The Academy catalogues of the first half of the nineteenth century may be searched in vain for any name whose fame has endured even to these times, although the number of lady exhibitors was considerable. In the exhibitions of fifty years ago, of 900 names, 67, or 7 per cent, were those of the fair sex, the majority being termed in the alphabetical list "Mrs. ----, as above"; that is to say, they bore the surname and lived at the same addresses as the exhibitor who preceded them.[2] The admission of women to the Royal Academy Schools in 1860 must not only have had much to do with increasing the numbers of paintresses, but in raising the standard of their work. In recent years, at the annual prize distributions of that institution, when they present themselves in such interesting and serried ranks, they have firmly established their right to work alongside of the men, by carrying off many of the most important awards.[3] The Royal Female School of Art, the Slade School, and Schools of Art everywhere throughout the country each and all are now engaged in swelling the ranks of the profession with a far greater number of aspirants to a living than there is any room for. This invasion of womankind into Art, which has also shown itself in a remarkable way in poetry and fiction, is in no way to be decried. On the contrary, it has come upon the present generation as a delightful surprise, as a breath of fresh and sweet-scented air after the heavy atmosphere which hung over Art in the later days of the nineteenth century. To mention a few only: Miss Elizabeth Thompson (Lady Butler), Lady Alma Tadema, Mrs. Jopling, Miss Dicksee, Mrs. Henrietta Rae, Miss Kemp Welch, and Miss Brickdale in oil painting; Mrs. Angell, Miss Clara Montalba, Miss Gow, Miss Kate Greenaway, and Mrs. Allingham in water-colours have each looked at Art in a distinguished manner, and one quite distinct from that of their fellow-workers of the sterner sex.