them such troublesome subjects, that
+she charged double price for them.</p>
+
+<p>From the commencement of Miss Peale’s painting to her sister’s
+entrance on the arena as a portrait-painter, for some years, it is
+believed, she was the only professional lady artist in Philadelphia.
+The sisters, after<span class="pagenum" id="Page_292">[Pg 292]</span> having commenced their labors, passed their time
+alternately in Philadelphia and Baltimore; in the latter city receiving
+unbounded attention and encouragement from families of the highest
+respectability. They were not only well received as artists, but were
+welcomed as friends and hospitably entertained. They were much caressed
+by the family of the venerable Charles Carroll of Carrollton. Miss
+Sarah painted in oil a portrait of his daughter, Mrs. Caten.</p>
+
+<p>The sisters afterward went to Washington to paint the portrait of
+General La Fayette, who sat for it at their request. Anna spent the
+winter of 1819 in the Federal city with her uncle, Charles M. Peale,
+who went there for the purpose of painting the portraits of many
+distinguished members of Congress. They worked in the same studio.
+General Jackson was one of their sitters. Miss Peale retained his
+portrait, and has it still in her possession. President Monroe also had
+his likeness taken, and the artists were often hospitably entertained
+at the “White House” by the President and his amiable wife. During the
+time of her stay in Washington, Miss Peale had her time filled up with
+commissions; she painted several of the members of Congress, among whom
+were Henry Clay and Colonel R. M. Johnson.</p>
+
+<p>In the following year Miss Peale again visited Washington. She painted
+a miniature likeness of that remarkable character, John Randolph of
+Roanoke. It is now in her possession. So incessant was her application
+to work, that during the summer she was obliged to travel for the
+recovery of her health, and to give rest to her eyes. Several times
+they were attacked with inflammation, and at one time she had cause to
+dread the total loss of sight. Some time after<span class="pagenum" id="Page_293">[Pg 293]</span> this period she visited
+Boston, where she painted several portraits. Daniel Webster sat twice
+for a miniature, which she never quite finished.</p>
+
+<p>In 1829 Miss Peale received the addresses of Rev. Dr. William
+Staughton, a Baptist clergyman of much learning and distinction. He
+was about that time elected president of the Theological College at
+Georgetown, Kentucky. They were married August 27th, 1829, and left
+Philadelphia for the scene of the husband’s future labors. While
+they were in the city of Washington, Dr. Staughton was taken ill. He
+died early in December, in a little more than three months after the
+marriage. The widow returned to Philadelphia the following spring. She
+resumed her profession, and painted with as great success as before.</p>
+
+<p>Her second marriage, with General William Duncan, a gentleman highly
+esteemed in social life, may be said to have closed her career as an
+artist, though her love for art can never be lost. In her happy home,
+surrounded by accomplished relatives, and beloved by a large circle of
+friends, she looks back with pride to the days when she toiled to woo
+the Muse of Painting, and still acknowledges the truthful remark of the
+German poet:</p>
+
+<p>“He who can not apprehend the Beautiful has no heart for the Good.”</p>
+
+<p>The only person to whom Mrs. Duncan ever gave lessons in
+miniature-painting was her niece, Mary Jane Simes, now the wife of Dr.
+John Yeates, of Baltimore. This lady is an artist of no small celebrity.</p>
+
+<p>Miss Sarah M. Peale excelled not only in oil portraits but in
+still-life pieces. She has resided for the last ten years in St. Louis,
+whither she was induced to<span class="pagenum" id="Page_294">[Pg 294]</span> go by the invitation of numerous friends.
+She found there such encouragement and success, with such warm regard
+from her friends, that she has not as yet found leisure to leave her
+engrossing pursuits for a visit to her native city. Her varied talents
+and amiable character are justly appreciated, and she has gathered
+around her a large and estimable circle. She possesses a fine talent
+for music in addition to her other accomplishments.</p>
+
+<p>Mrs. Rembrandt Peale is highly spoken of as a painter in oil-colors.</p>
+
+<p>Miss Rosalba Peale is an amateur artist, and is said to have been the
+first lady member of any Academy of Art in America.</p>
+
+
+<h3>ANN LESLIE.</h3>
+
+<p>The name of Leslie has been placed by a painter of eminent merit among
+the most distinguished of this century, and his sister has contributed
+to its fame. She was born in Philadelphia; her parents, Robert Leslie
+and Lydia Baker, went to London in 1793, when she was an infant, and
+returned in 1799. She showed a taste for painting in childhood, but did
+not take it up as a regular employment till 1822, at which time she was
+again in London, on a visit to her brother. She copied several of his
+pictures, and two or three by Sir Joshua Reynolds, besides painting
+portraits of her friends. She returned in 1825 to Philadelphia, with
+her sister, Mrs. Henry Carey, and her brother-in-law, but paid another
+visit to London four years afterward. Several copies she made from
+pictures were engraved for the Atlantic Souvenir. One of “Sancho and
+the Duchess” was pronounced equal to the original in execution. Her
+skill was great in imitating coloring,<span class="pagenum" id="Page_295">[Pg 295]</span> but she was accustomed to make
+the outlines mechanically.</p>
+
+<p>Her life was passed in cheerful and contented activity. She resided
+several years in New York, where she occupied herself chiefly in
+copying paintings. She died in the summer of 1857.</p>
+
+<p>Miss Sarah Cole, the sister of the celebrated artist, had a great
+deal of talent, and not only copied paintings, but produced original
+compositions. She was born in England, but spent most of her life in
+the United States. She died in 1858.</p>
+
+
+<h3>MRS. WILSON.</h3>
+
+<p>Mrs. Lee mentions Mrs. Wilson of Cincinnati as having displayed much
+original talent in sculpture. The following account is from a friend’s
+letter:</p>
+
+<p>“She is the wife of a physician of Cincinnati, and was born, I believe,
+in or near Cooperstown, New York. Her first impressions of persons
+and things are expressed in her conversation. She is a perfect child
+of nature, impulsive, but wonderfully perceptive, and with so much
+freshness that all persons of mind are attracted to her. Her infancy
+and youth were very much shadowed by domestic sufferings, originating,
+at first, in the loss of a large property by her father, who in
+consequence removed to the West. He died when she was quite young. She
+married Dr. Wilson, a most excellent person, of Quaker family. All
+circumstances were such, that an early revelation or development was
+not made of her artistic powers. In visiting a sculptor’s studio the
+desire first awoke; an intelligent friend encouraged and sympathized
+with her, and Mrs. Wilson procured the materials. Her feeling was so
+intense that it could not be repressed. Her husband was her<span class="pagenum" id="Page_296">[Pg 296]</span> first
+subject. She worked with so much energy that sometimes she would
+faint away, and on one of these occasions he said, ‘If you are not
+more moderate, I will throw that thing out of the window.’ But it was
+finished, proving a perfect likeness, and she chiseled it in stone. It
+is in her parlor at Cincinnati, a most beautiful bust, and an admirable
+likeness, and seems like a miracle, considering it was her first
+attempt.</p>
+
+<p>“Another marvelous work is the figure of her son. He threw himself on
+the floor one morning in an attitude at once striking and picturesque.
+To copy it required a perfectly correct eye, or a knowledge of anatomy.
+She courageously attempted it; the attitude was repeated, and her
+success was triumphant. It is only a cast, and the cast does not do
+justice to the finish of her work, but she has not been able to procure
+a block of marble for the copy. The effect is wonderful for its spirit
+and the accuracy of its anatomy. She has commenced other subjects, but
+some of them are not finished, and to others accidents have happened.</p>
+
+<p>“She has a family of children, and is a devoted mother. We think
+<em>stone</em> will have but little chance with those beings of flesh
+and blood whose minds and hearts she is carefully modeling. Perhaps
+family cares may be the true secret why female sculptors are so rare;
+but we congratulate this lady that she has the true perception of the
+beautiful, and feel quite sure it will mitigate the suffering from
+delicate health, and scatter fragrant flowers and healing herbs in the
+sometimes rugged paths of duty.”</p>
+
+<p>A gentleman acquainted with Mrs. Wilson mentioned an incident that
+occurred on a journey to the<span class="pagenum" id="Page_297">[Pg 297]</span> Mammoth Cave of Kentucky. Struck with
+the aspect of a distinguished person in the company—Mr. Emerson—the
+sculptress gave directions to stop near a bank of soft red clay, and,
+putting out one hand to grasp a sufficient portion of the material,
+with the other she signed to her subject to remain motionless. In a few
+moments she had modeled a very creditable likeness of the author.</p>
+
+
+<h3>MRS. DUBOIS.</h3>
+
+<p>Mrs. Cornelius Dubois, now residing in New York, and devoted to the
+charitable institution of the Nursery and Child’s Hospital, has shown
+much talent for sculpture and cameo-cutting. Mrs. Lee describes her
+as having discovered, accidentally, about 1842, a taste for modeling,
+in the following manner: “Her father had his bust taken. Before the
+casting, he asked his daughter her opinion of it as a likeness. She
+pointed out some defects which the artist corrected in her presence,
+upon which she exclaimed, ‘I could do that!’ and requested the sculptor
+to give her some clay, from which she modeled, with but little labor,
+a bust of her husband, and was eminently successful in the likeness.
+She then decided to take lessons, but illness having interfered with
+her plans, she abandoned the intention, and worked on by herself, with
+merely the instruction from the sculptor to keep her clay moist until
+her work was completed.</p>
+
+<p>“When she recovered her health sufficiently, she continued to mould,
+and, among other works, produced the likenesses of two of her little
+children, the group of Cupid and Psyche, a copy; and a novice, an
+original piece. She also carved a head of the Madonna in marble; a
+laborious and exciting work, which injured<span class="pagenum" id="Page_298">[Pg 298]</span> her health to such a degree
+that her physician interdicted her devotion to the arts.</p>
+
+<p>“She then went to Italy, where she desired the first artist in cameos
+to give her lessons. When he saw some that she had cut, he told her
+that he could teach her nothing; she had only to study the antiques.</p>
+
+<p>“Her works in cameos are ‘St. Agnes and her Lamb,’ ‘Alcibiades,’
+‘Guido’s Angel,’ ‘Raphael’s Hope,’ and the ‘Apollo.’ She took over
+thirty likenesses in cameo, requiring only an hour’s sitting, after
+which they were completed.</p>
+
+<p>“Notwithstanding the care of a large family, the superintendence of
+the education of her daughters, and the sad drawback of ill health,
+her energy has never failed her. She has always extended a helping
+hand and a smile of encouragement to young artists, one of whom was in
+Brown’s studio; another is the sculptor of the ‘Shipwrecked Mother,’
+who alludes to her kindness in his short autobiography.</p>
+
+<p>“But, while ascending the ladder to fame, her progress was arrested by
+ill health, and she now lives only to feel, as she says, how little she
+has done compared to what she might do could she devote herself to the
+art. Anxious to impart to others this great gift, and to stimulate her
+countrywomen to the development of any latent talent they may possess,
+she formed a class of young ladies, and most disinterestedly devoted a
+certain portion of her time to their instruction for several months.</p>
+
+<p>“While all who know her admire the artist for her talents, her
+unceasing energy, and philanthropic exertions, they behold in her the
+good wife, mother, and friend, and the elegant and accomplished woman,
+presiding over the social circle. Her heart remains true<span class="pagenum" id="Page_299">[Pg 299]</span> to the gentle
+influences of nature, while her genius is ever responsive to immortal
+Art.”</p>
+
+
+<h3>ANNE HALL.</h3>
+
+<p>Anne Hall was born in Pomfret, Connecticut. She was the third daughter
+of Dr. Jonathan Hall, a physician of distinction. Her talent for art
+was early developed, and her father, who loved painting, endeavored
+to foster the promise of her childhood. A visitor having presented
+her with a box of colors and pencils, she began to use them; and her
+father, who was pleased with her progress, procured for her a box of
+colors from China. She had a brother who admired and valued pictures,
+and whose praise encouraged her to continue her childish attempts.
+He supplied her with such materials as she needed for drawing and
+painting. Every hint she received from artists was turned to account,
+and she gave herself to her favorite occupation with enthusiasm. She
+delighted in imitating nature; and fruits, birds, flowers, and even
+fish and insects were subjects for her pencil; but she took especial
+pleasure in producing likenesses of her friends. Living in a retired
+part of the country, she had little access to paintings of value for
+a long time; but, being sent on a visit to a relative in Newport,
+Rhode Island, she received some instruction in painting on ivory from
+Mr. Samuel King, who had been an early teacher of Alston, and also of
+Malbone. Miss Hall gained less knowledge from her master’s lessons,
+however, than from copying some paintings of the old masters which her
+brother afterward sent home from Cadiz and other places in Spain. These
+were faithfully copied on ivory in miniature. “A Mother and a Sleeping
+Child,” still in her possession, shows her<span class="pagenum" id="Page_300">[Pg 300]</span> progress at this time. “A
+Mother in Tears,” copied from a painting on ivory, was much admired
+as evidence of fidelity in copying and skill in coloring. Studying
+the pictures procured by her brother, she learned to appreciate their
+excellences, while, by comparing them with nature, she was enabled to
+avoid the formality of a mere copyist. She began now to give form and
+coloring to the conceptions of her imagination, and attempted original
+composition.</p>
+
+<p>Miss Hall took some lessons in oil-painting from Alexander Robertson in
+New York, but has chiefly devoted herself to painting in water-colors
+on ivory. Her merits have been acknowledged by the most distinguished
+artists in New York and different parts of the United States to be of
+the highest order. Among her miniature copies of oil pictures by old
+masters, two from Guido were particularly noticed as executed with
+surprising vigor and a rich glow of coloring. Her groups of children
+from life were done with masterly skill, and finished with a taste and
+delicacy which a woman’s hand only could exhibit. Her portraits in
+miniature were acknowledged to possess exquisite delicacy and beauty.
+The soft colors seem breathed on the ivory rather than applied with the
+brush. A miniature group often sold for five hundred dollars.</p>
+
+<p>Dunlap mentions one of her compositions as “marked with the beautiful
+simplicity of some of Reynolds’s or Lawrence’s portraits of children,
+evincing a masterly touch and glowing in admirable coloring.”</p>
+
+<p>Miss Hall was unanimously elected a member of the National Academy of
+Design in New York. Her portrait of a lovely Greek girl, from life,
+was engraved, and the rare beauty of the painting was universally
+acknowledged. The floating silken waves of hair<span class="pagenum" id="Page_301">[Pg 301]</span> have an unrivaled
+effect. A group of two girls and a boy is admirable in composition,
+color, and expression. Miss Hall’s “management of infant beauty”
+is, indeed, unsurpassed; her flowers and children, Dunlap observes,
+“combine in an elegant bouquet.”</p>
+
+<p>One of the best of her original compositions is a group of a mother and
+child—Mrs. Jay and her infant. The first, clasping the babe to her
+bosom, has a Madonna-like beauty; the child is perfect in attitude and
+expression. Another group of a mother and two young children, the widow
+and orphans of the late Matthias Bruen, has a most charming expression.
+One of the children was painted as a cherub in a separate picture,
+much valued by artists as a rare specimen of skill. Miss Hall has also
+painted the portraits in miniature of many persons distinguished in the
+best social circles of New York. Several of her groups have been copied
+in enamel in France, and thus made indestructible. Three children of
+Mrs. Ward, with a dog and bird; a child holding a grape-vine branch;
+with portraits of Mrs. Crawford, widow of the sculptor, Mrs. Divie
+Bethune, and the daughters of Governor King, may be mentioned among
+numerous works, a single one of which has sufficient merit to establish
+the author’s claim to the reputation she has long enjoyed, of being the
+best of American miniaturists.</p>
+
+
+<h3>MARY SWINTON LEGARÉ (MRS. BULLEN).</h3>
+
+<p>The family of Legaré (once spelled L’Egarée) is of the old stock of
+French Huguenots who furnished the best blood of Carolina. Madame
+Legaré, an honored ancestress of our subject, being a firm Huguenot,
+immediately after the revocation of the Edict of Nantes sent to America
+her only child, Solomon, then seventeen<span class="pagenum" id="Page_302">[Pg 302]</span> years old; parting with him,
+as she believed, forever in this life, that he might be saved from
+peril, and not be tempted to abandon his faith. This boy—called by
+his descendants “The Huguenot”—went first to Canada, and in 1685
+to Charleston, South Carolina. He became the ancestor of a numerous
+posterity, of which, during the Revolution, thirteen bearing the name
+were patriot soldiers, active in the cause of American liberty.</p>
+
+<p>On the death of her husband, Madame Legaré left her native France and
+came to America. Here she found her son married, and the father of nine
+children. She had given him up for religion’s sake; God restored him to
+her arms, able to minister to her declining years. Her grandson, the
+great-grandfather of Hugh and Mary Legaré, died in 1774, at the age of
+seventy-nine. Yet, when the Colonies entered into a compact for mutual
+defense, he resolutely refused to be put on the list of the “aged and
+noncombatant,” saying he was able to “shoulder his musket with any
+man,” besides managing a charger equal to any trooper; he “would not be
+insulted by being laid aside.” Thus our heroine had a great-grandfather
+and two grandfathers, besides other relatives, in the patriot army
+of the Revolution, where youths of sixteen and eighteen often fought
+beside their grandsires.</p>
+
+<p>The father of Miss Legaré married a lady whose grandfather, Alexander
+Swinton, of a Scottish family, was sent from England, about 1728, as
+surveyor-general of the province of South Carolina. He lost a large
+estate by the villainy of executors and guardians; but after his death,
+Hugh Swinton, his son, was taken to Scotland by his uncle, and educated
+as became a young gentleman of birth and fortune, being<span class="pagenum" id="Page_303">[Pg 303]</span> married to
+a descendant of that John Hayne who fled from the persecution of
+the Puritans by Charles II. and his bishops, and fixed his home in
+Carolina. Thus, on both sides, a heritage of honor and religious faith
+is derived from her ancestors by the lady who fills a place in our
+humble annals.</p>
+
+<p>The name of Hugh Swinton Legaré is endeared to all South Carolinians,
+the more so as his genius and literary attainments commanded celebrity
+on both sides of the Atlantic. His sister’s talents are not inferior
+to his, though she has filled no place in the national councils nor
+at foreign courts, but in a quiet and uneventful life has made her
+impression on the social and intellectual advancement of the day. The
+youngest of three children who survived the father, she was born in
+Charleston, South Carolina, where her childhood and youth were spent.
+Mrs. Legaré, left a widow before she had completed her twenty-eighth
+year, devoted her time and means entirely to the education of her
+little ones. She was a woman of extraordinary mental powers, and her
+mind had been sedulously cultivated. Her ideas of education were broad
+and comprehensive, and her efforts were directed to the training of her
+children in such a manner as to make their lives exemplary, useful, and
+happy, as well as to develop their intellects. How well she succeeded
+the honorable career of all her children testifies. The noble character
+and life of her eldest daughter, Mrs. Bryan, and the brilliant fame
+achieved by the son, add evidence to the fact that she was one of those
+mothers whose offspring rise up to call her blessed. Mrs. Legaré died
+on the 1st of January, 1843, in the seventy-second year of her age.</p>
+
+<p>It was not strange that the children should grow<span class="pagenum" id="Page_304">[Pg 304]</span> up cherishing a deep
+and intense love for so excellent a mother. Mary, an infant when bereft
+of her father, very early showed a fondness for study, and a special
+predilection for the languages and the fine arts. Even before she
+was able to express emotions of admiration or delight, she evinced a
+remarkable sensibility both to melody and color. When less than three
+years old, she would be affected to tears or moved to joyous mirth by
+different musical sounds. Beautiful pictures had for her young fancy
+irresistible fascination at an age when she could hardly be supposed
+able to recognize the objects they represented. Her mother frequently
+observed of her little Mary that, when she showed signs of impatience
+or weariness, or fretted for want of amusement, all that was necessary
+to soothe her discontent or charm her into happiness was to furnish her
+with paper and a pencil. The child would amuse herself for hours with
+her drawings. Her decided talents for music and painting—coloring in
+particular—were soon perceived by this tender mother, who determined
+to give her daughter every possible aid in the cultivation of tastes
+so congenial to her own, Mrs. Legaré being herself accomplished in no
+ordinary degree in both these lady-like pursuits.</p>
+
+<p>Miss Legaré had resolved to make herself mistress of the languages even
+before she could read and write English with any great proficiency.
+She had in these studies, and other branches of scholarship, the best
+teachers that could be procured. Her mother was her first instructor
+in music. But it was otherwise in the art to which she had determined
+especially to devote herself; no efficient teacher of drawing could be
+found. Although remuneration for lessons was liberal—thirty dollars
+per term being paid—it was almost impossible<span class="pagenum" id="Page_305">[Pg 305]</span> to find any one capable
+of giving proper instruction. The young girl was therefore obliged to
+practice unaided the art she began to love with increased enthusiasm,
+and her progress was still more retarded by the want of models or
+scenes in nature that might take her fancy. The low country of South
+Carolina—affording the only landscapes she had ever seen—abounds in
+flat and swampy districts. There is much beauty for an unaccustomed
+eye in the bleached wilderness of pine-land, with its stately, solemn
+groves, through which the wind surges with ocean-like murmur; but it
+is not of the kind available for the artist. Nor is that of the swamp,
+with its immeasurable extent of wood and impenetrable undergrowth,
+through which may be seen at intervals the dark, turbid water soaking
+its way through masses of tangled weeds, the slimy abode of reptiles,
+or the hiding-place of the water-fowl. There are green morasses choked
+with vegetation, into which the sunbeams never penetrate; or over
+the quagmire, rank with decay, rise giant trees, twined with thick
+creepers, and burying the matted brush beneath them in black shadow.
