, as in the case of Maria Portia Vignoli, to whom a statue was
erected in the public square of Viterbo to commemorate her great learning
in natural science.

An artist, Matilda Festa, held a professorship in the Academy of St. Luke
in Rome, and Maria Maratti, daughter of the Roman painter Carlo Maratti,
made a good reputation both as an artist and a poetess.

In Northern Italy many women were famous in sculpture, painting, and
engraving. At least forty could be named, artists of good repute, whose
lives were lacking in any unusual interest, and whose works are in
private collections. One of these was a princess of Parma, who married
the Archduke Joseph of Austria, and was elected to the Academy of Vienna
in 1789.

* * * * *

In France, in the beginning of this century Watteau, 1684-1721, painted
his interesting pictures of _La Belle Societe_, reproducing the court
life, costumes, and manners of the reign of Louis XIV. with fidelity,
grace, and vivacity. Later in the century, Greuze, 1725-1805, with his
attractive, refined, and somewhat mannered style, had a certain
influence. Claude Vernet, 1714-1789, and David, 1748-1825, each great in
his way, influenced the nineteenth as well as the eighteenth century.
Though Vien, 1716-1809, made a great effort to revive classic art, he
found little sympathy with his aim until the works of his pupil David
won recognition from the world of the First Empire.

French Art of this period may be described by a single
word--eclectic--and this choice by each important artist of the style he
would adopt culminated in the Rococo School, which may be defined as the
unusual and fantastic in art. It was characterized by good technique and
pleasing color, but lacked purpose, depth, and warmth of feeling. As
usual in a _pot-pourri_, it was far enough above worthlessness not to be
ignored, but so far short of excellence as not to be admired.

In France during this century there was an army of women artists,
painters, sculptors, and engravers. Of a great number we know the names
only; in fact, of but two of these, Adelaide Vincent and Elizabeth Vigee
Le Brun, have we reliable knowledge of their lives and works.

The eighteenth century is important in the annals of women artists, since
their numbers then exceeded the collective number of those who had
preceded them--so far as is known--from the earliest period in the
history of art. In a critical review of the ti