These years of propaganda and of practical efforts on behalf of reform—1885 to 1900—undoubtedly owed a part of their brilliancy and of their practical fruitfulness to Lombroso’s daughters, who first by means of their women friends (among whom I may give the leading place to the social reformer, Madame Kuliszew), and subsequently by means of their affianced husbands (G. Ferrero and M. Carrara), brought fresh worlds of ideas into contact with that of their father. To the elements already enumerated were added music and the plastic arts, and the friendship of such artists as Bistolfi—drawings and sketches by living artists, and casts of celebrated sculptures were dispersed among the skulls and the books with which almost every room in the house was filled. The glorious harmonies of Beethoven and Wagner were not only re-echoed in the hearts alike of young and old among the audience, but also resounded from the skulls of ancient Peruvians and from painted prison-utensils. This was the environment from which came the masterly sketch of the nature of woman; and thus it came to pass that the anthropology of calculus and measuring-rule receded into the background, and was replaced by a profound psychological insight. As a result of such stimuli, and of others too numerous to mention, there originated the intimate analysis of the criminal mentality, in consequence of which the criminal is no longer regarded merely as the savage and atavistic descendant of the prehistoric mammoth-hunter, but rather as one in whom the observer now perceives also, and depicts with the sure hand of a master, the lineaments of an unfortunate being impelled to crime by his passions, by the pressure of want, by exploitation and impoverishment. At the same time the psychological description of the born criminal nature gained additional clearness of detail and sharpness of outline. We must look for this description, not only in the last edition of the chief work, but also in the numerous monographs on individual criminals whose offences attracted public attention during these years of Lombroso’s ripest knowledge and fullest creative force. The last of these figures was the Parisian, Madame Steinheil.[24]