+The trees are often loaded with the gray hanging moss that forms the
+ornament of woods in the low lands. The mixture of gloom and beauty, of
+luxuriance and horror, is a striking novelty to the Northern visitor.
+The ragged thickets, too, are alternated with islands of lovely
+verdure; the water-lily decks the dark lakelet with its broad leaves
+and white flowers; and graceful vines festoon the evergreens, mingling
+bright blossoms with their leaves of sombre verdure.</p>
+
+<p>Such scenes presented little to tempt the copyist, yet, notwithstanding
+her difficulties and discouragements in painting, Miss Legaré continued
+to struggle<span class="pagenum" id="Page_306">[Pg 306]</span> on toward the idea of perfection in her untutored
+imagination. Her brother Hugh was wont to remark that “her passion
+lay there,” in the painter’s art. She found not much sympathy in this
+chosen pursuit, till some time in the year 1827, when she became
+acquainted with a gentleman who possessed a similar taste, cultivated
+in a high degree by superior knowledge of art. This was Colonel John
+S. Cogdell, who at that time had considerable celebrity as an amateur
+painter. Miss Legaré submitted her efforts to his careful criticism,
+and received from him the instruction she needed. She has attributed
+her subsequent success to his aid. He procured for her study the
+finest new pictures that could be obtained. Among the artists whose
+works were now introduced to her, Doughty became, to her fancy, the
+beau ideal of excellence. Even when a child she had been accustomed to
+turn away in disgust, with a “’Tis not pretty, mamma,” from flaring
+or exaggerated colors in a picture. Doughty’s subdued coloring, and
+soft, dreamy style, kindled her imagination, and aroused her ardent
+emulation. “Could I but paint one picture like Doughty’s!” she would
+often exclaim; and it may be said her earliest initiation into the
+school of Nature, and into an apprehension of her seductive beauties,
+was by seeing the works of this eminent American landscape-painter,
+whom his country allowed to languish in bitter penury, for want of the
+appreciation his genius should have commanded. Miss Legaré’s first
+attempt to copy one of his paintings succeeded beyond the most sanguine
+expectations of herself and her friends. Colonel Cogdell encouraged her
+still more by saying, “You have an eye for color, which must insure you
+success in copying nature.”</p>
+
+<p><span class="pagenum" id="Page_307">[Pg 307]</span></p>
+
+<p>In truth, the young artist did not long remain satisfied with spending
+all her energies merely in copying the works of others. Though she
+had never visited any other region than the low forest country of her
+native state, she endeavored to create scenes by combining various
+objects into a single composition. Landscapes and rustic scenes in
+every variety were her delight; yet, having never seen a mountain,
+nor the country in any aspects different from the monotonous views in
+her neighborhood, how was she to produce an original picture? How do
+justice in any way to the powers of which she felt conscious? It was
+not so easy for a lady to travel. In the South particularly, she would
+be hampered in many ways; and “Mrs. Grundy” would have devoted to death
+by torture any young girl who could have done so heinous a thing as
+take a journey of observation by herself! Miss Legaré, therefore, was
+shut in to contemplation of the boundless ocean and the swamp forest
+almost as limitless. Dark scenes and deep shadows, with warm glowing
+skies became features in her paintings, and her trees of great variety,
+clear, deep water, and skies were pronounced by critics superior to
+those of the artists she most admired. She adopted in a measure the
+style of Ruysdael, mingled, in the more delicate shades, with the
+warmth of Cuyp.</p>
+
+<p>In the summer of 1833 her longing wish was gratified. She went,
+accompanied by her mother, to spend the warm season amid the glorious
+mountain scenery of the Blue Ridge in North Carolina. This region has
+been thought to surpass in magnificence and majesty any mountainous
+district in the Atlantic States. Miss Legaré was far more delighted
+with these mountains than with the scenery of Lake George and the<span class="pagenum" id="Page_308">[Pg 308]</span>
+Hudson, which she had visited the year before, finding it, as well
+as the Alleghany range, to disappoint her expectations. But when, on
+her approach to Asheville, her eyes rested on the exhaustless variety
+of form and tint, blended into soft harmony, on the distant Blue
+Ridge, the beauty and sublimity of the scene filled her with emotions
+she had no language to express. There was awful grandeur as well as
+touching loveliness in the view. Pisgah and surrounding peaks towering
+skyward—the summit covered with vapor that glowed with gorgeous
+colors, like a drapery of scarlet and gold—the vast mass played on by
+the mellow purple and violet tints peculiar to lofty mountains—the
+delicate azure mingling with fairy lights of golden violet—all
+softened into harmony by an atmosphere so transparent, so Claude-like
+in its purity, that it seemed the movement of a bird could be discerned
+at a distance of forty or fifty miles! Miss Legaré here realized, for
+the first time, what few out of Italy can realize, the naturalness of
+Claude’s landscapes; the exquisite art of his unequaled coloring, which
+gives to his delineations of Alpine scenery so wonderful an effect.</p>
+
+<p>Miss Legaré’s intense enjoyment of the beauties of nature in this
+favored region during a three months’ residence gave her an invincible
+repugnance to the work of copying the productions of any human artist.
+She always painted in oil; and, having brought no materials with her,
+could not transfer to her sketches the colors she so admired while on
+the spot. But memory had faithfully treasured these delicious pictures,
+and on her return to Charleston she lost no time in putting them on
+canvas. “A View on the Suwannee,” now in possession of the widow of
+Colonel Cogdell, was pronounced<span class="pagenum" id="Page_309">[Pg 309]</span> by him a master-piece. Another view
+on the French Broad, illustrating the distinguishing characteristics
+of the scenery of that river, was purchased in 1834 by the proprietors
+of the Art Union in New York. The first scene that had so struck Miss
+Legaré was painted on too large a scale. It was, however, much admired;
+and the same subject, represented in smaller compass, is esteemed a
+finer picture.</p>
+
+<p>In Miss Legaré’s landscapes she gives to her coloring and combinations
+as much idealizing as truth to nature will admit. An artist, who was
+delighted both with her music and her painting, observed of the latter
+to her brother Hugh, “It is natural, but more beautiful than nature; it
+is poetical.” Another, when Hugh remarked that she must go to Italy,
+replied, “No, your sister studies our own wild nature—rich, romantic,
+glowing under a tropical sun, luxuriant when touched with frost; if she
+go to Italy, or study the old landscape-painters, she may give a finer
+finish, but it will be artificial.” These artistic criticisms gave her
+encouragement; and when she repeated to Mr. Cogdell what was said in
+praise of her works, he would say, triumphantly, “I told you so, but
+you would not believe me!”</p>
+
+<p>Her rich foregrounds, transparent water, and distant mountains, as
+well as her skies and foliage, have been highly praised by Sully and
+other eminent artists. She owed to Mr. Cogdell her introduction to the
+science of perspective, having been accustomed in early efforts to be
+guided by the eye alone. A knowledge of anatomy was of use, as she
+always introduced figures into her landscapes, painted with fidelity
+and spirit. She excels, besides, in the delineation of animals,<span class="pagenum" id="Page_310">[Pg 310]</span> wild
+and domestic, especially dogs, cows, and sheep. A Spanish pointer,
+painted nearly of life size, was so perfect in anatomy that Dr. Sewell
+of Washington pronounced it a study for a student of that branch. “The
+Hounds of St. Bernard” is an admirable painting. The piteous, appealing
+expression in the face of one that is represented howling for aid
+struck even every child who saw it. A little girl exclaimed, “How sorry
+that dog is! he is afraid the people won’t come.”</p>
+
+<p>Besides animals, Miss Legaré has painted portraits; but this branch
+never enlisted her enthusiasm—that was for landscapes.</p>
+
+<p>On the appointment of her brother as a member of President Tyler’s
+cabinet in 1841, Miss Legaré accompanied him to Washington. Her life
+of calm enjoyment was soon disturbed by sorrow. She was bereaved of
+mother, sister, and brother within the space of a year. She had long
+cherished a purpose of visiting the Western country, and in June, 1849,
+went to Iowa. Finding the country very productive and well suited to
+farming purposes, she sent for some of the children of her deceased
+sister. They came with their families to the new home, and formed
+a colony of twenty-one persons. The scenery in Iowa, though often
+beautiful, is tame compared to the mountainous country of the Atlantic
+states. Green fields, luxuriant woods, flower-bordered streams,
+and groves carpeted with wild grass, forming a charming variety of
+landscape, are presented; but there are few scenes that startle with
+their magnificence or grandeur. Miss Legaré found, in the new cares
+that surrounded her, and the habits of life so different from those to
+which she had been accustomed, such a pressure of occupation, that her<span class="pagenum" id="Page_311">[Pg 311]</span>
+beloved art was for a time abandoned. The Western housekeeper usually
+finds little time for the pleasures of the imagination; but she was
+not one to forget the best interests of others, particularly of her
+own sex. She established an institution called “Legaré College,” for
+the liberal education of women, at West Point, in Lee County, Iowa.
+Her talents and taste, her varied and uncommon learning and energy, as
+well as her means, were devoted to the support of this institution;
+but its aim was too far in advance of the age in Iowa, or, rather, its
+operations were impeded by that utilitarian spirit which has set its
+heavy, ungainly foot on every high aspiration in this country, and has
+prevented the progress of woman toward improvement that might enlarge
+her sphere of usefulness.</p>
+
+<p>A writer who is intimately acquainted with Miss Legaré—now Mrs.
+Bullen—thus speaks of her accomplishments:</p>
+
+<p>“The literature of the world, its science and its art, are with her
+as household things. They flow from her eloquent tongue as music from
+the harp of the minstrel. No pent-up Utica confines her powers—no
+Aztec theory of woman cripples her labors, or impoverishes her mind
+or her policy. A Mississippi feeling, and theory, and action actuate
+her, and we may all look for corresponding results.” Her influence in
+the community where she resides has directed attention to both art and
+literature.</p>
+
+<p>Mrs. Bullen intends resuming the pencil she has for years almost
+entirely laid aside. She has completed a design for a painting to be
+called “The Squatter’s Home.” It shows a wagon under the shade of a
+Western group of tall trees, which serves for the sleeping-place of the
+emigrant family. The mother is<span class="pagenum" id="Page_312">[Pg 312]</span> washing beside a stream; the children
+are gathering strawberries.</p>
+
+
+<h3>HERMINIE DASSEL.</h3>
+
+<p>Mrs. Dassel was a native of Königsberg, Prussia. Her father’s name was
+Borchard; he was a banker, and at one time a man of fortune, which
+enabled him to secure to his children an excellent education. He lost
+his property in 1839, in consequence of financial troubles in America;
+the liquidation of his affairs reduced his possessions to a small farm,
+depriving his family of teachers, servants, horses and carriages,
+and all the comforts which they had enjoyed. Upon the elder children
+devolved the duties of housekeeping, and the cultivation of the farm to
+some extent, as well as the instruction of the younger members of the
+family. At this time Herminie devoted herself to the art of painting
+as a profession, hoping to derive from it a support for herself and
+family. She would attend to her household duties in the morning, and
+then, with port-folio in hand, wander off over the dusty or muddy road
+to the city, and again return to attend to the flowers and cabbages,
+and the making of cheese and butter. She soon had the satisfaction of
+receiving a commission for a full-sized portrait of a clergyman; this
+she painted in the church, with her model on the altar, the country
+folk standing about, astonished and wondering that such a tiny little
+girl could accomplish such a marvel.</p>
+
+<p>She soon went to Düsseldorf, attracted thither by the pictures of
+Sohn, which she saw in an exhibition in her native city. She studied
+with this artist four years, supporting herself entirely by her own
+exertions. Her pictures found ready sale, consisting of<span class="pagenum" id="Page_313">[Pg 313]</span> such subjects
+as “Children in the Wood,” “Peasant Girls in a Vineyard,” “Children
+going to the Pasture with Goats,” etc.</p>
+
+<p>After her return home she applied herself again to portrait-painting,
+in order to obtain money sufficient for a tour to Italy, which was
+the great end of her ambition. She was fortunate enough to be able
+to accumulate in one year a thousand dollars. Out of this sum she
+furnished her brother with an amount large enough to secure his
+promotion to a doctor’s degree, as she wanted to have him accompany her
+as a traveling companion.</p>
+
+<p>A journey to Italy was much opposed by all her relatives; a girl so
+young, fresh, and diminutive could not protect herself; she would
+inevitably encounter serious misfortunes. But her mind was made up; she
+packed her things, took leave of her friends, and one morning started
+off on the way to Vienna, directing her brother to follow her. She was
+never in want of friends; every where persons took an interest in her;
+without money one day, it was sure to come on the next; and her faith
+was never shaken by any accident or hardship. In Vienna she began her
+studies, seeking models in the streets, and taking them to her room.
+From Vienna she passed into Italy. Of her studious life in Italy many
+sketches bear witness.</p>
+
+<p>The breaking out of the revolution in 1848 obliged Herminie to leave
+Italy, and as the route to Germany was unsafe, and she feared becoming
+a burden to her friends, she resolved to go to the United States. An
+opportunity presented itself to travel in company with a family in
+whose house she lived after her brother had been called home by the
+government. She rolled up her sketches, put them in a tin box, and
+repaired<span class="pagenum" id="Page_314">[Pg 314]</span> to Leghorn. When about to pay her passage, the draft she
+presented was refused. She sat weeping over the disappointment, with
+letters before her from friends in Rome and Germany, imploring her
+to abandon this suicidal plan of emigration; representing strongly
+the dangers of the journey, the hardships she would encounter in a
+foreign land, without money and without friends. She came down to
+supper. A traveler just arrived, observing her eyes red with weeping,
+was led to show an interest in her; she related her troubles, upon
+which the stranger examined the draft, and, finding it good, gave her
+the cash for it. This gentleman was an Italian, and she continued in
+correspondence with him. The next day she was on board a vessel bound
+for this country.</p>
+
+<p>She arrived in February, 1849. The only letter of introduction she
+brought was to Mr. Hagedorn, of Philadelphia, in whom she subsequently
+found a friend and protector. She landed in New York, and at once
+began to paint. Her first pictures, representations of Italian life,
+exhibited in the Art Union, were much admired, and some of them were
+purchased by that institution. She found no difficulty in making
+friends.</p>
+
+<p>Five months after her arrival she married Mr. Dassel. After her
+marriage she led a happy life, with cares and sorrows incidental to the
+care of a family, and to an arduous profession. She triumphed over all,
+however, and realized all the comforts which belong to success.</p>
+
+<p>Mrs. Dassel was most successful in portraits in oil of children
+and pastel-portraits. Her painting of “Effie Deans” attracted much
+attention. Her latest works are copies of Steinbruck’s “Fairies”
+and the “Othello” in the Düsseldorf Gallery, which are unusually<span class="pagenum" id="Page_315">[Pg 315]</span>
+successful works of this class. She made steady progress in her art,
+and would have doubtless attained a prominent position had she lived to
+develop her powers by practice and study.</p>
+
+<p>We should not be doing justice to this noble woman not to allude to the
+social virtues which endeared her to so many friends. With nothing to
+rely upon but her own exertions, with serious illness in her family,
+she was never so poor in time or money as not to interest herself in
+behalf of others more unfortunate than herself. Countless instances
+are known of her serviceable kind-heartedness. She exerted herself at
+the time of the dreadful shipwreck of the Helena Sloman, and obtained
+by personal efforts, in a few days, the sum of seven hundred dollars;
+and her ministrations among the poor were constant during the severe
+winter of 1853. She has, it is true, many peers in similar acts of
+benevolence, but few who practiced deeds of this kind in a position so
+little calculated to develop them.</p>
+
+<p>Mrs. Dassel died on the 7th December, 1857, and was buried in Greenwood.</p>
+
+<p>Jane Stuart was the youngest child of Gilbert Stuart, the eminent
+portrait-painter. Like many of her sisters in art, she inherited the
+genius she discovered in early life; but it was not till after her
+father’s death that the talent she had shown found development in the
+practice of art. She has resided for a long time at Newport, Rhode
+Island, in the enjoyment of the celebrity her talents have acquired.</p>
+
+<p>Mrs. Hildreth of Boston deserves mention, especially for her portraits
+of children in crayon. Miss May painted landscapes in Allston’s style.
+Mrs. Orvis has been mentioned as a flower-painter of remarkable<span class="pagenum" id="Page_316">[Pg 316]</span> skill.
+Hoyt remarked that he knew nothing better in coloring than her autumn
+leaves and wild flowers. In this style, Mrs. Badger, of New York, has
+acquired reputation by her book of “The Wild Flowers of America,”
+published in 1859. The drawings were all made and colored from nature
+by herself.</p>
+
+<p>Mrs. Hawthorne of Boston has painted many beautiful pieces. An
+“Edymion,” which was greatly admired, she presented to Mr. Emerson.
+She also modeled the head of Laura Bridgman. Mrs. Hill is a
+highly-successful miniature-painter.</p>
+
+<p>Mrs. Greatorex is a landscape-painter of merit, and is rapidly
+acquiring distinction. She has a deep love of wild mountain and lake
+scenery, dark woods, and rushing waters; and her productions are marked
+by the vigor of tone and dashing, impetuous freedom of touch especially
+adapted to that kind of subjects. This felicitous boldness she has in a
+remarkable degree, and her works are marked by truthfulness as well as
+strength. She has painted many pieces of romantic scenery in Scotland
+and Ireland. Her amiable character, her ready sympathy and benevolence,
+have interested many friends in her success.</p>
+
+<p>Mrs. George Woodman, the eldest daughter of Mr. Durand, has painted
+some excellent landscapes; also Mrs. Ruggles. Miss Gove’s crayon heads
+have been much noticed and admired. Miss Caroline May’s landscapes have
+proved her claim to the double wreath of artist and authoress. Miss
+Granbury’s flowers have attracted attention in the Academy exhibitions.
+Some pretty interior scenes were in the exhibition of 1859, painted by
+Miss Juliana Oakley. It is necessary to omit many names of artists who
+have not yet had experience enough to constrain public acknowledgment
+of the genius they possess.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_317">[Pg 317]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XIX">CHAPTER XIX.<br><span class="small">THE NINETEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p><span class="smcap">Mrs. Lily Spencer.</span>—Early Display of Talent.—Removal to
+New York.—To Ohio.—Out-door Life.—Chase of a Deer.—Encounter
+with the Hog.—Lifting a Log.—Sketch on her bedroom
+Walls.—Encouragement.—Curiosity to see her Pictures.—Her
+Studies.—Removal to Cincinnati.—Jealousy of Artists.—Lord
+Morpeth.—Lily’s Marriage.—Return to New York.—Studies.—Her
+Paintings.—Kitchen Scenes.—Success and Fame.—Her Home and
+Studio.—Louisa Lander.—Inheritance of Talent.—Passion for
+Art.—Development of Taste for Sculpture.—Abode in Rome.—Crawford’s
+Pupil.—Her Productions.—“Virginia Dare.”—Other Sculptures.—Late
+Works.—Mary Weston.—Childish Love of Beauty and Art.—Devices
+to supply the Want of Facilities.—Studies.—Departure from
+Home.—Is taken back.—Perseverance amid Difficulties.—Journey
+to New York.—Sees an Artist work.—Finds Friends.—Visit to
+Hartford.—Return to New York for Lessons.—Marriage.—Her
+Paintings.—Miss Freeman.—Variously gifted.—Miss Dupré.—The Misses
+Withers.—Mrs. Cheves.—Mrs. Hanna.</p>
+</div>
+
+
+<h3>LILY M. SPENCER.</h3>
+
+<p>Mrs. Spencer’s high position among American artists is universally
+recognized in the profession. In her peculiar style, her executive
+talent is probably unsurpassed in the country. She has encountered many
+difficulties in her path to success, and a glance at her history will
+not be without encouragement to those who possess a portion of her
+energy and perseverance.</p>
+
+<p>Her parents, whose name is Martin, were born in France, but removed
+to England soon after their marriage. They were persons of education,
+refinement, and good social standing. Mr. Martin taught French<span class="pagenum" id="Page_318">[Pg 318]</span> in
+academies in Plymouth and Exeter, and gave lectures at his own house on
+scientific subjects, especially optics and chemistry. Mrs. Martin at
+one time gave instruction in a ladies’ seminary in London. Lily owed
+all her proficiency to her parents’ judicious training, and never went
+to a school. Her talent for drawing began early to exhibit itself.
+One day, when she was about five years old, she got at some diagrams
+her father had prepared for a lecture on optics, and drew an eye so
+correctly that her turn for art was at once perceived.</p>
+
+<p>She was the eldest of four children, and was not six years of age when
+her parents removed to New York, where Mr. Martin was induced, by Dr.
+Hosack and others, to open an academy. Mr. John Van Buren was one of
+his pupils. Lily’s drawings were much coveted by the little scholars,
+who begged them from her, and gave in return the most flattering
+expressions of admiration.</p>
+
+<p>When between eight and nine, she was taken to the old Academy of
+Design. There she selected the “Ecce Homo,” as a special subject for
+imitation. The girl-pupils laughed at her taste, and Lily, abashed,
+burst into tears. Mr. Dunlap, then a teacher, came and asked what was
+the matter. When informed, he reproved the girls, and predicted that
+the young stranger would be remembered when they were all forgotten.</p>
+
+<p>Her power of copying whatever pleased her childish fancy increased,
+though she did not then appreciate the necessity of a patient study
+of the elementary principles of art. Her health was at this time so
+delicate that her parents feared she would not live to reach maturity.
+The desire to afford her the advantage of country air and exercise,
+with the want of very<span class="pagenum" id="Page_319">[Pg 319]</span> attractive prospects for their enterprise in New
+York, determined them to go to the West. They purchased a farm in Ohio,
+a few miles from Marietta, where they soon had a picturesque Swiss
+cottage, with a beautiful garden, and a mineral closet filled with the
+presents of Mr. Martin’s former pupils.</p>
+
+<p>Lily was enchanted with the change from a city life, and with the
+liberty she enjoyed of roaming at will through woods and fields, for,
+her health being the paramount object, no restraint was placed on the
+child. Her time was passed in working in her garden, playing and racing
+with other children, hunting for insects, shells, and minerals, often
+wet up to the waist in the search, while her drawing was forgotten.
+Thus constantly, like Rosa Bonheur, in the open air, she rapidly
+regained strength and health. One day, when about thirteen years old,
+she was walking in the woods with her father. A deer, frightened from
+his covert, dashed by them to leap a fence. Lily wanted a pet, and
+instantly ran after the animal. As he sprang over the fence she caught
+his hind legs and clung to them, while her father’s dog throttled the
+captive. Some men came up directly, and, seeing the girl with her face
+covered with blood, killed the deer, notwithstanding her entreaties
+that he might be spared.</p>
+
+<p>On another occasion they were killing hogs at Mr. Martin’s place. A
+powerful young porker fled foaming and champing from the slayers of his
+brethren, and got over a fence into the orchard. Lily ran to stop his
+flight, and the desperate animal made at her. She tried to get a stick
+to defend herself, but her feet slipped on the apples that strewed
+the ground, and she fell, in the very gripe of the hog. The maddened
+creature might have injured her fatally, but her faithful<span class="pagenum" id="Page_320">[Pg 320]</span> dog sprang
+upon him, and diverted his rage to another enemy. Lily saw his teeth
+buried in the poor dog’s shoulder, and, resolved not to abandon her
+deliverer, struck the hog a violent blow and ran; the foe, still held
+by the dog, in swift pursuit. She was overtaken close to a drain, into
+which the three combatants tumbled together. At this juncture the men
+came running to the spot with three or four dogs, and rescued both her
+and her preserver, that to the last would not relinquish his hold of
+the porker. Lily’s first care was to pull into place the poor dog’s
+dislocated shoulder.</p>
+
+<p>An illustration of her impulsive nature, and readiness to give
+assistance where it was needed, is an incident that occurred a few
+months later. Six or seven men were burning logs in a field. She saw
+them from the house making signals that they wanted one more hand to
+lift a log. Seizing a crowbar, the young girl ran to the spot, placed
+it under the log, and helped to raise it to the burning pile.</p>
+
+<p>Her love of sketching soon began to revive. In her fourteenth year she
+took a fancy to see the effect of a new style of costume which she
+thought would be very becoming to herself. She drew a lady’s figure,
+thus attired, with black crayons and coarse chalk, on the wall of her
+bedroom. Pleased with her creation, it occurred to her that the lady
+ought to be attended by admiring beaux, and she added the figures of
+two gentlemen. The group was delineated one day when the other members
+of her family were absent, and, fearing that her mother would be
+displeased at her for daubing the walls, she hung her dresses over the
+sketch, so as to screen it from observation.</p>
+
+<p>The next day her young brothers were playing ball<span class="pagenum" id="Page_321">[Pg 321]</span> in her room, and
+chanced to discover the group on the wall. Full of boyish mischief,
+they decided that the richly-dressed lady would make a fine target,
+and, in spite of their sister’s remonstrances, they commenced throwing
+their balls at her. Lily, in great distress at the menaced destruction
+of her work, complained to her mother; and instead of being reprimanded
+for defacing the wall, was told to go on with her sketch, while the
+boys were reproved, and forbidden to enter her room. Encouraged by the
+praise she received, Lily worked on diligently. She drew a colonnade
+behind her figures, then added other groups, representing persons
+enjoying themselves at a place of fashionable amusement. The background
+was a landscape of hill and valley, rock and sea. This picture being
+much admired, she went on covering the walls of her room from floor
+to ceiling with the creations of her romantic imagination. Columns
+and statues, fountains and grottoes, appeared in her scenes of luxury
+and magnificence; and her landscapes were as charming as the forms
+with which she enlivened them. In every panel was a distinct picture.
+All her leisure hours, after milking the cows and hoeing the corn,
+were devoted to this amusement. It was true of her, as Halleck says
+it was doubtful of his Wyoming maiden, that she worked in the field
+“with Shakspeare’s volume in her bosom borne;” with Sismondi also, and
+volumes of history from her father’s splendid library.</p>
+
+<p>The farmers in the neighborhood, and the ladies and gentlemen of
+Marietta, came to see the curious sketches, both on the walls and on
+canvas, of which they had heard. Saturday afternoons were appointed
+for the reception of visitors. The fame of Lily’s talents began to
+spread rapidly, and she was mentioned<span class="pagenum" id="Page_322">[Pg 322]</span> with praise in several newspaper
+notices. At her father’s persuasion she tried to study perspective and
+anatomy, but it was more agreeable to her impetuous nature to sketch
+from her own glowing fancy, than to pore over the dry bones and plates
+of different parts of the human frame. In coloring, also, she would
+trust to her intuitive perceptions rather than to a regular course of
+study. Her father procured her muslin for her experiments, and, after
+covering many yards, she became fully aware of her own deficiencies,
+which she resolved to conquer. Her unwillingness to be taught arose
+from the self-reliance of an independent character, and not from an
+inflated idea of her own acquirements.</p>
+
+<p>Her parents became more and more solicitous to give her all the
+advantages they could procure; and a letter from a wealthy gentleman
+of Cincinnati, describing the opportunities that would be offered for
+studying in that city, determined them to leave the farm and remove
+thither.</p>
+
+<p>Miss Martin’s pictures were exhibited in Cincinnati, and attracted the
+attention of connoisseurs. They were large, as her figures of life
+size best enlisted her own sympathies. Her battle with the world now
+commenced in earnest. The jealousy of rival artists was awakened by the
+certainty that a rising genius had come among them. Flippant critics
+pleased others and their own vanity by decrying her productions. But
+she continued to paint, and sometimes had good fortune in disposing
+of her pictures, practicing her art with undiminished industry and
+enthusiasm, even while discouraged by the want of patronage.</p>
+
+<p>On one occasion she was in company with Lord Morpeth. Addressing him as
+“Mr. Morpeth,” she<span class="pagenum" id="Page_323">[Pg 323]</span> was reminded apart by her father that she ought to
+say “my lord.” “No, indeed,” replied the young lady; “I never saw a man
+I would call ‘my lord’ yet.”</p>
+
+<p>Miss Martin was married in Cincinnati to Mr. Spencer. When surrounded
+by the cares of a young family she continued to paint, but her style
+changed. At first her pictures had been poetical and semi-allegorical.
+She liked to embody some suggestive idea, or a whole history, in a
+group, as in several of her scenes from Shakspeare. Her “Water Sprite,”
+representing the escape of Spring from Winter, is of this class. After
+she became a mother, her taste was more for bits of domestic life,
+and she found matter-of-fact pictures more salable than her cherished
+ideals.</p>
+
+<p>After living some seven years in Cincinnati, Mrs. Spencer returned with
+her family to New York, stopping a year in Columbus, Ohio, where she
+painted portraits and fancy-pieces. In New York she visited the Academy
+for the purpose of improving herself by drawing after the antique,
+often going in the evening, as her labors and cares absorbed her during
+the day, and sitting among the male art-students. One, who noticed the
+quiet, modest-looking girl at work, undertook to point out the best
+models, but soon discovered he was trying to teach his superior. She
+was made a member of the Academy. Her “May Queen” and “Choose Between”
+were much praised in the Art Union Exhibition. “The Jolly Washerwoman,”
+sold by that institution, became celebrated. It was painted impromptu
+from a scene in the artist’s own kitchen. A connoisseur was so much
+pleased with one of her pictures that he insisted on paying more than
+was asked for it.</p>
+
+<p>“The Flower Girl” and “Domestic Felicity,” exhibited<span class="pagenum" id="Page_324">[Pg 324]</span> in Philadelphia,
+elicited general admiration, and proved Mrs. Spencer’s possession of
+the highest order of talent. A connoisseur remarked that the latter
+picture excelled any other production that had appeared in the gallery
+since its first opening. Its vigor and freshness were as remarkable as
+its rich and harmonious coloring, while the drawing and composition
+were pronounced admirable. It represented a mother and father bending
+over their sleeping children, and several artists observed that they
+knew of no one who could surpass the painting of the mother’s hand.
+The managers of the Art Union in Philadelphia were so delighted with
+this picture that a few of their number privately subscribed to
+purchase it, the rules not allowing directors to expend the funds
+except for paintings selected by the prizeholders. It was afterward
+sold to an association in the West. The Western Art Union purchased
+several of Mrs. Spencer’s works, and had one engraved for their annual
+presentation plate.</p>
+
+<p>Mrs. Spencer found her kitchen scenes so popular that she adopted
+that comic, familiar style in many of her paintings. “Shake Hands?”
+represents a girl making pastry, and holding out her floured hand with
+a humorous smile. This manner the artist has been obliged to adhere
+to on account of the ready sale of such pictures, while the subjects
+that better pleased her own taste have been neglected. Yet she has
+contrived to introduce a moral into every one of her comic pieces.
+“The Contrast” embodies a touching story. It is in two pictures: one
+showing a pampered, petulant little dog, barking at some intruder from
+his velvet cushion surrounded by silken draperies; the other, a meagre,
+skin-and-bone animal, creeping<span class="pagenum" id="Page_325">[Pg 325]</span> through the pitiless snow-storm in
+search of food for its young ones. Mrs. Spencer excels in her pictures
+of different animals.</p>
+
+<p>Some time ago Mrs. Spencer made a series of original designs—twenty
+or thirty—illustrative of scenes in the volumes of “The Women of the
+American Revolution.” All these have not yet been published. Perhaps
+more of her paintings have been engraved than of any American artist.
+All are of her own composition, and most of them are domestic scenes.
+One called “Pattycake” shows a young mother, with her baby on her lap,
+teaching it to clap its hands; another, “Both at Play,” represents a
+father teasing his little girl by holding an air-balloon just out of
+her reach. These are done in the highly-finished German style adopted
+by Mrs. Spencer. She usually takes her own children for models.</p>
+
+<p>“The Captive” exhibits a slave in market, her master lifting the veil
+that concealed her charms. Its touching expression is admirable.
+“Reading the Legend” shows a lovely lady listening to a reading within
+view of a noble castle; but we do not like the taste of either the
+costume or the attitude of the reader.</p>
+
+<p>Mrs. Spencer encountered serious difficulties in New York before she
+acquired the fame she now enjoys. In 1858 she purchased a lovely place
+in a retired part of Newark, New Jersey, where she now resides with
+her happy family. Her studio is at the foot of her garden, a large
+building, with its walls covered by sketches, casts, etc., where the
+artist labors assiduously. Visitors from distant cities come here to
+see her paintings, and she usually has several in progress at the
+same time. “The Gossips,” a large painting <i lang="fr" xml:lang="fr">de genre</i>, with ten
+figures of women and children, has attracted<span class="pagenum" id="Page_326">[Pg 326]</span> much attention. The scene
+represents the yard of a tenement-building, where women are engaged
+in washing, preserving fruit, cooking, and other sorts of work. They
+have gathered into a group to listen to some tale of scandal from a
+stranger, with a basket of bread; and the children are getting into
+mischief the while. A little boy has fallen into the bluing-tub of
+clothes, while a younger girl is laughing violently at his mishap; a
+dog has laid hold of the meat a boy has forgotten to look after, and a
+cat in the window is skimming the pan of milk. The peaches in a basket
+in the foreground look as if they might be picked out and eaten, so
+rich and fresh is the coloring. The effect of light on one of the
+female figures is exquisitely beautiful. The whole picture is highly
+finished, and its merits are enough to make a reputation for any artist.</p>
+
+<p>Mrs. Spencer’s pictures may be seen in many of the shops where works of
+art are for sale, and the prints engraved from them are very numerous.
+She has now a prospect of independence and success before her, and may
+achieve triumphs greater than any she has yet accomplished.</p>
+
+
+<h3>LOUISA LANDER.</h3>
+
+<p>This young lady is a native of Salem, Massachusetts, and descended from
+some of the oldest and most respected families of that good old town.
+She is a daughter of Edward Lander and Eliza West, whose father was
+claimed as a relative, while on a visit to London, by Sir Benjamin West.</p>
+
+<p>Mrs. Lander’s maternal grandfather, Elias Haskel Derby, sent the first
+American ship to India, giving the first impetus to our commerce with
+that country.<span class="pagenum" id="Page_327">[Pg 327]</span> His were the first American vessels seen at the Cape of
+Good Hope and the Isle of France. Captain Richard Derby, his father,
+was noted in the Revolutionary struggle. He bought and presented to
+the town of Salem the cannon which Colonel Leslie attempted to seize.
+When he demanded the arms, at the head of his regiment, Captain
+Derby’s reply was, “Find them, and take them if you can; they will
+never be surrendered!” and his courage preserved the treasure. He was
+instrumental, too, in inciting his fellow-townsmen to the exploit of
+raising the drawbridge and sinking the boats—the first repulse of the
+British in the commencement of hostilities.</p>
+
+<p>Colonel F. W. Lander, the Pacific Railroad explorer, is the brother
+of the subject of our sketch. In various branches of her family has
+artistic talent shown itself. Her grandmother and her mother were
+remarkable for their fondness for art, and gave evidence thereof
+in works of their own. In the old family mansion, where Louisa’s
+childhood was spent, are carvings upon the walls and over the lofty
+doors, designed by her grandmother, and executed under her directions.
+Similar designs, evincing both taste and skill, decorated the mahogany
+furniture; and the canopies and coverings of the furniture were
+embroidered by the lady, according to the fashion of the day, her own
+fancy supplying the beautiful designs. It can hardly be said when
+commenced the artist-life of the young girl brought up under such
+influences. She was, as a child, singularly grave and thoughtful;
+serious and reserved at all times, and decided in her judgment, which
+was always according to the dictates of sound sense. A love of art,
+which might be called an ardent passion, possessed her nature from her
+earliest years.<span class="pagenum" id="Page_328">[Pg 328]</span> On one occasion—the first time she had an opportunity
+of seeing a work of real merit—she stood quiet and absorbed in
+admiration. Her sister, who had been pointing out the peculiar touches
+of skill, turned to ask her opinion, and saw her face bathed in tears.
+This was a surprising demonstration for a child who had been scarcely
+ever known to exhibit emotion, and whose self-control was so uncommon
+that her manner usually appeared cold. It seems as if art alone could
+arouse the full ardor and energy of her spirit.</p>
+
+<p>When a very little child, at different times, she modeled two heads
+for broken dolls. One was made of light sealing-wax, and the modeling
+of both was so wonderfully accurate that her mother would not allow
+the child to play with them, but kept them as curiosities. On another
+occasion Louisa brought one of her drawings from school, so admirably
+executed, especially in the face, that her relatives thought the touch
+a happy accident, and were inclined to disbelieve her assertions that
+she had meant to produce the very effect given to her picture.</p>
+
+<p>After her talent for sculpture had been fairly developed, she resolved
+on the devotion of her life to that branch of art. Her intense
+perception and enjoyment of the beautiful, awakened a thirst within her
+which could only be slaked at the fountain-head; and, driven forth, as
+it were, by this longing, she left her happy home in Salem—her circle
+of beloved relatives and congenial friends—to go among untried scenes,
+fixing her abode in Rome. There she speedily acquired a reputation
+which drew around her friends interested in the progress and triumph of
+genius. She was a pupil of the lamented Crawford—the only one he ever
+consented to admit into his studio, for he had discerned<span class="pagenum" id="Page_329">[Pg 329]</span> in her early
+efforts the promise of future eminence. She evinced, from the first, a
+remarkable power in portraits, catching the most delicate and subtle
+shades of likeness. One of her productions is a bust of Governor Gore,
+executed from two oil portraits; a difficult piece of work, as the
+portraits were not alike, having been taken at different periods of his
+life. The bust was pronounced an excellent likeness by Chief Justice
+Shaw and others who remember the governor. Miss Lander finished it in
+marble for the Harvard Library. It is to be placed in Gore Hall, in
+Cambridge.</p>
+
+<p>This talent for likenesses is observable in the first efforts of Miss
+Lander. When very young, before she had attempted modeling, she carved
+from an old alabaster clock, with a penknife, several heads and faces
+in bas-relief. These were noticed by a friend, who gave her a bit of
+shell and some gravers, and at once, without the least instruction, she
+carved a head in cameo. Likenesses of her mother and other friends were
+made, and pronounced very striking. Her first modeling was a bas-relief
+portrait of her father; it was followed by a bust of her brother, the
+late chief-justice of Washington Territory.</p>
+
+<p>Her work “To-day,” was seen in ambrotype, on her arrival in Rome, by
+Crawford, and his admiration of it perhaps induced him to receive her
+as his pupil. The figure is an emblem of our youthful country. The
+head is crowned with a chaplet of morning glories; the drapery is the
+American flag, fastened at the breast and the shoulder with the stars.
+Its look forward typifies progress in so spirited a manner that, at
+first sight, one might be startled by the apparent movement of life. A
+flower falling from the hair on the neck behind, adds to this effect of
+motion. Power and<span class="pagenum" id="Page_330">[Pg 330]</span> spirit are prominent characteristics of the work.
+This, with her “Galatea,” a figure full of grace and tenderness, was
+modeled before Miss Lander went to Italy. She had also finished a fine
+bust of her father, a perfect likeness, and exquisitely chiseled in
+marble.</p>
+
+<p>After Miss Lander went to Rome, she executed many portrait busts, among
+them a fine one of Hawthorne, and a bas-relief of Mountford. A letter
+from Rome described, as seen in her studio, “A charming statuette
+of Virginia Dare,” about three feet in height. This child was the
+granddaughter of John White, governor of the Colony of Virginia at the
+period of one of the early disastrous expeditions of Sir Walter Raleigh.</p>
+
+<p>“About the month of August, in 1587, Mrs. Dare, daughter of the
+governor, was delivered of a daughter in Roanoke, who was baptized the
+next Lord’s-day by the name of Virginia, being the first English child
+born in the country. Before the close of August, the governor, at the
+earnest solicitation of the whole colony, sailed for England to procure
+supplies. An unfortunate turn of affairs at home prevented another
+expedition from reaching Virginia until 1590, when, upon arrival, it
+was found that the houses of the former settlers were demolished,
+though still surrounded by a palisade, and a great part of the stores
+was discovered buried in the ground; but no trace was ever found of
+the unfortunate colony. Bancroft says that, when the governor sailed
+for England, he left the infant and her mother as hostages, and it is
+presumed that they were carried into captivity by the Indians, as,
+after this, European features could be traced in the Indian lineaments.</p>
+
+<p>“Miss Lander represents her Virginia as brought<span class="pagenum" id="Page_331">[Pg 331]</span> up an Indian princess,
+displaying in her erect attitude and beautiful form the fearless
+dignity and grace that such a life would impart. The head and face
+are very fine, exhibiting the thoughtfulness and spirituality that
+would naturally be derived from the dreamy recollections of her early
+life. The figure is semi-nude; the drapery, a light fishing-net, is
+charmingly conceived and executed, being worn like an Indian blanket;
+and the ornaments are wampum beads. This design, possessing the charm
+of novelty and historic interest, shows that we have in our own country
+rich subjects of sculpture, without resorting to the old heathen
+mythology.”</p>
+
+<p>Miss Lander afterward made a life-size statue of Virginia in marble.
+Her reclining statue of “Evangeline” forms a fine contrast to this;
+“the one full of force and energy, all life and motion; the other so
+still and tranquil in her sweet, profound slumber. She is represented
+at the moment when, worn out with her wanderings, she sleeps under the
+cedar-tree by the river-side,</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“‘For this poor soul had wandered,</span><br>
+<span style="margin-left: 1em;">Bleeding and barefooted, over the shards and thorns of existence.’</span><br>
+</p>
+
+<p>Her deep repose is not so much slumbering as like one in a trance. In
+the marble this is shown exactly by her attitude, as though she had
+dropped from utter weariness; her drapery hangs heavily about her,
+and still more heavily falls her hand; the whole figure is expressive
+of deep rest—almost painful it would be but for the beautiful face,
+lighted up by ‘the thought in her heart’ that her lover is near, and
+that</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“‘Through those shadowy aisles Gabriel had wandered before her,</span><br>
+<span style="margin-left: 1em;">Every stroke of the oar now brings him nearer and nearer</span><br>
+<span class="pagenum" id="Page_332">[Pg 332]</span><span style="margin-left: 1em;">(Now she slept beneath the cedar-tree).</span><br>
+<span style="margin-left: 1em;">Such was the vision Evangeline saw as she slumber’d beneath it;</span><br>
+<span style="margin-left: 1em;">Fill’d was her heart with love, and the dawn of an opening heaven</span><br>
+<span style="margin-left: 1em;">Lighted her soul in sleep with the glory of regions celestial.’</span><br>
+</p>
+
+<p>Very beautiful she is; and, as I gazed upon her, I seemed to hear
+the dash of Gabriel’s oar, as he glided along behind ‘a screen of
+palmettos,’ unseeing and unseen, and was ready to exclaim,</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“‘Angel of God, is there none to awaken the maiden?’”</span><br>
+</p>
+
+<p>Another work by Miss Lander is “Elizabeth, the Exile of Siberia,”
+a spirited yet feminine figure, “very pretty in its picturesque
+costume—the short cloak, Russian boots, and closely-fitting cap.”</p>
+
+<p>This gifted young artist has finished a statuette of “Undine.” It is a
+drooping figure, with expression full of sadness, just rising from the
+fountain to visit earth for the last time. The base of the fountain is
+surrounded by shells forming water-jets; Undine is in the central one,
+and the drapery falls from her hand into water as it drops. She has
+also finished a “Ceres Mourning for Proserpine.” The goddess is leaning
+upon a sheaf of wheat; her hands and head are drooping, as if she were
+planning her daughter’s escape. “A Sylph,” just alighted—an airy,
+floating figure, her puzzled attention fixed on a butterfly—is another
+of Miss Lander’s creations.</p>
+
+
+<h3>MARY WESTON.</h3>
+
+<p>The history of this lady illustrates the development, amid unfavorable
+circumstances, of that self-reliant energy which often forms a
+marked characteristic of the natives of New England. The spirit of
+independence, when joined, as in her case, to feminine gentleness and
+grace, is ennobling to any woman, and its working is both interesting
+and instructive.</p>
+
+<p><span class="pagenum" id="Page_333">[Pg 333]</span></p>
+
+<p>Mary Pillsbury was born in Hebron, New Hampshire. Her father was a
+Baptist clergyman, holding the strictest tenets of Calvinism. In
+her humble home among the mountains, though surrounded by nature’s
+wild beauty, the child found nothing to suggest to her an idea of
+what art could accomplish. Nevertheless, she saw objects with an
+artistic perception, and loved especially to study faces. When taken
+to church, she would sit gazing at those around her, and wishing
+that in some way—of which as yet she had no conception—she could
+copy their features. One day, when between seven and eight, she
+noticed a beautiful woman, and, returning home, went quietly to
+her father’s study—creeping in, as it was locked, through two
+panes of a window, to which she climbed by a chair on the bed—in
+search of a slate and pencil. With this she began to make a sketch
+of the face that had charmed her. She made the oval outline, but
+could not give the expression about the mouth and eyes. With a keen
+sense of disappointment she relinquished the hopeless task. But the
+artist-passion was awakened within her.</p>
+
+<p>She loved to read books relating to artists better than any thing else,
+though fond of study in general, and her partiality for sketching
+was indulged whenever she had opportunity. Having observed the work
+of a profile-cutter who chanced to come into the neighborhood, she
+persevered in attempts at portraits, and practiced cutting them out of
+leaves and paper. She had a beautiful young sister, and often prevailed
+on her to sit, improving day by day in her untutored efforts, till at
+last she was able, by the eye, to take a correct likeness.</p>
+
+<p>Her next achievement was copying the figures and<span class="pagenum" id="Page_334">[Pg 334]</span> decorations of Indian
+chiefs, who not unfrequently came into the little village. A servant
+girl, fifteen years old, who was employed in her father’s family, knew
+how to sketch houses, and this knowledge was willingly imparted to
+little Mary. Her pictures, though rude in design and execution, were in
+great demand among her schoolfellows; but Mrs. Pillsbury thought the
+study of painting would interfere with more important branches, and
+that a thorough English education should first be acquired. The young
+girl, however, could not be prevented from watching the drawing-lessons
+of other scholars. She would practice at home; and so earnest was her
+application that it was not long before she produced a drawing agreed
+on all sides to be superior to the exercises of the regular pupils.</p>
+
+<p>For the colors of her flowers Mary used beet-juice, extract of bean
+leaves prepared by herself, etc., till the welcome present of a box of
+paints made her independent of such contrivances. The romantic scenery
+surrounding her home had now a new charm. Day after day she would
+wander about the fields and woods, sketching, and indulging in visions
+of an artistic life. When twelve years old, one day she accompanied her
+parents to Sutton, in New Hampshire. A protracted meeting was held,
+and her father was to preach. Paying little attention to the doctrines
+promulgated, as formerly Mary occupied herself in scanning new faces in
+the rural assemblage. Near the place of meeting was the colossal figure
+of the Goddess of Liberty, richly arrayed, and painted in colors by a
+Free-will Baptist preacher. She obtained a seat close to the window
+during one of the services, and carefully studied what appeared to her
+a perfect triumph<span class="pagenum" id="Page_335">[Pg 335]</span> of art. After she went home she produced a clever
+sketch of it. From this time goddesses of liberty multiplied in her
+hands, and became famous in the school and neighborhood. One of them
+was actually put into a magazine. So creditable were they considered,
+that a rather unscrupulous young girl of her acquaintance presented one
+to her lover as her own work; and when he challenged her to produce
+another, she came to persuade Mary to make it for her.</p>
+
+<p>Caring little for the sports and pleasures of her age, it was Mary’s
+habit to shut herself up in her father’s study, and, seated upon the
+shelves, to read over and over again the biographies of great men
+and distinguished women. She kept in advance of all the school-girls
+meanwhile, and improved in her drawing during the hours stolen from
+her spinning-tasks and the duties involved in taking care of the other
+children. She entered now on the reading of the standard and classical
+works contained in her father’s library, and a new world seemed opening
+before her. Ambitious longings and dreams broke on the monotony of her
+lonely life. She resolved to become an artist like those persons of
+whom she had read, and compel appreciation from the world. But the mode
+of accomplishing her wishes perplexed her. She saw that it would be
+necessary to leave home and try her fortune among strangers; but she
+loved to picture the day when she would return, laden with honors and
+a rich reward for her labors—when her family would be proud of her
+success.</p>
+
+<p>When about fourteen, she determined to take the first step toward the
+goal she panted to reach. Secretly she quitted her home, taking with
+her only a<span class="pagenum" id="Page_336">[Pg 336]</span> change of dress, and set out to walk through the forest
+to Hopkinton, on the way to Concord, where she intended to take up
+her abode temporarily, to earn a little money by her labor, and then
+establish herself as an artist. She walked thirty miles that day, and
+very late at night came to a small house in the country, at which she
+stopped, requesting permission to warm and rest herself. The simple
+people appeared surprised to see so young a girl traveling alone and
+so far from home. They inquired into the particulars of her story with
+curious interest, and earnestly pressed her to stay all night. She
+consented, and supper was prepared for her, after which she went to
+sleep, wearied with the day’s fatiguing journey.</p>
+
+<p>On waking the next morning a strangely familiar voice struck her ear.
+She dressed hastily, and went down into the parlor, where she found
+her uncle, who had come that far in search of her. Both wept at the
+unexpected meeting; but when she had recovered from her confusion, Mary
+begged to be permitted to go on to Concord. This was decidedly refused,
+and, reluctant and mortified at the failure of her romantic enterprise,
+she was obliged to consent to be taken home.</p>
+
+<p>She was received with tears and embraces by her family, and no word of
+reproach, nor even a distant allusion to her disobedience, followed
+her attempt to escape from the restraint of parental authority. The
+family seemed to be sensible that she had been hardly dealt with; for
+the dreams of youthful hope have significance, and nature’s bent should
+not be too rudely thwarted. From this time more indulgence was shown to
+her frequent neglect of work in which she felt no pleasure, and to her
+devotion to books. She engaged in her studies more ardently than ever.</p>
+
+<p><span class="pagenum" id="Page_337">[Pg 337]</span></p>
+
+<p>Mr. Pillsbury was not rich, and his daughter had the prospect of
+being ultimately obliged to depend on her earnings for a subsistence.
+It was her desire to enter as soon as possible on the life whose
+hardships she expected to encounter and overcome. She wished to go
+beyond the mountains, into the beautiful world on the other side. To
+her imagination the soft and roseate tints reposing on those far-off
+summits were emblematic of the delights in store for her. But her
+parents opposed her wishes, and urged her to remain with them, for some
+years at least.</p>
+
+<p>She was about nineteen when, on a visit to Lynn, she saw a portrait
+painted by a lady, which seized her attention amid a collection of
+indifferent pictures. The longing to be a painter again possessed her
+so strongly that she felt it an irresistible passion. Her first plan
+was to accompany the lady to Washington and take lessons, but this
+scheme was abandoned. About a year after this she went to Boston.
+Passing a shop window, she saw a fine painting, that once more
+enkindled the flame of artist ambition in her soul. Her determination
+was formed. With the sanguine hopes of youth, she fancied that a year’s
+preparation would enable her to paint professionally. She accordingly
+devoted herself to the practice of her art with that view. Her friends
+ridiculed the idea of her becoming an artist for a livelihood, and
+predicted the failure of her scheme without powerful patronage.</p>
+
+<p>But this kind of opposition no longer discouraged her, though she was
+much hampered by the want of time. The winter was rapidly approaching,
+and she felt that it should not pass without some advance in her
+beloved studies. She now resolved to go to some place southward where
+she could see an artist work,<span class="pagenum" id="Page_338">[Pg 338]</span> and to paint cheap pictures for her own
+support, living plainly in the country till her lessons were completed.
+It seemed that she must either do this or die.</p>
+
+<p>Without consulting any one, with only twelve dollars in her possession,
+she left Boston in the early morning train, leaving her trunk behind,
+and taking only a basket with a few changes of clothes. The undertaking
+was not without prayers for a blessing from the Providence who watches
+over all human affairs. Her father needed all the aid she could give
+him; he had suffered much, and sickness in his family had crippled his
+narrow resources. The thought of all this, and what she might do were
+she permitted to work out her own ideas, had tortured Mary and rendered
+her desperate. In the ardor of her determination now, obstacles seemed
+nothing; she was resolved to succeed.</p>
+
+<p>An old man who occupied a seat opposite her in the car noticed her,
+and asked many questions. When they stopped at Providence, his evident
+curiosity annoyed and alarmed her so much that she ran with all her
+speed to the boat bound for New York. On the way she talked with the
+stewardess, and asked if she knew any respectable house in the city
+where she could obtain board. The stewardess was ignorant of New York,
+but inquired of the clerk, and he directed Miss Pillsbury to the house
+of Professor Gouraud, a then famous dancing-master.</p>
+
+<p>On repairing to this place she learned that the professor did not
+receive boarders, but was recommended to look for a house in Canal
+Street. Here it occurred to her to go to a milliner’s shop; she knew
+there must be many girls there, respectable, though poor, and thought
+that she might hear of a lodging through<span class="pagenum" id="Page_339">[Pg 339]</span> some of them. She received a
+direction to the house of an old lady, whither she went. On being asked
+for references, she frankly owned that she had none, and, as the best
+explanation she could offer, related her story. The landlady had heard
+through a pious friend in Boston—Mrs. Colby, a lady well known for
+benevolence—of the strange girl who wanted to be a painter, and she
+willingly received the wanderer.</p>
+
+<p>The next day Miss Pillsbury found out that an artist lived in the
+neighborhood, and went to him to see how oil-colors were used. She was
+allowed to watch him while painting a portrait. Afterward she went to
+Dechaux, who then kept a small store for colors; and, provided with the
+implements of art, she went to work in earnest. The little grandson of
+her landlady was her first subject, and she painted a good likeness of
+him, which was taken in part payment for board. Even the artist was
+surprised at her success, and prophesied that she would do well after a
+year’s study.</p>
+
+<p>After she had been a week in New York, her hostess advised Mary to
+go to Hartford, Connecticut, and gave her a letter to the Rev. Henry
+Jackson of that place. She went there, and was kindly received. While
+there, she painted a little boy, and produced an astonishing likeness.
+She had to prepare her own canvas, and grind her paints on a plate with
+a case-knife. In about a week after her arrival in Hartford, Squire
+Rider and his wife, of Willington, came on a visit to Mr. Jackson. They
+were so much pleased with the pictures Mary had produced, that they
+invited her to return home with them and paint the members of their
+family at five dollars a head. She was to prepare the canvas, while
+they would find paints.</p>
+
+<p>Mrs. Colby, in the mean time, had written to Mr.<span class="pagenum" id="Page_340">[Pg 340]</span> Jackson, requesting
+him to advance money on her account to Miss Pillsbury, should it be
+necessary; but Mary had no need of more than she could earn. She
+wrote to Boston for her trunk, and received it. Her parents, by this
+time, had learned her whereabouts, and no longer opposed her wish for
+independence.</p>
+
+<p>She made portraits of all the Riders, and of thirty other persons in
+Willington. Among her sitters were members of the family of Jonathan
+Weston, Esq. Several persons raised a sum by subscription to pay for
+the portrait of Miranda Vinton, the Burmese missionary. Miss Pillsbury
+had many offers of a home, and invitations to spend her time in
+different families, but she preferred living entirely for her art.</p>
+
+<p>Returning to Hartford, she painted a few more portraits. Mr. Weston’s
+daughter became her particular friend, and Mary was always warmly
+welcomed by her in her father’s house.</p>
+
+<p>The young lady’s uncle, Mr. Weston, of New York, came to pay his
+brother a visit, and took a great interest in Mary’s paintings. He
+urged her to come to New York, and improve herself by lessons and
+study. After his departure, she became once more possessed by an
+intense desire to revisit the city, and find some method of making more
+rapid progress. She received a letter from the gentleman’s daughter,
+inviting her to come at once to New York, where she could profit by the
+instruction of experienced artists. The prospect was an alluring one,
+but Miss Pillsbury felt that she could not afford to give herself the
+luxury of such lessons. She said this in her reply to the letter of
+invitation.</p>
+
+<p>Shortly afterward another letter came from Miss Weston, urging her
+coming more earnestly. Her father,<span class="pagenum" id="Page_341">[Pg 341]</span> she said, would procure her a
+teacher, and would make arrangements for the winter. She was pressed to
+make her home at his house; and, should she not be successful in her
+undertaking, he pledged himself to see her safely back to her friends.</p>
+
+<p>This tempting offer was accepted. During the winter Miss Pillsbury
+devoted herself to copying paintings. Ere long she must have made the
+discovery that another feeling, besides the wish to foster genius, had
+led Mr. Weston to be so anxious for her presence. Suffice it to say
+that in three months she became his wife, with the understanding that
+she was to pursue the profession she had chosen without restraint.</p>
+
+<p>For a few years Mrs. Weston exercised her skill in painting under
+circumstances tending to distract her attention. She became the mother
+of two children, and the care of them occupied most of her time.
+Several of her copies have great merit. Her large picture of the “Angel
+Gabriel and Infant Saviour,” from Murillo, is in the possession of Mr.
+Henry Stebbins, who married the daughter of Mr. Weston. She made a very
+fine copy of Titian’s “Bella Donna” and Guercino’s “Sibylla Samia.”
+That of “Beatrice Cenci” has been pronounced an admirable copy. She
+also painted a “Fornarina.”</p>
+
+<p>One evening, at a watering-place, at the first ball Mrs. Weston
+had ever attended, she was struck by the appearance of a lady who
+passed her, leaning on her husband’s arm. The lovely features of this
+stranger, her pure and brilliant complexion, her eyes beaming with
+cheerful goodness, and an indefinable grace in all her movements,
+impressed the artist as if she had seen a vision. Some years afterward
+she met Mrs. Coventry Waddell, and recognized in her the charming<span class="pagenum" id="Page_342">[Pg 342]</span>
+ideal who had been enshrined in her memory. Her portrait of this lady
+belongs to Mr. George Vansandvoord, of Troy.</p>
+
+<p>Mrs. Waddell’s appreciation of Mrs. Weston’s abilities, and her
+friendship, proved a valuable aid to the sometimes discouraged artist.</p>
+
+<p>Mrs. Weston’s flesh tints are especially natural and beautiful, and
+she gives a high finish to her copies of paintings. Those from the old
+masters, and others, have such wonderful fidelity that her achievements
+in this line would alone suffice to make a reputation. “A Witch Scene,”
+from Teniers, is admirable. One of her own compositions is “A Scene
+from Lalla Rookh,” and she has painted both landscapes and portraits
+from nature. She still resides in New York.</p>
+
+
+<h3>ANNA MARY FREEMAN (MADAME GOLDBECK).</h3>
+
+<p>has a high rank among miniature-painters in this country. She is the
+daughter of an American painter, though she was born in Manchester,
+England, where her parents resided for some years. She came to the
+United States when very young, and early devoted herself to the
+pursuits of art, from which she has for ten years derived her support.
+She is gifted in various ways; she has written some excellent poetry
+and stories, and is known as an accomplished elocutionist, having
+given readings in New York and elsewhere with success. Her powers as a
+painter, however, have been exercised most profitably.</p>
+
+<p>Julia du Pré, a native of Charleston, South Carolina, was educated
+at Mrs. Willard’s school in Troy, New York. On leaving the school,
+she accompanied her mother and sister to Paris. Mrs. du Pré wished to
+cultivate to the utmost her daughter’s talents for music<span class="pagenum" id="Page_343">[Pg 343]</span> and painting,
+and gave her the advantage of the best foreign masters. They had been
+three years in France when a sudden reverse deprived them of their
+ample fortune; yet, with reduced means, they remained a year longer,
+that Julia might devote herself to the study of painting in oil. On
+their return to Charleston, Mrs. du Pré and her daughters opened a
+school for young ladies, which was attended with success. The continual
+occupation of teaching, however, deprived Julia of time and opportunity
+for the severe study necessary to perfect herself in the art to which
+she had wished to devote her life. Every hour of leisure she could
+command was given to portrait-painting, and to making copies of admired
+works. Many of these were executed with great skill, and drew praise
+from Sully and other eminent critics. One of her best portraits is
+that of Count Alfred de Vigny, who had been intimate with her family
+during their residence in Paris. Miss du Pré also made a fine copy from
+Parmegiano, of a Virgin and Child, and a Dido on the Funeral Pile, from
+Giulio Romano. These, and other paintings, gained her considerable
+repute as an artist. She married Henry Bonnetheau, a miniature-painter
+of acknowledged merit, and continues to reside in Charleston. She spent
+the summer of 1856 in Paris, for the sake of improving herself in
+pastel-painting, and has lately finished some exquisite works in that
+style. “The Love-letter,” in the possession of her brother-in-law, Dr.
+Dickson of Philadelphia, “The Liaisons,” and “L’Espagnole” have been
+highly praised among these.</p>
+
+<p>Mrs. Bonnetheau’s gifts are crowned with the loveliest traits of
+woman’s character. She is esteemed and beloved by a large circle of
+friends in Charleston,<span class="pagenum" id="Page_344">[Pg 344]</span> among whom are some of the best educated men in
+this country.</p>
+
+<p>The Misses Withers, of Charleston, South Carolina, paint in oil and
+water colors, and cut cameos with much ability and skill. They have
+also modeled groups and figures with success, and are devoted to these
+branches of art.</p>
+
+<p>Mrs. Charlotte Cheves is an amateur artist who might have gained
+celebrity had her life been given to the study of painting. She was
+Miss M‘Cord, and was born in Columbia, South Carolina. She married Mr.
+Langdon Cheves, and resides on his rice plantation nearly opposite
+Savannah. She paints miniatures on ivory, some of them excellent
+likenesses, and finished with great delicacy. She has also painted
+pictures in oil, and excels in pastels and pencil-sketches. She is a
+musician, too, and possesses a very fine voice.</p>
+
+<p>Ellen Cooper, the youngest daughter of the celebrated Dr. Thomas
+Cooper, was a native of Columbia, South Carolina. She had a fine taste
+and much skill in painting and ornamental work, and was remarkable for
+intellectual culture and knowledge of general literature. She lived
+some years in Mobile with her sister, and there married Mr. James
+Hanna, who took her to reside on his sugar plantation near Thibodeaux,
+in Louisiana. She died in October, 1858. Her sister is one of the most
+accomplished amateur artists in the Southern States.</p>
+
+<p>About seven years ago a School of Design for Women was started by
+Miss Hamilton, which, supported by voluntary contributions, met with
+encouraging success. It has now been adopted by the trustees of the
+Cooper Institute, and a sum is allowed annually for the support of
+teachers. The attendance<span class="pagenum" id="Page_345">[Pg 345]</span> of pupils in 1859 has been double that of any
+former year.</p>
+
+<p><span class="smcap">Mary Ann Douglas</span>, now Mrs. Johnson, is a native of Westfield,
+Massachusetts, where she at present resides. She was married at
+eighteen, and had been a wife four years before her artist-life
+commenced. While a prisoner in her room, on account of sickness, she
+amused herself by copying a landscape in oil-colors. The success of
+this attempt opened to her a new source of activity and pleasure.
+She devoted herself to the study of painting, and labored with such
+earnestness and fidelity that her efforts were crowned with success
+beyond her anticipations. Her attention was directed especially to
+portraits. For the last four or five years she has worked in crayon
+almost exclusively, and has found employment abundantly remunerative.
+A visit to New London, Connecticut, was prolonged to nine months’
+stay, so great was the popularity of her works in that place; and
+during a trip into Central New York she painted many portraits in oil
+at excellent prices. Her indefatigable patience in the execution of
+details, the fidelity of her likenesses, and the delicate perfection of
+finish in her pictures, are remarkable. In the relations of social life
+Mrs. Johnson has shown herself amiable and self-sacrificing. She has
+not an acquaintance who does not rejoice in the triumphs so worthily
+won in spite of many discouragements.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_346">[Pg 346]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_XX">CHAPTER XX.<br><span class="small">THE NINETEENTH CENTURY.</span></h2></div>
+
+<div class="blockquot">
+
+<p><span class="smcap">Emma Stebbins.</span>—Favorable Circumstances of her
+early Life to the Study of Art.—Specimens of her Skill
+shown in private Circles.—Receives Instruction from Henry
+Inman.—Correctness of her Portraits.—“A Book of Prayer.”—Revives
+Taste for Illuminations.—Her crayon Portraits.—Copies of
+Paintings.—Cultivates many Branches of Art.—Becomes a
+Sculptor.—Abode in Rome.—Instruction received from Gibson and
+Akers.—Late Work from her Chisel.—“The Miner.”—<span class="smcap">Harriet
+Hosmer.</span>—Dwelling of the Sculptor Gibson in Rome.—His Studio
+and Work-room.—“La Signorina.”—The American Sculptress.—Her
+Childhood.—Physical Training.—School-life.—Anecdotes.—Studies
+at Home.—At St. Louis.—Her Independence.—Trip on the
+Mississippi.—“Hesper.”—Departure for Rome.—Mr. Gibson’s
+Decision.—Extract from Miss Hosmer’s Letter.—Original
+Designs.—Reverse of Fortune.—Alarm.—Resolution.—Industry, Economy,
+and Success.—Late Works.—Visit of the Prince of Wales.</p>
+</div>
+
+
+<h3>EMMA STEBBINS.</h3>
+
+<p>Few lady artists of this or any country have been surrounded with
+circumstances more favorable to the development of genius. Her
+childhood was passed among those who possessed culture and refined
+taste, and she was familiar with the elegant adornments of life. She
+learned early to embody the delicate creations of her fancy in song
+or pictures, as well as to imitate what pleased her. Her family and
+nearest circle of friends were ready—as is not always the case—to
+appreciate and encourage her efforts. But, though she had no early
+difficulties to struggle with, the steep and rugged path to eminent
+success could not be smoothed by the hand of affection, and she has
+gone<span class="pagenum" id="Page_347">[Pg 347]</span> through all the lessoning and exercise of powers demanded for
+the achievement of greatness, as well from those favored of fortune as
+those to whom the capricious goddess has proved a step-dame.</p>
+
+<p>Miss Stebbins is a native of the city of New York, where, till within
+a few years, she employed the rare skill she had acquired in different
+branches of art for the gratification of her friends or for charitable
+purposes. Several artists noticed in the beautiful specimens which
+were shown in various circles as her work the evidence of more than
+ordinary talent. Among these was Henry Inman, the distinguished
+painter. He invited the young girl to visit his studio, and offered
+to give her instruction in oil-painting. She had never before taken
+lessons, and was pleased with the prospect of study. She improved
+under the directions of her teacher, and to this aid some of her
+friends attributed the masterly correctness and grace displayed in her
+portraits, and for which afterward her crayon sketches were so much
+admired.</p>
+
+<p>One of Miss Stebbins’s early works was a volume to which she gave the
+title, “A Book of Prayer.” It contains some beautiful specimens of her
+poetry, but is chiefly remarkable for its exquisite illuminations.
+It was one of the first among the efforts to revive that style of
+illustration; and the originality, grace, and beauty of the designs,
+with the delicate and elaborate finish of the execution, made it quite
+a curiosity of art. Some other books were illuminated by Miss Stebbins
+in the same manner.</p>
+
+<p>The love of art in the child of genius “grows by what it feeds on,”
+and claims an undivided devotion to its pursuits. Perhaps no kind of
+knowledge is so fascinating when its fruits are tasted. Miss Stebbins<span class="pagenum" id="Page_348">[Pg 348]</span>
+found no charm in the social pleasures at her command which could draw
+her attention from painting. She finally resolved on an exclusive
+consecration of her talents to art, making it the sole business of her
+life. She determined to go to Rome.</p>
+
+<p>Several of her crayon portraits, executed in Rome, received the highest
+encomiums from acknowledged judges in that city. A copy she made of the
+“St. John” of Du Bœuf, and one from a painting in the gallery of the
+Louvre, representing a “Girl Dictating a Love-letter,” were noted among
+her oil-paintings. Her “Boy and Bird’s Nest” was done in the style of
+Murillo. Her pastel-painting of “Two Dogs” has been highly praised.</p>
+
+<p>Almost every branch of the imitative art has been at different periods
+cultivated by Miss Stebbins, and her success proves the scope and
+versatility of her talent. Besides painting in oil and water colors,
+she has practiced drawing on wood and carving wood, modeling in clay,
+and working in marble. It is probably in the difficult art of sculpture
+that she will leave to America the works by which she will be most
+widely known.</p>
+
+<p>She profited, like Miss Hosmer, by the counsels and supervision of
+Gibson, and the careful instruction of Akers. A work from her chisel,
+in the spring of 1859, commanded the highest suffrages. Mr. Heckscher,
+a large proprietor of coal-mines in the United States, had requested
+Miss Stebbins to execute for him two typical statues—one of Industry,
+the other of Commerce. The figure of Industry is completed, and has
+been represented by the artist, with graceful taste, as a miner. A
+critic says:</p>
+
+<p>“The figure is that of an athletic, admirably-proportioned<span class="pagenum" id="Page_349">[Pg 349]</span> youth,
+who bears upon his right shoulder the pick, and in the front of his
+picturesque slouched hat the miner’s lamp. The weight of the body is
+thrown easily and naturally upon the right leg, and the left hand rests
+with the carelessness of manly strength upon a block of marble, drilled
+and hewn in the manner of a mass of coal. The symmetrical vigor of
+the figure, admirable as it is, is not more admirable than the lofty,
+ingenuous beauty of the classic head and face, poised in an attitude
+equally unforced and striking, upon the graceful, well-rounded throat.
+The drapery of the full shirt, open at the neck and close-gathered
+about the waist, is managed with particular skill; and while the whole
+figure reminds one strikingly of one of those magnificent Gothic kings
+whose images stand in the vestibule of the <i lang="es" xml:lang="es">Museo Borbonico</i>, at
+Naples, the spirit and air of it are purely modern and American. It is,
+in truth, one of the most felicitous combinations of every-day national
+truth with the enduring and cosmopolite truth of art ever seen, and it
+is a work which does equal credit to the sex and the country of the
+artist.”</p>
+
+<p>Miss Stebbins has taken up her residence permanently in Rome, amid
+those surroundings and associations sought by artists of all nations as
+most favorable to their progress. She has been for some time engaged in
+modeling in clay several groups which, though as yet unfinished, have
+been criticised favorably by connoisseurs and friends.</p>
+
+
+<h3>HARRIET HOSMER.</h3>
+
+<p>In the Via Fontanella at Rome—a street close upon the beautiful
+Piazza del Popolo, and running at a right angle from the Babuino to
+the Corso, a few steps out<span class="pagenum" id="Page_350">[Pg 350]</span> of the Babuino on the left—is a large,
+rough, worm-eaten door, which has evidently seen good service, and
+from the appearance of which no casual and uninitiated passer-by would
+suspect the treasures of art it conceals and protects. A small piece
+of whip-cord, with a knot as handle, issues from a perforated hole,
+by means of which—a small bell being set in motion—access is gained
+to the studio of England’s greatest living master of sculpture, John
+Gibson.</p>
+
+<p>The threshold crossed, the visitor finds himself at once in the midst
+of this artist’s numerous works. In a large barn-like shed, with a
+floor of earth, on pedestals of various materials, shapes, and sizes,
+stand the beautiful Cupid and Butterfly, the wounded Amazon, Paris and
+Proserpine gathering flowers, the charming groups of Psyche borne by
+the Zephyrs, of Hylas and the Water Nymphs, and the noble basso-relievo
+of Phaeton and the Hours leading forth the horses of the Sun, with,
+perhaps, a bust or figure in progress by the workman whose duty it is
+to keep the studio and attend to the numerous visitors. Facing the door
+of entry just described is its counterpart, opening into a fairy-like
+square plot of garden, filled with orange and lemon trees and roses,
+and, in the spring, fragrant with violets blue and white, Cape jasmine,
+and lilies of the valley; while, in a shady recess, and fern-grown nook
+trickles a perpetual fountain of crystal-clear water. The sun floods
+this tiny garden with his golden light, flecking the trellised walks
+with broken shadows, and wooing his way, royal and irresistible lover
+as he is, to the humbler floral divinities of the place, sheltered
+beneath their own green leaves, or in the superb shade of the acanthus.
+Lovely is the effect of this rich glow of sunlight as one stands in the
+shade of the studio,<span class="pagenum" id="Page_351">[Pg 351]</span> perfumed with the sweet blossoms of the South;
+lovely the aspect both of nature and of art, into the presence of
+which we are so suddenly and unexpectedly ushered from the ugly, dirty
+street without. Having gazed our fill here, we step into the garden,
+and, turning to the right, if we be favored visitors, friends, or the
+friends of friends, we are next ushered into the sanctum of the master
+himself, whom we shall probably find engaged in modeling, and from whom
+we shall certainly receive a kind and genial welcome, granting always
+that we have some claim for our intrusion upon his privacy.</p>
+
+<p>This room, long and narrow, is boarded, and has some pretensions to
+comfort; but throughout the whole range of studios the absence of care
+and attention will strike the eye, more especially as it is the present
+fashion in Rome to render the studios both of painter and sculptor as
+comfortable and habitable as possible. From Mr. Gibson’s own room we
+are taken into another rough shed, where the process of transformation
+from plaster to marble is carried on, and where frequent visitors can
+not fail to discover the vast difference which exists in skill and
+natural aptitude among the numerous workmen employed.</p>
+
+<p>As the different processes of sculpture are but little known, it may
+not be out of place here to throw some light upon them. The artist
+himself models the figure, bust, or group, whatever it may be, in clay,
+spending all his skill, time, and labor on this first stage. When
+complete—and many months, sometimes even years of unwearied study
+are given to the task—a plaster cast is taken from the clay figure,
+from which cast the workmen put the subject into marble, the artist
+superintending it, and reserving to himself the more delicate<span class="pagenum" id="Page_352">[Pg 352]</span> task
+of finishing. Thorwaldsen, speaking of these processes, says, “that
+the clay model may be called creation, the plaster cast death, and the
+marble resurrection.” Certain it is that the clay model and the marble
+statue, when each has received the finishing stroke, are more closely
+allied, more nearly identical, one with the other, than either is with
+the plaster cast. So alive are sculptors to the fact of the injury done
+to their works by being seen in plaster casts, that they bestow great
+pains in working them over by hand to restore something of the fineness
+and sharpness which the process of modeling has destroyed. So impressed
+with this is Powers, the American sculptor, that, with the ingenuity
+and inventive skill of his country, he has succeeded in making a
+plaster hard almost as marble, and which bears with equal impunity the
+file, chisel, and polisher.</p>
+
+<p>There are in Rome workmen devoted to the production of certain
+portions of the figure, draped or undraped; for instance, one man is
+distinguished for his ability in working the hair, and confines himself
+to this specialty; while another is famous for his method of rendering
+the quality of flesh, and a third is unequaled in drapery. Very rarely
+does it happen that the artist is lucky enough to find all these
+qualities combined in one man, but it does occasionally happen; and Mr.
+Gibson is himself fortunate in the possession of a workman whose skill
+and manipulative power, in all departments, are of the highest order.
+A Roman by birth, the handsome and highly organized Camillo, with his
+slight figure, and delicate, almost effeminate hands, is a master of
+the mallet and chisel, and, from the head to the foot, renders and
+interprets his model with artistic power and feeling. The man<span class="pagenum" id="Page_353">[Pg 353]</span> loves
+his work, and the work repays his love, as when does it not, from the
+sublime labors of genius to the humblest vocation of street or alley?</p>
+
+<p>To return from our digression; leaving the workroom, we cross one side
+of the small garden, and by just such another rough door as the two
+we have already passed through in the first studio, we enter another
+capacious, barn-like apartment, the centre of which is occupied by the
+colored Venus, so dear to Mr. Gibson’s heart that, though executed to
+order, year after year passes on, and he can not make up his mind to
+part with it. Ranged around the walls of this capacious studio are
+casts of the Hunter, one of the earliest and most vigorous of Mr.
+Gibson’s works; of the Queen, of the colossal group in the House of
+Lords, and sundry others. Having inspected these at our leisure, and
+viewed the Venus from the most approved point, probably under the eye
+of the master, who never tires of expatiating on the great knowledge
+of the ancients in coloring their statues, a curtain across the
+left-hand corner of the studio is lifted, and the attendant inquires
+if “la signorina” will receive visitors. The permission given, we
+ascend a steep flight of stairs, and find ourselves in a small upper
+studio, face to face with a compact little figure, five feet two in
+height, in cap and blouse, whose short, sunny brown curls, broad brow,
+frank and resolute expression of countenance, give one at the first
+glance the impression of a handsome boy. It is the first glance only,
+however, which misleads one. The trim waist and well-developed bust
+belong unmistakably to a woman, and the deep, earnest eyes, firm-set
+mouth, and modest dignity of deportment show that woman to be one of no
+ordinary character and ability.</p>
+
+<p><span class="pagenum" id="Page_354">[Pg 354]</span></p>
+
+<p>Thus, reader, we Have brought you face to face with the subject of this
+sketch, Harriet Hosmer, the American sculptress.</p>
+
+<p>Born at Watertown, Mass., in the year 1831, Harriet Hosmer is the
+only surviving daughter of a physician, who, having lost wife and
+child by consumption, and fearing a like fate for the survivor, gave
+her horse, dog, gun, and boat, and insisted upon an out-doors life as
+indispensable to health. A fearless horsewoman, a good shot, an adept
+in rowing, swimming, diving, and skating, Harriet Hosmer is a signal
+instance of what judicious physical training will effect in conquering
+even hereditary taint of constitution. Willingly as the active,
+energetic child acquiesced in her father’s wishes, she contrived, at
+the same time, to gratify and develop her own peculiar tastes; and
+many a time and oft, when the worthy doctor may have flattered himself
+that his darling was in active exercise, she might have been found in
+a certain clay-pit, not very far from the paternal residence, making
+early attempts at modeling horses, dogs, sheep, men and women, or any
+object which attracted her attention. Both here, and subsequently at
+Lenox, she made good use of her time by studying natural history, and
+of her gun by securing specimens for herself of the wild creatures of
+the woods, feathered and furred; dissecting some, and with her own
+hands preparing and stuffing others. The walls of the room devoted to
+her special use in “the old house at home,” are covered with birds,
+bats, butterflies and beetles, snakes and toads, while sundry bottles
+of spirits contain subjects carefully dissected and prepared by herself.</p>
+
+<p>Ingenuity and taste were shown in the use to which the young girl
+applied the eggs and feathers of the<span class="pagenum" id="Page_355">[Pg 355]</span> nests and birds she had pilfered.
+One inkstand, a very early production, evinces mechanical genius and
+artistic taste. Taking the head, throat, wings, and side feathers of a
+bluebird, she blew the contents from a hen’s egg, and set it on end,
+forming the breast of the bird by the oval surface of the egg, while
+through the open beak and extended neck entrance was gained to the
+cavity of the egg containing the ink.</p>
+
+<p>No one could look round this apartment, occupied by the child and
+young girl, without at once recognizing the force and individuality of
+character which have since distinguished her.</p>
+
+<p>Full of fun and frolic, numerous anecdotes are told of practical jokes
+perpetrated to such an excess that Dr. Hosmer was satisfied with the
+progress toward health and strength his child had made; and having
+endeavored, without success, to place her under tuition in daily and
+weekly schools near home, he determined to commit her to the care
+of Mrs. Sedgwick, of Lenox, Massachusetts. Thither the young lady,
+having been expelled from one school, and given over as incorrigible
+at another, was accordingly sent, with strict injunctions that health
+should still be a paramount consideration, and that the new pupil
+should have liberty to ride and walk, shoot and swim to her heart’s
+content. In wiser or kinder hands the young girl could not have been
+placed. Here, too, she met with Mrs. Fanny Kemble, whose influence
+tended to strengthen and develop her already decided tastes and
+predilections. To Mrs. Kemble we have heard the young artist gratefully
+attribute the encouragement which decided her to follow sculpture as a
+profession, and to devote herself and her life to the pursuit of art.</p>
+
+<p>Miss Hosmer’s school-fellows remember many<span class="pagenum" id="Page_356">[Pg 356]</span> pranks and exploits that
+showed her daring spirit and love of frolic. One of these was capturing
+a hawk’s nest from the top of a very high forest-tree, to which she
+climbed at the risk of her life. Her room was decorated, as at home,
+with grotesque preserved specimens, among which was a variety of
+reptiles, usually the horror of young ladies.</p>
+
+<p>An anonymous squib upon Boston and Bostonians was about this time
+attributed to Miss Hosmer. A practical joke upon a physician of Boston
+had been the immediate cause of her being sent to Lenox. Her health
+having given her father some uneasiness, the gentleman in question, a
+physician in large practice, was called in to attend her. The rather
+uncertain visits of this physician proved a source of great annoyance
+and some real inconvenience to his patient, inasmuch as they interfered
+with her rides and drives, shooting, and boating excursions. Having
+borne with the inconvenience some time, she requested the gentleman,
+as a great favor, to name an hour for his call, that she might make
+her arrangements accordingly. The physician agreed, but punctuality is
+not always at the command of professional men. Matters were as bad as
+ever. Sometimes the twelve o’clock appointment did not come off till
+three in the afternoon. One day, in particular, Dr. ———— was some
+hours after the time. A playful quarrel took place between physician
+and patient; and, as he rose to take his leave, and offered another
+appointment, Miss Hosmer insisted upon his giving his word to keep it.</p>
+
+<p>“If I am alive,” said he, “I will be here,” naming some time on a
+certain day.</p>
+
+<p>“Then, if you are not here,” was the reply, “I am to conclude that you
+are dead.”</p>
+
+<p><span class="pagenum" id="Page_357">[Pg 357]</span></p>
+
+<p>Thus they parted. The day and hour arrived, but no doctor made his
+appearance. That evening Miss Hosmer rode into Boston, and next morning
+the papers announced the decease of Dr. ———. Half Boston and its
+neighborhood rushed to the physician’s house to leave cards and
+messages of condolence for the family, and to inquire into the cause of
+the sudden and lamentable event.</p>
+
+<p>In 1850, being then nineteen, Harriet Hosmer left Lenox. Mrs.
+Sedgwick’s judicious treatment, and the motive and encouragement
+supplied by Mrs. Kemble, had given the right impetus to that activity
+of mind and body which needed only guiding and directing into
+legitimate channels. She returned to her father’s house, at Watertown,
+to pursue her art-studies, and to fit herself for the career she had
+resolved upon following. There was at this time a cousin of Miss
+Hosmer’s studying with her father, between whom and herself existed
+a hearty <i lang="fr" xml:lang="fr">camaraderie</i>. Together the two spent many hours in
+dissecting legs and arms, and in making acquaintance with the human
+frame, Dr. Hosmer having erected a small building at the bottom of
+his garden to facilitate these studies. Those were days of close
+study and application. Lessons in drawing and modeling—for which our
+young student had to repair to Boston, a distance of seven or eight
+miles—and anatomical studies with her cousin, were alternated with
+the inevitable rides and boating on which her father wisely insisted.
+The River Charles runs immediately before the house, and on this river
+Harriet Hosmer had a boat-house, containing a safe, broad boat, and
+a fragile, poetical-looking gondola, with silvered prow, the delight
+of her heart, and the terror of her less experienced and unswimming
+friends.<span class="pagenum" id="Page_358">[Pg 358]</span> The life of the young girl was at this period full of earnest
+purpose and noble ambition, and the untiring energy and perseverance
+which distinguish her now in so remarkable a degree were at this time
+evidenced and developed.</p>
+
+<p>Having modeled one or two copies from the antique, she next tried her
+hand on a portrait-bust, and then cut Canova’s bust of Napoleon in
+marble, working it entirely with her own hands that she might make
+herself mistress of the process. Her father, seeing her devoted to her
+studies, seconded them in every possible way, and proposed to send her
+to his friend, Dr. M‘Dowell, Professor of Anatomy in the St. Louis
+College, that she might go through a course of regular instruction,
+and be thus thoroughly grounded for the branch of art she had chosen.
+The young artist was but too glad to close with the offer; and, in the
+autumn of 1850, we find her at St. Louis, residing in the family of her
+favorite schoolmate from Lenox, winning the hearts of all its members
+by her frank, joyous nature, and steady application, and securing, in
+the head of it, what she heartily and energetically calls “the best
+friend I ever had.”</p>
+
+<p>Her independence of manner and character, joined to the fact of her
+entering the college as a student, could not fail to bring down
+animadversion, and many were the tales fabricated and circulated anent
+the young New Englander, who was said to carry pistols in her belt, and
+to be prepared to take the life of any one who interfered with her. It
+was, perhaps, no disadvantage, under the circumstances, to be protected
+by such a character. The college stood some way from the inhabited
+part of the town, and in early morning and late evening, going to and
+fro with the<span class="pagenum" id="Page_359">[Pg 359]</span> other students, it is not impossible that she owed the
+perfect impunity with which she set conventionality at defiance to the
+character for courage, and skill in the use of fire-arms which attended
+her.</p>
+
+<p>Dr. M‘Dowell, charmed with the talent and earnestness of his pupil,
+afforded her every facility in his power, giving her the freedom of the
+college at all times, and occasionally bestowing upon her a private
+lecture when she attended to see him preparing dissections for the
+public ones. Pleasant and encouraging it is to find men of ability
+and eminence so willing to help a woman when she is willing to help
+herself. The career of this young artist hitherto has been marked by
+the warm and generous encouragement of first-rate men, from Professor
+M‘Dowell to John Gibson, and pleasant it is to find the affectionate
+and grateful appreciation of such kindness, converting the temporary
+tie of master and pupil into the permanent one of tried and valued
+friendship. “I remember Professor M‘Dowell,” writes Miss Hosmer, “with
+great affection and gratitude, as being a most thorough and patient
+teacher, as well as at all times a good, kind friend.”</p>
+
+<p>Through the winter and spring of 1851, in fact, during the whole
+term, Harriet Hosmer prosecuted her studies with unremitting zeal
+and attention, and at the close was presented with a “diploma,” or
+certificate, testifying to her anatomical efficiency. During her stay
+at St. Louis, and as a testimony of her gratitude and regard, Miss
+Hosmer cut, from a bust of Professor M‘Dowell by Clevenger, a medallion
+in marble, life size, which is now in the museum of the College. It is
+perhaps worthy of note that Clevenger and Powers both studied anatomy
+under this professor.</p>
+
+<p><span class="pagenum" id="Page_360">[Pg 360]</span></p>
+
+<p>The “diploma” achieved, our young aspirant was bent upon seeing New
+Orleans before returning to her New England home. It was a season
+of the year not favorable for such travel, and, from some cause or
+another, she failed in inducing any of her friends to accompany her. To
+will and to do are synonymous with some; and so, Harriet Hosmer having
+set her mind upon an excursion down the Mississippi to the Crescent
+City, embarked herself one fine morning on board a steamer bound for
+New Orleans. The river was shallow, the navigation difficult; many a
+boat did our adventurous traveler pass high and dry; but fortune, as
+usual, was with her, and she reached her destination in safety. The
+weather was intensely warm, but, nothing daunted, our young friend
+saw all that was to be seen, returning at night to sleep on board the
+steamer as it lay in its place by the levee, and, at the expiration
+of a week, returning with it to St. Louis. Arrived there, instead of
+rejoining her friends, she took boat for the Falls of St. Anthony,
+on the Upper Mississippi, stopping, on the way, at Dubuque, to visit
+a lead mine, into which she descended by means of a bucket, and came
+very near an accident which must inevitably have resulted fatally; a
+catastrophe which, as no one knew where she was, would probably have
+remained a secret forever. At the Falls of St. Anthony, she went among
+the Indians, much to their surprise and amusement, and brought away
+with her a pipe, presented by the chief, in token of amity. She also
+achieved the ascent of a mountain never before undertaken by a female;
+and so delighted were the spectators with her courage and agility,
+that they insisted upon knowing her name, that the mountain might
+thenceforth be called after her. In a subsequent<span class="pagenum" id="Page_361">[Pg 361]</span> visit to St. Louis,
+Miss Hosmer found that her rustic admirers had been as good as their
+word, and “Hosmer’s Height” remains an evidence of “the little lady’s”
+ambition and courage.</p>
+
+<p>On her return to St. Louis, where her prolonged absence had created no
+little uneasiness, she remained but a short time, and, bidding farewell
+to her kind friends, retraced her steps homeward.</p>
+
+<p>This was in the autumn of 1851. No sooner had Harriet Hosmer reached
+home than she set to work to model an ideal bust of Hesper, continuing
+her anatomical studies with her cousin, and employing her intervals of
+leisure and rest in reading, riding, and boating. Now followed a period
+of earnest work, cheered and inspired by those visions of success,
+of purpose fulfilled, of high aims realized, which haunt the young
+and enthusiastic aspirant, and throw a halo round the youthful days
+of genius, lending a color to the whole career. As Lowell wisely and
+poetically says,</p>
+
+<p class="poetry">
+<span style="margin-left: 1em;">“Great dreams preclude low ends.”</span><br>
+</p>
+
+<p>Better to aspire and fail than not aspire at all; better to know the
+dream, and the fever, and the awakening, if it must be, than to pass
+from the cradle to the grave on the level plane of content with things
+as they are. There may be aspiration without genius; there can not be
+genius without aspiration; and where genius is backed by industry and
+perseverance, the aspiration of one period will meet its realization in
+another.</p>
+
+<p>To go to Rome—to make herself acquainted with all its treasures of
+art, ancient and modern—to study and work as the masters of both
+periods had studied and worked before her—this was now our youthful
+artist’s ambition; and all the while she labored, heart and soul, at
+Hesper, the first creation of her genius,<span class="pagenum" id="Page_362">[Pg 362]</span> watching its growth beneath
+her hand, as a young mother watches, step by step, the progress of
+her first-born; kneading in with the plastic clay all those thousand
+hopes and fears which, turn by turn, charm and agitate all who aspire.
+At length, the clay model finished, a block of marble was sought
+and found, and brought home to the shed in the garden, hitherto
+appropriated to dissecting purposes, but now fitted up as a studio.
+Here, with her own small hands, the youthful maiden, short of stature
+and delicate in make, any thing but robust in health, with chisel and
+mallet blocked out the bust, and subsequently, with rasp and file,
+finished it to the last degree of manipulative perfection. Months and
+months it took, and hours and days of quiet toil and patience; but
+those wings of genius, perseverance and industry, were hers, and love
+lent zest to the work. It was late summer in 1852 before Hesper was
+fully completed.</p>
+
+<p>A critic in the New York Tribune thus wrote of this work:</p>
+
+<p>“It has the face of a lovely maiden, gently falling asleep with
+the sound of distant music. Her hair is gracefully arranged, and
+intertwined with capsules of the poppy. A star shines on her forehead,
+and under her breast lies the crescent moon. The hush of evening
+breathes from the serene countenance and the heavily-drooping
+eyelids.... The swell of the cheeks and the bust is like pure, young,
+healthy flesh, and the muscles of the beautiful mouth are so delicately
+cut, it seems like a thing that breathes.</p>
+
+<p>“The poetic conception of the subject is the creation of her own mind,
+and the embodiment of it is all done by her own hands—even the hard,
+rough, mechanical portions of the work. She employed a man<span class="pagenum" id="Page_363">[Pg 363]</span> to chop
+off some large bits of marble; but, as he was unaccustomed to assist
+sculptors, she did not venture to have him cut within several inches of
+the surface she intended to work.”</p>
+
+<p>“Now,” said she to her father, “I am ready to go to Rome.”</p>
+
+<p>“And you shall go, my child, this very autumn,” was the reply.</p>
+
+<p>Anxious as Dr. Hosmer was to facilitate in every way the career
+his daughter had chosen, there was yet another reason for going to
+Italy before winter set in. Study and nervous anxiety had made their
+impression upon a naturally delicate constitution, and a short, dry
+cough alarmed the worthy doctor for his child’s health.</p>
+
+<p>October of 1852 saw father and daughter on their way to Europe, the St.
+Louis diploma and daguerreotypes of Hesper being carefully stowed away
+in the safest corner of the portmanteau as evidences of what the young
+artist had already achieved, when, arrived at Rome, she should seek the
+instruction of one of two masters, whose fame, world-wide, alone could
+satisfy our aspirant’s ambition. So eager was her desire to reach Rome
+that a week only was given to England; and then, joining some friends
+in Paris, the whole party proceeded to Rome, arriving in the Eternal
+City on the evening of November 12, 1852.</p>
+
+<p>Within two days the daguerreotypes were placed in the hands of Mr.
+Gibson as he sat at breakfast in the Café Greco, a famous place of
+resort for artists.</p>
+
+<p>Now be it known, as a caution to women not to enter lightly upon any
+career, to throw it up as lightly upon the first difficulty which
+arises, that a prejudice existed in Rome against lady artists, from
+the pretensions<span class="pagenum" id="Page_364">[Pg 364]</span> with which some had repaired thither, and upon which
+they had succeeded in gaining access to some of the best studios and
+instruction from their masters, to throw those valuable opportunities
+aside at the first obstacle that arose. Mr. Gibson had himself, it
+was said, been thus victimized and annoyed, and it was represented to
+Miss Hosmer as doubtful in the extreme if he would either look at the
+daguerreotypes or listen to the proposal of her becoming his pupil.
+However, the daguerreotypes were placed before him; and, taking them
+into his hands—one presenting a full, and the other a profile view of
+the bust—he sat some moments in silence, looking intently at them.
+Encouraged by this, the young sculptor who had undertaken to present
+them proceeded to explain Miss Hosmer’s intentions and wishes, what she
+had already done, and what she hoped to do. Still Mr. Gibson remained
+silent. Finally, closing the cases,</p>
+
+<p>“Send the young lady to me,” said he, “and whatever I know, and can
+teach her, she shall learn.”</p>
+
+<p>In less than a week Harriet Hosmer was fairly installed in Mr. Gibson’s
+studio, in the up-stairs room already described. Ere long a truly
+paternal and filial affection sprung up between the master and the
+pupil, a source of great happiness to themselves, and of pleasure and
+amusement to all who know and value them, from the curious likeness,
+yet unlikeness, which existed from the first in Miss Hosmer to Mr.
+Gibson, and which daily intercourse has not tended to lessen.</p>
+
+<p>In one of her letters she says:</p>
+
+<p>“The dearest wish of my heart is gratified in that I am acknowledged by
+Gibson as a pupil. He has been resident in Rome thirty-four years, and
+leads the van. I am greatly in luck. He has just finished the<span class="pagenum" id="Page_365">[Pg 365]</span> model of
+the statue of the queen, and, as his room is vacant, he permits me to
+use it, and I am now in his own studio. I have also a little room for
+work which was formerly occupied by Canova, and perhaps inspiration may
+be drawn from the walls.”</p>
+
+<p>The first winter in Rome was passed in modeling from the antique, Mr.
+Gibson desiring to assure himself of the correctness of Miss Hosmer’s
+eye, and the soundness of her knowledge; Hesper evincing the possession
+of the imaginative and creative power. From the first, Mr. Gibson
+expressed himself more than satisfied with her power of imitating the
+roundness and softness of flesh, saying, upon one occasion, that he had
+never seen it surpassed and not often equaled.</p>
+
+<p>Her first attempt at original design in Rome was a bust of Daphne,
+quickly succeeded by another of the Medusa—the beautiful Medusa—and a
+lovely thing it is, faultless in form, and intense in its expression of
+horror and agony, without trenching on the physically painful.</p>
+
+<p>We have already spoken of the warm friend Miss Hosmer made for herself
+during her winter at St. Louis, in the head of the family at whose
+house she was a guest. This gentleman, as a God-speed to the young
+artist on her journey to Rome, sent her, on the eve of departure,
+an order to a large amount for the first figure she should model,
+leaving her entirely free to select her own time and subject. A statue
+of Œnone was the result, which is now in the house of Mr. Crow, at
+St. Louis, and which gave such satisfaction to its possessor and his
+fellow-townsmen, that an order was forwarded to Miss Hosmer for a
+statue for the Public Library at St. Louis, on the same liberal terms.
+Beatrice<span class="pagenum" id="Page_366">[Pg 366]</span> Cenci, which has won so many golden opinions from critics and
+connoisseurs, was sent to St. Louis in fulfillment of this order.</p>
+
+<p>The summers in Rome are, as every one knows, trying to the natives,
+and full of danger to foreigners. Dr. Hosmer, having seen his daughter
+finally settled, returned to America, leaving her with strict
+injunctions to seek some salubrious spot in the neighboring mountains
+for the summer, if indeed she did not go into Switzerland or England.
+Rome, however, was the centre of attraction; and, after the first
+season, which was spent at Sorrento, on the Bay of Naples, Miss Hosmer
+could not be prevailed upon to go out of sight and reach of its lordly
+dome and noble treasures of art. The third summer came, and, listening
+to the advice of her friends, and in obedience to the express wish of
+her father, she made arrangements for a visit to England. The day was
+settled, the trunks were packed; she was on the eve of departure, when
+a letter from America arrived, informing her of heavy losses sustained
+by her father, which must necessitate retrenchment in every possible
+way, a surrender of her career in Rome, and an immediate return home.</p>
+
+<p>The news came upon her like a thunderbolt. Stunned and bewildered,
+she knew not at the moment what to do. An only child, and hitherto
+indulged in every whim and caprice, the position was indeed startling
+and perplexing. The surrender of her art-career was the only thing
+which she felt to be impossible; whatever else might come, that could
+not, should not be. And now came into play that true independence of
+character which hitherto had shown itself mostly in wild freaks and
+tricks. Instead of falling back upon those friends whose means she
+knew would be at her<span class="pagenum" id="Page_367">[Pg 367]</span> disposal in this emergency, she dispatched a
+messenger for the young sculptor who had shown the daguerreotypes to
+Mr. Gibson, and who, himself dependent upon his professional exertions,
+was, she decided, the fittest person to consult with as to her own
+future career. He obeyed the hasty summons, and found the joyous,
+laughing countenance he had always known, pale and changed, as it
+were, suddenly, from that of a young girl to a woman full of cares and
+anxieties. He could scarcely credit the intelligence; but the letter
+was explicit; the summons home peremptory. “Go, I will not,” was her
+only coherent resolution; so the two laid their heads together. Miss
+Hosmer was the owner of a handsome horse and an expensive English
+saddle; these were doomed at once. The summer in Rome itself, during
+which season living there costs next to nothing, was determined upon;
+and during those summer months Miss Hosmer should model something
+so attractive that it should insure a speedy order, and, exercising
+strict economy, start thenceforth on an independent artist-career, such
+as many of those around her with less talent and training, managed
+to carry on with success. No sooner said than done; the trunks were
+unpacked; the friends she had been about to accompany departed without
+her; her father’s reverses were simply and straightforwardly announced,
+and she entered at once on the line of industry and economy she and her
+friend had struck out.</p>
+
+<p>It is said that friendship between a young man and a young woman is
+scarcely possible, and perhaps, under ordinary circumstances, where
+the woman has no engrossing interests of her own, no definite aim and
+pursuit in life, it may be so. Here, however, was a case of genuine and
+helpful friendship, honorable alike<span class="pagenum" id="Page_368">[Pg 368]</span> to the heads and hearts of both.
+Under the experienced direction of her friend, Miss Hosmer conducted
+her affairs with prudence and economy, and, at the same time, with due
+regard to health. The summer passed away, and neither fever nor any
+other form of mischief attacked our young friend. She worked hard, and
+modeled a statue of Puck, so full of spirit, originality, and fun, that
+it was no sooner finished than orders to put it into marble came in. It
+was repeated again and again, and, during the succeeding winter, three
+copies were ordered for England alone—one for the Duke of Hamilton.
+Thus fairly started on her own ground, Miss Hosmer met with that
+success which talent, combined with industry and energy, never fails to
+command.</p>
+
+<p>The winter in which the Cenci was being put into marble she was engaged
+in modeling a monument to the memory of a beautiful young Catholic
+lady, destined for a niche in the church of San Andréo delle Fratte,
+in the Vià Mercede, close upon the Piazza di Spagna. A portrait
+full-length figure of the young girl, life size, reclines upon a low
+couch. The attitude is easy and natural, and the tranquil sleep of
+death is admirably rendered in contradistinction to the warm sleep of
+life in the Cenci.</p>
+
+<p>Miss Hosmer was engaged during the winter of 1858 in modeling a
+fountain, for which she has taken the story of Hylas descending
+for water, when, according to mythology, he is seized upon by the
+water-nymphs and drowned. Hylas forms the crown of the pyramid, while
+the nymphs twined around its base, with extended arms, seek to drag
+him down into the water below, where dolphins are spouting jets which<span class="pagenum" id="Page_369">[Pg 369]</span>
+interlace each other. A double basin, the upper one supported by swans,
+receives the cascade.</p>
+
+<p>During the spring of 1859 Miss Hosmer worked upon her statue of
+Zenobia, bespoken in America. The young Prince of Wales visited her
+studio to see this unfinished work, which he greatly admired. He
+purchased a “Puck,” by her hand, to add to his collection. Miss Hosmer
+executed, as a side-piece to this, <span class="pagenum" id="Page_370">[Pg 370]</span>a “Will-o’-the-Wisp,” said even to
+be superior.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_371">[Pg 371]</span></p>
+
+<h2 class="nobreak" id="NAMES_OF_WOMEN_ARTISTS">NAMES OF WOMEN ARTISTS</h2>
+</div>
+<p class="right">PAGE</p>
+<p class="center">
+A.</p>
+<ul class="index">
+<li class="ifrst">Abarca, Donna Maria de, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Agnes, Abbess of Quedlinberg, <a href="#Page_29">29</a></li>
+
+<li class="ifrst">Airola, Angelica Veronica, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Aizelin, Madame, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Alboni, Rosa, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Alfieri, Carlotta Melania, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Alloin, Mademoiselle, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Amalasuntha, <a href="#Page_28">28</a></li>
+
+<li class="ifrst">Amherst, Lady, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Anaxandra, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Andross, Miss, <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Angelica, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Anguisciola, Anna Maria, <a href="#Page_48">48</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Europa, <a href="#Page_51">51</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Helena, <a href="#Page_48">48</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Lucia, <a href="#Page_51">51</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Minerva, <a href="#Page_48">48</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Sofonisba, <a href="#Page_49">49</a></li>
+
+<li class="ifrst">Anna Amalia, of Brunswick, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Anna, Princess of Orange, <a href="#Page_167">167</a></li>
+
+<li class="ifrst">Anzon, Madame, <a href="#Page_203">203</a>, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Ardinghelli, Maria Angela, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Ardoino, Anna Maria, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Aristarite, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Armani, Vincenza, <a href="#Page_45">45</a></li>
+
+<li class="ifrst">Aromatari, Dorothea, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Aumont, Augustine, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Ava, <a href="#Page_28">28</a></li>
+
+<li class="ifrst">Aveiro, Duchess of, <a href="#Page_86">86</a></li>
+
+</ul>
+<p class="center">B.</p>
+<ul class="index">
+<li class="ifrst">Badger, Mrs., <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Ballain, Nanine, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Basseporte, Madeleine Françoise, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Beale, Mary, <a href="#Page_123">123</a></li>
+
+<li class="ifrst">Beauclerk, Lady Diana, <a href="#Page_187">187</a></li>
+
+<li class="ifrst">Beaurepas, Madame de, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Beckson, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Beer, Maria Eugenia de, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Beinaschi, Angela, <a href="#Page_78">78</a></li>
+
+<li class="ifrst">Bejar, Duchess of, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Bell, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Benavides, Maria Cueva, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Bennings, Liewina, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Benoit, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Benwell, Mary, <a href="#Page_188">188</a></li>
+
+<li class="ifrst">Bernasconi, Laura, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">Bertaud, Marie Rosalie, <a href="#Page_204">204</a></li>
+
+<li class="ifrst">Blackwell, Elizabeth, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Blanchot, Geneviève, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Block, Joanna Koerten, <a href="#Page_126">126</a></li>
+
+<li class="ifrst">Boccherini, Anna, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Bohren, Mademoiselle, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Boizot, Louise Adelaide, <a href="#Page_204">204</a></li>
+
+<li class="ifrst">Bonheur, Julietta, <a href="#Page_275">275</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Rosa, <a href="#Page_261">261</a></li>
+
+<li class="ifrst">Borghini, Maria, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Bösenbacher, Mary Anna, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Breughel, Anna, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Brizio, Plautilla, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">Broeck, Barbara Van den, <a href="#Page_58">58</a></li>
+
+<li class="ifrst">Brossard, Marie Geneviève, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Brun, Eugénie, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Brusasorci, Cecilia, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Bruyère, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Bruyn, Anna de, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Burini, Barbara, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Butlar, Madame von, <a href="#Page_237">237</a></li>
+
+</ul>
+<p class="center">C.</p>
+<ul class="index">
+<li class="ifrst">Caballero, Angela Perez, <a href="#Page_89">89</a></li>
+
+<li class="ifrst">Caccia, Francesca, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Ursula, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Caffa, Maria la, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Calavrese, Maria, <a href="#Page_42">42</a></li>
+
+<li class="ifrst">Callirhoe, <a href="#Page_24">24</a></li>
+
+<li class="ifrst">Calypso, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Cantofoli, Ginevra, <a href="#Page_72">72</a></li>
+
+<li class="ifrst">Cantoni, Caterina, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Capet, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Carasquilla, Isabella, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">Carlisle, Anna, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Countess of, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">Carpenter, Mrs., <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Carriera, Rosalba, <a href="#Page_226">226</a><span class="pagenum" id="Page_372">[Pg 372]</span></li>
+
+<li class="ifrst">Casalina, Lucia, <a href="#Page_82">82</a>, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Cassana, Maria Vittoria, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Caxton, Florence, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Chalon, Christina, <a href="#Page_167">167</a></li>
+
+<li class="ifrst">Chapin, Mrs., <a href="#Page_288">288</a></li>
+
+<li class="ifrst">Charlotte of Austria, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Charlotte Matilda, Queen of Wurtemberg, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Charpentier, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">“ Constance Marie, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Chéron, Élisabeth Sophie, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">Cherubini, Caterina, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Cheves, Charlotte, <a href="#Page_344">344</a></li>
+
+<li class="ifrst">Cirene, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Cleyn, Penelope, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Magdalen, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Sarah, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">Coello, Isabella Sanchez, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Cole, Sarah, <a href="#Page_295">295</a></li>
+
+<li class="ifrst">Collot, Mademoiselle, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Cooper, Ellen, <a href="#Page_344">344</a></li>
+
+<li class="ifrst">Copomazza, Luisa, <a href="#Page_78">78</a></li>
+
+<li class="ifrst">Corbeaux, Fanny, <a href="#Page_243">243</a></li>
+
+<li class="ifrst">Coriolani, Maria Teresa, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Cosway, Maria, <a href="#Page_191">191</a></li>
+
+<li class="ifrst">Coulet, Anne Philibert, <a href="#Page_204">204</a></li>
+
+<li class="ifrst">Crabbe, Anna, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">Creti, Ersilia, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Criscuolo, Maria Angela, <a href="#Page_55">55</a></li>
+
+</ul>
+<p class="center">D.</p>
+<ul class="index">
+<li class="ifrst">Damer, Anne Seymour, <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Damini, Damina, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Danti, Teodora, <a href="#Page_43">43</a></li>
+
+<li class="ifrst">Dards, Mrs., <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Dassel, Herminie, <a href="#Page_312">312</a></li>
+
+<li class="ifrst">Davin, Madame, <a href="#Page_201">201</a>, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Delany, Mrs., <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Denning, Charlotte, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Deverzy, Adrienne Marie, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Dietrich, Maria Dorothea, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Rosina, <a href="#Page_143">143</a></li>
+
+<li class="ifrst">Dietsch Sisters, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">Dolce, Agnes, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Dolora, Anna Victoria, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Domenici, Maria, <a href="#Page_81">81</a>, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Dorsch, Susannah Maria, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Drax, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Drölling, Louise Adéone, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Dubois, Mrs. Cornelius, <a href="#Page_297">297</a></li>
+
+<li class="ifrst">Duchemin, Catherine, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">Ducluzeau, Madame, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Du Pré, Julia, <a href="#Page_342">342</a></li>
+
+<li class="ifrst">Duquesnoy, Mademoiselle, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Durand, Flavia, <a href="#Page_65">65</a></li>
+
+</ul>
+<p class="center">E.</p>
+<ul class="index">
+<li class="ifrst">Eimart, Maria Clara, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Elie, Madame, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Elizabeth of Austria, <a href="#Page_226">226</a></li>
+
+<li class="ifrst">Elizabeth Christina of Brunswick, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Elizabeth Ernestine Antonia, of Saxe-Meiningen, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Elizabeth, Princess, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">“ Princess of Parma, <a href="#Page_226">226</a></li>
+
+<li class="ifrst">Ellenrieder, Maria, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">Eyck, Margaretta von, <a href="#Page_34">34</a></li>
+
+</ul>
+<p class="center">F.</p>
+<ul class="index">
+<li class="ifrst">Fanshawe, Catharine Mary, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Farnese, Isabella, <a href="#Page_89">89</a></li>
+
+<li class="ifrst">Fauveau, Felicie de, <a href="#Page_247">247</a></li>
+
+<li class="ifrst">Festa, Bianca, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Matilda, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Fiesca, Helen, <a href="#Page_47">47</a></li>
+
+<li class="ifrst">“ Tommasa, <a href="#Page_47">47</a></li>
+
+<li class="ifrst">Fischer, Anna Catharina, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Susannah, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Fitzgerald, Lady E., <a href="#Page_170">170</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Lady Henry, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Foley, Margaret, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Fontaine, Madame, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Fontana, Lavinia, <a href="#Page_61">61</a></li>
+
+<li class="ifrst">Fontana, Veronica, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Forestier, Marie Anne Julie, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Forgue, Apollonia de, <a href="#Page_232">232</a></li>
+
+<li class="ifrst">Fratellini, Giovanna, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Freeman, Anna Mary, <a href="#Page_342">342</a></li>
+
+<li class="ifrst">Freiberg, Baroness von, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">Friedrich, Caroline Frederika, <a href="#Page_142">142</a></li>
+
+<li class="ifrst">Fuessli (Fuseli), Anna, <a href="#Page_142">142</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“&#160;&#160;&#160;&#160;“ Elizabeth, <a href="#Page_142">142</a></li>
+
+<li class="ifrst">Fürst, Magdalena, <a href="#Page_114">114</a></li>
+
+</ul>
+<p class="center">G.</p>
+<ul class="index">
+<li class="ifrst">Gabassi, Margerita, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Gabiou, Jeanne Elizabeth, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Galeotti, Anna, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Galizia, Fede, <a href="#Page_60">60</a></li>
+
+<li class="ifrst">Garri, Colomba, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Garzoni, Giovanna, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Gauthier, Elizabeth, <a href="#Page_201">201</a><span class="pagenum" id="Page_373">[Pg 373]</span></li>
+
+<li class="ifrst">Gentilesca, Sofonisba, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Gentileschi, Artemisia, <a href="#Page_66">66</a></li>
+
+<li class="ifrst">Gérard, Madame, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Marguerite, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Susannah, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Ghisi, Diana, <a href="#Page_43">43</a></li>
+
+<li class="ifrst">Gibson, Susannah Penelope, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">Gilarte, Magdalena, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Ginnassi, Caterina, <a href="#Page_65">65</a></li>
+
+<li class="ifrst">Giovannini, Bianca, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Glauber, Diana, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Godefroy, Eléonore, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Madame, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Godewyck, Margaretta, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">Gois, Madame, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Goldbeck, Madame, <a href="#Page_342">342</a></li>
+
+<li class="ifrst">Goodrich, Mrs., <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Gove, Miss, <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Grace, Mrs., <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Granbury, Miss, <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Grandi, Paolina, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Grassi, Niccola, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">Gray, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Greatorex, Mrs., <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Grebber, Maria, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Greuze, Anna Gabrielle, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Greville, Lady Louisa de, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Guadalupe, Maria de, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Guillemard, Sophie, <a href="#Page_237">237</a></li>
+
+</ul>
+<p class="center">H.</p>
+<ul class="index">
+<li class="ifrst">Hall, Anne, <a href="#Page_299">299</a></li>
+
+<li class="ifrst">Hamerani, Beatrice, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">Hämsen, Catherine, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Hartley, Miss, <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Hawthorne, Mrs., <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Hay, Mrs. Benham, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Hayd, Marianna, <a href="#Page_140">140</a></li>
+
+<li class="ifrst">Hedwig, Sophie, Princess, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">Heere, Margaret de, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Heinecke, Catharina Elizabeth, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">Helena, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Herault, Antoinette, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Madelaine, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Marie Catherine, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Herbalin, Madame, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Heylan, Anna, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Hildegardis, <a href="#Page_28">28</a></li>
+
+<li class="ifrst">Hildreth, Mrs., <a href="#Page_315">315</a></li>
+
+<li class="ifrst">Hill, Mrs., <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Hoadley, Mrs., <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Hoffmann, Elizabeth, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Hogenhuizen, Elizabeth Georgina van, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Hollandina, Princess, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Hoppner, Mrs., <a href="#Page_185">185</a></li>
+
+<li class="ifrst">Hortemels, Mary Magdalen, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Hosmer, Harriet, <a href="#Page_349">349</a></li>
+
+<li class="ifrst">Howitt, Miss, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Hroswitha, <a href="#Page_28">28</a></li>
+
+<li class="ifrst">Hueva, Barbara Maria de, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">Hughes, Mrs. Ball, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Hurembout, Susannah, <a href="#Page_57">57</a></li>
+
+</ul>
+<p class="center">I.</p>
+<ul class="index">
+<li class="ifrst">Iberg, Eva von, <a href="#Page_57">57</a></li>
+
+</ul>
+<p class="center">J.</p>
+<ul class="index">
+<li class="ifrst">Jacotot, Madame, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Jerichow-Baumann, Madame, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">Johnson, Mary Ann, <a href="#Page_345">345</a></li>
+
+<li class="ifrst">Juliani, Caterina, <a href="#Page_78">78</a></li>
+
+<li class="ifrst">Juvenel, Esther, <a href="#Page_113">113</a></li>
+
+</ul>
+<p class="center">K.</p>
+<ul class="index">
+<li class="ifrst">Kallo, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Kauffman, Angelica, <a href="#Page_144">144</a></li>
+
+<li class="ifrst">Keyzer, Clara de, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Killegrew, Anne, <a href="#Page_124">124</a></li>
+
+<li class="ifrst">Koher, Anna de, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Kora, <a href="#Page_24">24</a></li>
+
+<li class="ifrst">Krafft, Barbara, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">Kugler, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Küsel, Christina, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Johanna Sibylla, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Magdalena, <a href="#Page_114">114</a></li>
+
+</ul>
+<p class="center">L.</p>
+<ul class="index">
+<li class="ifrst">Ladd, Anna, <a href="#Page_188">188</a></li>
+
+<li class="ifrst">Lafond, Aurore Etienne, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Lafontaine, Rosalie de, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Lala, <a href="#Page_27">27</a></li>
+
+<li class="ifrst">Lamartine, Madame de, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Lamme, Placida, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Lander, Louisa, <a href="#Page_326">326</a></li>
+
+<li class="ifrst">Lange, Barbara Helena, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Langley, Betty, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Laodicia, <a href="#Page_30">30</a></li>
+
+<li class="ifrst">Lawrence, Mary, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Laya, <a href="#Page_27">27</a></li>
+
+<li class="ifrst">Lazzarini, Elisabetta, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Le Brun, Elizabeth, <a href="#Page_206">206</a></li>
+
+<li class="ifrst">Leconte, Marguerite, <a href="#Page_203">203</a><span class="pagenum" id="Page_374">[Pg 374]</span></li>
+
+<li class="ifrst">Ledoux, Philiberte, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Lee, Anna, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Legaré, Mary Swinton, <a href="#Page_301">301</a></li>
+
+<li class="ifrst">Legris, Amélie, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Lenoir, Madame, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Leroulx, Madame, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Lescaille, Catharina, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Leslie, Ann, <a href="#Page_294">294</a></li>
+
+<li class="ifrst">Lesueur, Elise, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Linwood, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Liscewska, Anna Rosina, <a href="#Page_140">140</a></li>
+
+<li class="ifrst">Lister, Anna, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Susannah, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">Liszeuska, Anna Dorothea, <a href="#Page_143">143</a></li>
+
+<li class="ifrst">Lodde, Alexia de, <a href="#Page_165">165</a></li>
+
+<li class="ifrst">Longhi, Barbara, <a href="#Page_47">47</a></li>
+
+<li class="ifrst">Losa, Isabella, <a href="#Page_56">56</a></li>
+
+<li class="ifrst">Lucan, Countess of, <a href="#Page_187">187</a></li>
+
+<li class="ifrst">Lupton, Mrs., <a href="#Page_286">286</a></li>
+
+</ul>
+<p class="center">M.</p>
+<ul class="index">
+<li class="ifrst">Mackintosh, Sarah, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Manzolini, Anna, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Maratti, Maria, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Margaretta, <a href="#Page_35">35</a></li>
+
+<li class="ifrst">Margravine of Baden-Durlach, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Maria Anna, of Austria, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Marie d’Orleans, <a href="#Page_238">238</a></li>
+
+<li class="ifrst">Marmochini, Giovanna, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Martin, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Masson, Madelaine, <a href="#Page_93">93</a></li>
+
+<li class="ifrst">Matteis, Emmanuela, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Felice, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria Angiola, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">May, Miss, <a href="#Page_315">315</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Caroline, <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Mayer, Constance, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Mazzoni, Isabella, <a href="#Page_42">42</a></li>
+
+<li class="ifrst">Medici, Mary dei, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Memorata, Anna, <a href="#Page_112">112</a></li>
+
+<li class="ifrst">Menendez, Anna, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Clara, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">Mengs, Anna Maria, <a href="#Page_140">140</a></li>
+
+<li class="ifrst">Menn, Dorothea, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Merian, Maria Sibylla, <a href="#Page_116">116</a></li>
+
+<li class="ifrst">Merrifield, Miss, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Messieri, Anna Teresia, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Metz, Gertrude, <a href="#Page_142">142</a></li>
+
+<li class="ifrst">Micas, Mademoiselle, <a href="#Page_282">282</a></li>
+
+<li class="ifrst">Michaud, Madame, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Mills, Mrs. Monckton, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Mirbel, Comtesse de, <a href="#Page_239">239</a></li>
+
+<li class="ifrst">Mirnaux, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Mogalli, Teresa, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Mongez, Angélique, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Montferrier, Louise de, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Monti, Eleonora, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Morata, Fulvia, <a href="#Page_112">112</a></li>
+
+<li class="ifrst">More, Mary, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">Moritz, Anna, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Morland, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Moser, Mary, <a href="#Page_181">181</a></li>
+
+<li class="ifrst">Muratori, Teresa, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Murray, Elizabeth, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Mary, <a href="#Page_286">286</a></li>
+
+<li class="ifrst">Mutrie, Miss, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Myin, Cornelia van der, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Myn, Agatha van der, <a href="#Page_188">188</a></li>
+
+</ul>
+<p class="center">N.</p>
+<ul class="index">
+<li class="ifrst">Natali, Madalena, <a href="#Page_65">65</a></li>
+
+<li class="ifrst">Naugis, Geneviève, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Neal, Elizabeth, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Nelli, Plautilla, <a href="#Page_30">30</a>, <a href="#Page_42">42</a></li>
+
+<li class="ifrst">Noel, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Nohren, Mademoiselle, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">Nymegen, Susanna Maria, <a href="#Page_168">168</a></li>
+
+</ul>
+<p class="center">O.</p>
+<ul class="index">
+<li class="ifrst">Oakley, Juliana, <a href="#Page_316">316</a></li>
+
+<li class="ifrst">O’Connell, Madame, <a href="#Page_95">95</a></li>
+
+<li class="ifrst">Oever, Alberta ten, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Ogle, Miss, <a href="#Page_170">170</a></li>
+
+<li class="ifrst">O’Hara, Miss, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Olympias, <a href="#Page_26">26</a></li>
+
+<li class="ifrst">Ommegank, Maria Jacoba, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Oosterwyck, Maria van, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Oostfries, Catharine, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Oppendorf Countess von, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">Ozanne, Jane Frances, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">“ Mary Ann, <a href="#Page_90">90</a></li>
+
+</ul>
+<p class="center">P.</p>
+<ul class="index">
+<li class="ifrst">Paar, Princess Anna, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">Pakman, Angelica Agnes, <a href="#Page_97">97</a>, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Palladini, Arcangela, <a href="#Page_60">60</a>, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Palomino, Francisca, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Panzacchi, Maria Helena, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Pappafava, Beatrice, <a href="#Page_60">60</a></li>
+
+<li class="ifrst">Parasole, Hieronima, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Isabella, <a href="#Page_80">80</a></li>
+
+<li class="ifrst">Parenti-Duclos, Anna, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Pasch, Ulrica Frederika, <a href="#Page_165">165</a><span class="pagenum" id="Page_375">[Pg 375]</span></li>
+
+<li class="ifrst">Passe, Magdalen de, <a href="#Page_58">58</a></li>
+
+<li class="ifrst">Patin, Carlotta, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Gabriella, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Pazzi, Caterina de’, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Peale, Anna C., <a href="#Page_288">288</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Mrs. Rembrandt, <a href="#Page_294">294</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Rosalba, <a href="#Page_294">294</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Sarah M., <a href="#Page_291">291</a>, <a href="#Page_293">293</a></li>
+
+<li class="ifrst">Pellegrini, Ludovica, <a href="#Page_55">55</a></li>
+
+<li class="ifrst">Pepyn, Catherine, <a href="#Page_95">95</a></li>
+
+<li class="ifrst">Perez, Anna, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">Perrot, Catherine, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">Peters, Clara, <a href="#Page_103">103</a></li>
+
+<li class="ifrst">Pflauder, Rosina, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Pfründt, Anna Maria, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Piccini, Isabella, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Pinelli, Antonia, <a href="#Page_65">65</a></li>
+
+<li class="ifrst">Pisani, Livia, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Planteau, Madame, <a href="#Page_286">286</a></li>
+
+<li class="ifrst">Platt, Mrs., <a href="#Page_185">185</a></li>
+
+<li class="ifrst">Po, Teresa del, <a href="#Page_65">65</a>, <a href="#Page_78">78</a></li>
+
+<li class="ifrst">Pompadour, Madame de, <a href="#Page_93">93</a></li>
+
+<li class="ifrst">Pozzo, Isabella dal, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Preisler, Anna Felicitas, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Barbara Julia, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Helen, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria Anna, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">Prestel, Maria Catharine, <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Preu, Joanna Sabina, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Prieto, Maria, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria de Loreto, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">Provis, Anna Jemima, <a href="#Page_189">189</a></li>
+
+</ul>
+<p class="center">Q.</p>
+<ul class="index">
+<li class="ifrst">Quatrepomme, Isabella, <a href="#Page_56">56</a></li>
+
+<li class="ifrst">Querubini, Caterina, <a href="#Page_89">89</a></li>
+
+<li class="ifrst">Questier, Catharina, <a href="#Page_99">99</a></li>
+
+</ul>
+<p class="center">R.</p>
+<ul class="index">
+<li class="ifrst">Raimondi, Madame, <a href="#Page_43">43</a></li>
+
+<li class="ifrst">Rastrum, Margaretta, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Ravemann, Madame, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Rayner, Louisa, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">Read, Catherine, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Redi, Giovanna, <a href="#Page_79">79</a></li>
+
+<li class="ifrst">Renieri, Anna, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Reyschoot, Anna Maria von, <a href="#Page_165">165</a></li>
+
+<li class="ifrst">Rialto, Domenia Luisa, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Ricchi, Clena, <a href="#Page_78">78</a></li>
+
+<li class="ifrst">Riedel, Maria Theresa, <a href="#Page_143">143</a></li>
+
+<li class="ifrst">Rieger, Maria, <a href="#Page_114">114</a></li>
+
+<li class="ifrst">Rite, Isabel Maria, <a href="#Page_223">223</a></li>
+
+<li class="ifrst">Robert, Fanny, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Robineau, Claire, <a href="#Page_237">237</a></li>
+
+<li class="ifrst">Robusti, Marietta, <a href="#Page_45">45</a></li>
+
+<li class="ifrst">Rodiana, Onorata, <a href="#Page_36">36</a></li>
+
+<li class="ifrst">Roldan, Luisa, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Ronde, Lucrece Catherine de la, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Rosa, Aniella di, <a href="#Page_75">75</a></li>
+
+<li class="ifrst">Rose, Susan Penelope, <a href="#Page_122">122</a></li>
+
+<li class="ifrst">Rosée, Mademoiselle, <a href="#Page_126">126</a></li>
+
+<li class="ifrst">Ross, Elizabeth, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Rossi, Properzia di, <a href="#Page_39">39</a></li>
+
+<li class="ifrst">Rusca, Caterina, <a href="#Page_60">60</a>, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Ruysch, Rachel, <a href="#Page_106">106</a></li>
+
+<li class="ifrst">Ryberg, Elizabeth, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Ryding, C. M., <a href="#Page_165">165</a></li>
+
+<li class="ifrst">Ryk, Cornelia de, <a href="#Page_167">167</a></li>
+
+</ul>
+<p class="center">S.</p>
+<ul class="index">
+<li class="ifrst">Salmeggia, Chiara, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Salviani, Rosalba Maria, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Salvioni, Rosalba, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">Samon, Mrs., <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Sanchez, Jesualda, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Sandrart, Susannah Maria von, <a href="#Page_113">113</a></li>
+
+<li class="ifrst">Sarmiento, Teresa, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Sartori, Felicità, <a href="#Page_232">232</a></li>
+
+<li class="ifrst">Sattler, Caroline, <a href="#Page_202">202</a></li>
+
+<li class="ifrst">Saville, Lady Dorothea, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Saxe-Meiningen, Princess of, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Scaligeri, Agnes, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Lucia, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Scarafaglia, Lucrezia, <a href="#Page_72">72</a></li>
+
+<li class="ifrst">Schalken, Maria, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">Scheffer, Caroline, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Schild, Charlotte Rebecca, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Schott, Crescentia, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Schroeter, Caroline von, <a href="#Page_242">242</a></li>
+
+<li class="ifrst">Schurmann, Anna Maria, <a href="#Page_99">99</a></li>
+
+<li class="ifrst">Schwartz, Catherine, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Schwindel, Rosa Elizabeth, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Seghers, Anna, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Seidler, Louise Caroline, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">Siddons, Mrs., <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Silva, Maria de, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">Silvestre, Susanna, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Simanowitz, Ludovika, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Simes, Mary Jane, <a href="#Page_293">293</a></li>
+
+<li class="ifrst">Simons, Maria Elizabeth, <a href="#Page_168">168</a></li>
+
+<li class="ifrst">Sirani, Anna Maria, 72</li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Barbara, <a href="#Page_72">72</a><span class="pagenum" id="Page_376">[Pg 376]</span></li>
+
+<li class="ifrst">Sirani, Elisabetta, <a href="#Page_68">68</a></li>
+
+<li class="ifrst">Siries, Violanta Beatrice, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Siscara, Angelica, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Skeysers, Clara, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Smirke, Miss, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Smith, Barbara Leigh, <a href="#Page_244">244</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Elizabeth, <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Smyters, Anna, <a href="#Page_57">57</a>, <a href="#Page_188">188</a></li>
+
+<li class="ifrst">Sonnenschein, Mademoiselle, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Sophia, Duchess of Coburg-Saalfeld, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Sophia, Princess, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Spencer, Countess Lavinia, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Lily M., <a href="#Page_317">317</a></li>
+
+<li class="ifrst">Spilberg, Adriana, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">Spilimberg, Irene di, <a href="#Page_44">44</a></li>
+
+<li class="ifrst">Spilsbury, Mary, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Stebbins, Emma, <a href="#Page_346">346</a></li>
+
+<li class="ifrst">Steen, Susanna von, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Steenwyk, Madame, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Steinbach, Sabina von, <a href="#Page_30">30</a></li>
+
+<li class="ifrst">Stella, Claudine Bonzonnet, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">Stoop, Mariana van der, <a href="#Page_115">115</a></li>
+
+<li class="ifrst">Stresor, Henriette, <a href="#Page_90">90</a></li>
+
+<li class="ifrst">Stuart, Jane, <a href="#Page_315">315</a></li>
+
+<li class="ifrst">Stuntz, Electrine, <a href="#Page_241">241</a></li>
+
+<li class="ifrst">St. Urbin, Marie Anne de, <a href="#Page_201">201</a></li>
+
+<li class="ifrst">Sully, Jane, <a href="#Page_287">287</a></li>
+
+<li class="ifrst">Surigny, Madame, <a href="#Page_203">203</a></li>
+
+</ul>
+<p class="center">T.</p>
+<ul class="index">
+<li class="ifrst">Tarabotti, Augusta, <a href="#Page_60">60</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Caterina, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Tardieu, Elizabeth Clara, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Tassaert, Henriette Felicitas, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">Temple, Lady, <a href="#Page_186">186</a></li>
+
+<li class="ifrst">Terburg, Gezina, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">“ Maria, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">Tesi, Teresa, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Tessala, Anna, <a href="#Page_97">97</a></li>
+
+<li class="ifrst">Tesselschade-Visscher, Anna, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria, <a href="#Page_98">98</a></li>
+
+<li class="ifrst">Theudelinda, <a href="#Page_28">28</a></li>
+
+<li class="ifrst">Thielen, Maria Theresa van, <a href="#Page_131">131</a></li>
+
+<li class="ifrst">Tibaldi, Maria Felice, <a href="#Page_222">222</a>, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Teresa, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Timarata, <a href="#Page_25">25</a></li>
+
+<li class="ifrst">Tintoretto, Marietta, <a href="#Page_45">45</a></li>
+
+<li class="ifrst">Tirlinks, Lewina, <a href="#Page_57">57</a></li>
+
+<li class="ifrst">Tischbein, Magdalena, <a href="#Page_240">240</a></li>
+
+<li class="ifrst">Torrens, Eliza, <a href="#Page_286">286</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Rosalba, <a href="#Page_286">286</a></li>
+
+<li class="ifrst">Tott, Countess of, <a href="#Page_188">188</a></li>
+
+<li class="ifrst">Traballesi, Agatha, <a href="#Page_43">43</a></li>
+
+<li class="ifrst">Treu, Catharina, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Mary Anna, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Rosalie, <a href="#Page_139">139</a></li>
+
+<li class="ifrst">Trevingard, Anna, <a href="#Page_190">190</a></li>
+
+<li class="ifrst">Triumfi, Camilla, <a href="#Page_83">83</a></li>
+
+<li class="ifrst">Triva, Flaminia, <a href="#Page_60">60</a>, <a href="#Page_65">65</a></li>
+
+<li class="ifrst">Troost, Sarah, <a href="#Page_167">167</a></li>
+
+<li class="ifrst">Truchsetz-Waldburg, Countess von, <a href="#Page_141">141</a></li>
+
+<li class="ifrst">Tussaud, Madame, <a href="#Page_198">198</a></li>
+
+</ul>
+<p class="center">U.</p>
+<ul class="index">
+<li class="ifrst">Ulefeld, Eleonora Christina, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Helena Christina, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">Utrecht, Constantia of, <a href="#Page_58">58</a>, <a href="#Page_104">104</a></li>
+
+</ul>
+<p class="center">V.</p>
+<ul class="index">
+<li class="ifrst">Vajani, Anna Maria, <a href="#Page_79">79</a>, <a href="#Page_82">82</a></li>
+
+<li class="ifrst">Valdes Leal, Luisa, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Maria de, <a href="#Page_222">222</a></li>
+
+<li class="ifrst">Van der Myn, Agatha, <a href="#Page_188">188</a></li>
+
+<li class="ifrst">Vandyck, Anna, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Vanetti, Laura, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Vanni, Violanta, <a href="#Page_224">224</a></li>
+
+<li class="ifrst">Varotari, Chiara, <a href="#Page_81">81</a></li>
+
+<li class="ifrst">Vasini, Clarice, <a href="#Page_225">225</a></li>
+
+<li class="ifrst">Velasco, Francisca Palomino y, <a href="#Page_87">87</a></li>
+
+<li class="ifrst">Venier, Ippolita, <a href="#Page_232">232</a></li>
+
+<li class="ifrst">Verbruggen, Susanna, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Verelst, Maria, <a href="#Page_165">165</a></li>
+
+<li class="ifrst">Vernet, Fanny, <a href="#Page_203">203</a></li>
+
+<li class="ifrst">Viani, Maria, <a href="#Page_73">73</a></li>
+
+<li class="ifrst">Victoria, of Anhalt-Bernburg, <a href="#Page_136">136</a></li>
+
+<li class="ifrst">Vieira, Catarina, <a href="#Page_223">223</a></li>
+
+<li class="ifrst">Vigri, Caterina, <a href="#Page_35">35</a></li>
+
+<li class="ifrst">Vill’ Ambrosa, Countess of, <a href="#Page_86">86</a></li>
+
+<li class="ifrst">Villers, Madame, <a href="#Page_236">236</a></li>
+
+<li class="ifrst">Vincent, Adelaide, <a href="#Page_204">204</a></li>
+
+</ul>
+<p class="center">W.</p>
+<ul class="index">
+<li class="ifrst">Wasser, Anna, <a href="#Page_129">129</a></li>
+
+<li class="ifrst">Watson, Caroline, <a href="#Page_189">189</a></li>
+
+<li class="ifrst">Weis, Madame, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Werbronk, Jacoba, <a href="#Page_143">143</a></li>
+
+<li class="ifrst">Wermuth, Maria Juliana, <a href="#Page_138">138</a></li>
+
+<li class="ifrst">Weston, Joanna, <a href="#Page_121">121</a></li>
+
+<li class="ifrst">&#160;&#160;&#160;&#160;“ Mary, 332</li>
+
+<li class="ifrst">Wieslatin, Maria, <a href="#Page_114">114</a><span class="pagenum" id="Page_377">[Pg 377]</span></li>
+
+<li class="ifrst">Wilde, Maria de, <a href="#Page_104">104</a></li>
+
+<li class="ifrst">Wildorfer, Maria Elizabeth, <a href="#Page_142">142</a></li>
+
+<li class="ifrst">Wilmot, Mrs., <a href="#Page_170">170</a></li>
+
+<li class="ifrst">Wilson, Mrs., <a href="#Page_295">295</a></li>
+
+<li class="ifrst">Withers, the Misses, <a href="#Page_344">344</a></li>
+
+<li class="ifrst">Withoos, Alida, <a href="#Page_103">103</a></li>
+
+<li class="ifrst">Wolters, Henrietta, <a href="#Page_167">167</a></li>
+
+<li class="ifrst">Wontiers, Micheline, <a href="#Page_95">95</a></li>
+
+<li class="ifrst">Woodman, Mrs., <a href="#Page_316">316</a></li>
+
+<li class="ifrst">Wright, Mrs., <a href="#Page_189">189</a></li>
+<li class="ifrst">Wulfraat, Margaretta, <a href="#Page_98">98</a></li>
+
+</ul>
+<p class="center">Z.</p>
+<ul class="index">
+<li class="ifrst">Zarcillo, Inez, <a href="#Page_88">88</a></li>
+
+<li class="ifrst">Ziesenis, Margaretta, <a href="#Page_165">165</a></li>
+
+<li class="ifrst">Zucchi, Catarina, 224</li>
+</ul>
+
+
+<p class="center p2">THE END.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_379">[Pg 379]</span></p>
+
+<p class="center">⇒ Every Number of Harper’s Magazine contains from 20 to 50 pages—and
+from one third to one half more reading—than any other in the country.</p>
+<hr class="r5">
+</div>
+
+<h2>HARPER’S MAGAZINE.</h2>
+
+<p>The Publishers believe that the Nineteen Volumes of <span class="smcap">Harper’s
+Magazine</span> now issued contain a larger amount of valuable and
+attractive reading than will be found in any other periodical of
+the day. The best Serial Tales of the foremost Novelists of the
+time: <span class="smcap">Levers’</span> “Maurice Tiernay,” <span class="smcap">Bulwer Lytton’s</span>
+“My Novel,” <span class="smcap">Dickens’s</span> “Bleak House” and “Little Dorrit,”
+<span class="smcap">Thackeray’s</span> “Newcomes” and “Virginians,” have successively
+appeared in the Magazine simultaneously with their publication in
+England. The best Tales and Sketches from the Foreign Magazines
+have been carefully selected, and original contributions have been
+furnished by <span class="smcap">Charles Reade</span>, <span class="smcap">Wilkie Collins</span>, Mrs.
+<span class="smcap">Gaskell</span>, Miss <span class="smcap">Muloch</span>, and other prominent English
+writers.</p>
+
+<p>The larger portion of the Magazine has, however, been devoted to
+articles upon American topics, furnished by American writers.
+Contributions have been welcomed from every section of the country; and
+in deciding upon their acceptance the Editors have aimed to be governed
+solely by the intrinsic merits of the articles, irrespective of their
+authorship. Care has been taken that the Magazine should never become
+the organ of any local clique in literature, or of any sectional party
+in politics.</p>
+
+<p>At no period since the commencement of the Magazine have its literary
+and artistic resources been more ample and varied; and the Publishers
+refer to the contents of the Periodical for the past as the best
+guarantee for its future claims upon the patronage of the American
+public.</p>
+<hr class="r5">
+
+<div class="blockquot">
+
+<p>TERMS.—One Copy for One Year, $3 00; Two Copies for One Year, $5 00;
+Three or more Copies for One Year (each), $2 00; “Harper’s Magazine”
+and “Harper’s Weekly,” One Year, $4 00. <i>And an Extra Copy, gratis,
+for every Club of</i> <span class="smcap">Ten Subscribers</span>.</p>
+
+<p>Clergymen and Teachers supplied at <span class="smcap">Two Dollars</span> a year.
+The Semi-Annual Volumes bound in Cloth, $2 50 each. Muslin Covers,
+25 cents each. The Postage upon <span class="smcap">Harper’s Magazine</span> must
+be paid at the Office <i>where it is received</i>. The Postage is
+<i>Thirty-six Cents a year</i>.</p>
+</div>
+
+<p class="center">HARPER &amp; BROTHERS, Publishers, Franklin Square, New York.<br>
+</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_380">[Pg 380]</span></p>
+
+<h2 class="nobreak" id="HARPERS_WEEKLY">HARPER’S WEEKLY.</h2>
+</div>
+
+<p class="center big">A JOURNAL OF CIVILIZATION.</p>
+<hr class="r5">
+<p class="center big">A First-class Illustrated Family Newspaper.</p>
+
+<p class="center">PRICE FIVE CENTS.</p>
+<hr class="r5">
+
+<p><span class="smcap">Harper’s Weekly</span> has now been in existence two years. During
+that period no effort has been spared to make it the best possible
+Family Paper for the American People, and it is the belief of the
+Proprietors that, in the peculiar field which it occupies, no existing
+Periodical can compare with it.</p>
+
+<p>Every Number of <span class="smcap">Harper’s Weekly</span> contains all the News of
+the week, Domestic and Foreign. The completeness of this department
+is, it is believed, unrivaled in any other weekly publication. Every
+noteworthy event is profusely and accurately illustrated at the
+time of its occurrence. And while no expense is spared to procure
+Original Illustrations, care is taken to lay before the reader every
+foreign picture which appears to possess general interest. In a word,
+the Subscriber to <span class="smcap">Harper’s Weekly</span> may rely upon obtaining
+a Pictorial History of the times in which we live, compiled and
+illustrated in the most perfect and complete manner possible. It is
+believed that the Illustrated Biographies alone—of which about one
+hundred and fifty have already been published—are worth far more to
+the reader than the whole cost of his subscription.</p>
+
+<p>The literary matter of <span class="smcap">Harper’s Weekly</span> is supplied by
+some of the ablest writers in the English language. Every Number
+contains an installment of a serial story by a first-class
+author—<span class="smcap">Bulwer’s</span> “<i>What will he do with It?</i>” has
+appeared entire in its columns; one or more short Stories, the best
+that can be purchased at home or abroad; the best Poetry of the day;
+instructive Essays on topics of general interest; Comments on the
+Events of the time, in the shape of Editorials and the Lounger’s
+philosophic and amusing Gossip; searching but generous Literary
+Criticisms; a Chess Chronicle; and full and careful reports of the
+Money, Merchandise, and Produce Markets.</p>
+
+<p>In fixing at so low a price as Five Cents the price of their paper,
+the Publishers were aware that nothing but an enormous sale could
+remunerate them. They are happy to say that the receipts have already
+realized their anticipations, and justify still further efforts to
+make <span class="smcap">Harper’s Weekly</span> an indispensable guest in every home
+throughout the country.</p>
+
+<div class="blockquot">
+
+<p>TERMS.—One Copy for Twenty Weeks, $1 00; One Copy for One Year,
+$2 50; One Copy for Two Years, $4 00; Five Copies for One Year, $9
+00; Twelve Copies for One Year, $20 00; Twenty-five Copies for One
+Year, $40 00. <i>An Extra Copy will be allowed for every Club of</i>
+<span class="smcap">Twelve</span> <i>or</i> <span class="smcap">Twenty-five Subscribers</span>.</p>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_381">[Pg 381]</span></p>
+
+<h2 class="nobreak" id="By_William_C_Prime">By William C. Prime.</h2>
+</div>
+<hr class="r5">
+
+<h3>Boat Life in Egypt &amp; Nubia.</h3>
+
+<div class="blockquot">
+
+<p>Boat Life in Egypt and Nubia. By <span class="smcap">William C. Prime</span>, Author of
+“The Old House by the River,” “Later Years,” &amp;c. Illustrations. 12mo,
+Muslin, $1 25.</p>
+</div>
+
+<hr class="r5">
+<h3>Tent Life in the Holy Land.</h3>
+
+<div class="blockquot">
+
+<p>By <span class="smcap">William C. Prime</span>, Author of “The Old House by the River,”
+“Later Years,” &amp;c. Illustrations. 12mo, Muslin, $1 25.</p>
+</div>
+
+<hr class="r5">
+<h3>The Old House by the River.</h3>
+<div class="blockquot">
+<p>By <span class="smcap">William C. Prime</span>, Author of the “Owl Creek Letters.” 12mo,
+Muslin, 75 cents.</p>
+<hr class="r5">
+</div>
+<h3>Later Years.</h3>
+<div class="blockquot">
+<p>By <span class="smcap">William C. Prime</span>, Author of “The Old House by the River.”
+12mo, Muslin, $1 00.</p></div>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_382">[Pg 382]</span></p>
+
+<h2 class="nobreak" id="CURTISS_HISTORY">CURTIS’S HISTORY<br><span class="small">OF THE</span><br>CONSTITUTION.</h2>
+</div>
+
+<hr class="r5">
+<div class="blockquot">
+
+<p>HISTORY OF THE ORIGIN, FORMATION, AND ADOPTION OF THE CONSTITUTION OF
+THE UNITED STATES. By <span class="smcap">George Ticknor Curtis</span>. Complete in 2
+vols. 8vo, Muslin, $4 00; Law Sheep, $5 00; Half Calf, $6 00.</p>
+</div>
+
+<p>A book so thorough as this in the comprehension of its subject, so
+impartial in the summing up of its judgments, so well considered in its
+method, and so truthful in its matter, may safely challenge the most
+exhaustive criticism. The Constitutional History of our country has not
+before been made the subject of a special treatise. We may congratulate
+ourselves that an author has been found so capable to do full justice
+to it; for that the work will take its rank among the received
+text-books of our political literature will be questioned by no one who
+has given it a careful perusal.—<i>National Intelligencer.</i></p>
+
+<p>We know of no person who is better qualified (now that the late Daniel
+Webster is no more), to undertake this important history.—<i>Boston
+Journal.</i></p>
+
+<p>It will take its place among the classics of American
+literature.—<i>Boston Courier.</i></p>
+
+<p>The author has given years to the preliminary studies, and nothing has
+escaped him in the patient and conscientious researches to which he
+has devoted so ample a portion of time. Indeed, the work has been so
+thoroughly performed that it will never need to be done over again;
+for the sources have been exhausted, and the materials put together
+with so much judgment and artistic skill that taste and the sense of
+completeness are entirely satisfied.—<i>N. Y. Daily Times.</i></p>
+
+<p>A most important and valuable contribution to the historical and
+political literature of the United States. All publicists and students
+of public law will be grateful to Mr. Curtis for the diligence and
+assiduity with which he has wrought out the great mine of diplomatic
+lore in which the foundations of the American Constitution are
+laid, and for the light he has thrown on his wide and arduous
+subject.—<i>London Morning Chronicle.</i></p>
+
+<p>To trace the history of the formation of the Constitution, and explain
+the circumstances of the time and country out of which its various
+provisions grew, is a task worthy of the highest talent. To have
+performed that task in a satisfactory manner is an achievement with
+which an honorable ambition may well be gratified. We can honestly say
+that in our opinion Mr. Curtis has fairly won this distinction.—<i>N.
+Y. Courier and Enquirer.</i></p>
+
+<p>We have seen no history which surpasses it in the essential qualities
+of a standard work destined to hold a permanent place in the impartial
+judgment of future generations.—<i>Boston Traveler.</i></p>
+
+<p>Should the second volume sustain the character of the first, we
+hazard nothing in claiming for the entire publication the character
+of a standard work. It will furnish the only sure guide to the
+interpretation of the Constitution, by unfolding historically the wants
+it was intended to supply, and the evils which it was intended to
+remedy.—<i>Boston Daily Advertiser.</i></p>
+
+<p>This volume is an important contribution to our constitutional and
+historical literature. * * * Every true friend of the Constitution
+will gladly welcome it. The author has presented a narrative clear
+and interesting. It evinces careful research, skillful handling of
+material, lucid statement, and a desire to write in a tone and manner
+worthy of the great theme.—<i>Boston Post.</i></p>
+
+
+<p class="center"><i>Published by HARPER &amp; BROTHERS,</i><br>
+<i>Franklin Square, New York.</i><br>
+</p>
+<hr class="r5">
+<p>⁂ <span class="smcap">Harper &amp; Brothers</span> will send the above Work by Mail, postage
+paid (for any distance in the United States under 3000 miles), on
+receipt of the Money.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_383">[Pg 383]</span></p>
+
+<h2 class="nobreak" id="Works_by_Thomas_Carlyle">Works by Thomas Carlyle.</h2>
+</div>
+<hr class="r5">
+
+<h3>History of Friedrich the Second,</h3>
+
+<div class="blockquot">
+
+<p>called Frederic the Great. 4 vols. 12mo, Muslin, $1 25 each. Vols. I.
+and II., with Portraits and Maps, just ready.</p>
+</div>
+<hr class="r5">
+
+<h3>The French Revolution.</h3>
+
+<div class="blockquot">
+
+<p>A History. Newly Revised by the Author, with Index, &amp;c. 2 vols. 12mo,
+Muslin, $2 00; Half Calf, $3 70.</p>
+</div>
+<hr class="r5">
+
+<h3>Oliver Cromwell’s Letters and Speeches.</h3>
+
+<div class="blockquot">
+
+<p>Including the Supplement to the First Edition. With Elucidations and
+Connecting Narrative. 2 vols. 12mo, Muslin, $2 00; Half Calf, $3 70.</p>
+</div>
+<hr class="r5">
+
+<h3>Past and Present.</h3>
+
+<div class="blockquot">
+
+<p>Chartism and Sartor Resartus. A New Edition. Complete in 1 vol. 12mo,
+Muslin, $1 00; Half Calf, $1 85.</p>
+</div>
+
+<hr class="r5">
+<p class="center"><i>Published by HARPER &amp; BROTHERS,</i><br>
+<i>Franklin Square, New York.</i><br>
+</p>
+<hr class="r5">
+<p>⇒ <span class="smcap">Harper &amp; Brothers</span> will send either of the above Works by
+Mail, postage paid (for any distance in the United States under 3000
+miles), on receipt of the Money.</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_384">[Pg 384]</span></p>
+
+<h2 class="nobreak" id="Harpers_Catalogue">Harper’s Catalogue.</h2>
+</div>
+<hr class="r5">
+
+<p><span class="smcap">A New Descriptive Catalogue of Harper &amp; Brothers’
+Publications</span>, with an Index and Classified Table of Contents,
+is now ready for Distribution, and may be obtained gratuitously on
+application to the Publishers personally, or by letter inclosing
+<span class="smcap">Six Cents</span> in Postage Stamps.</p>
+
+<p>The attention of gentlemen, in town or country, designing to form
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+English Literature—<span class="allsmcap">COMPREHENDING MORE THAN TWO THOUSAND
+VOLUMES</span>—which are offered, in most instances, at less than one
+half the cost of similar productions in England.</p>
+
+<p>To Librarians and others connected with Colleges, Schools, &amp;c., who
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+
+<p>To prevent disappointment, it is suggested that, whenever books can not
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+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter transnote">
+<h2 class="nobreak" id="Transcribers_Notes">Transcriber’s Notes</h2>
+
+
+<p>Errors in punctuation have been fixed.</p>
+
+<p>Page <a href="#Page_93">93</a>: “engraved and excuted” changed to “engraved and executed”</p>
+
+<p>Page <a href="#Page_116">116</a>: “stones, muscles” changed to “stones, mussels”</p>
+
+<p>Page <a href="#Page_161">161</a>: “Robusti Tintoretti” changed to “Robusti Tintoretto”</p>
+
+<p>Page <a href="#Page_243">243</a>: “Bibilical scholarship” changed to “Biblical scholarship”</p>
+
+<p>Page <a href="#Page_308">308</a>: “approach to Ashville” changed to “approach to Asheville”</p>
+
+<p>Page <a href="#Page_343">343</a>: “The Liasons” changed to “the Liaisons”</p>
+
+<p>Page <a href="#Page_379">379</a>: “Ninenteen Volumes” changed to “Nineteen Volumes”</p>
+</div>
+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK WOMEN ARTISTS IN ALL AGES AND COUNTRIES ***</div>
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