that she would not have existed without him; and yet she has something that he has not—the charm of an exquisite feminine fancy, the charm of her sex. Madame Morisot is the eighteenth century quick with the nineteenth; she is in the nineteenth turning her eyes regretfully looking back on the eighteenth.” Miss Mary Cassatt is an American subject. She was born at Pittsburg, studied at the Philadelphia Academy, and then, after some work with Degas, became an accomplished painter of children and the varied scenes of maternity. A pastellist of note, with Raffaëlli she succeeded in resuscitating the moribund art of etching in colour. Miss Cassatt’s work shows evidence upon every side of unwearying years of effort. Its dominant character is strength, and, with the single exception of Berthe Morisot, the artist is probably one of the most virile woman painters the world has seen. Strength is decidedly not the keynote of any of the works of Angelica Kauffmann, Madame Lebrun, or even of the many women who exhibit to-day, although they display other qualities worthy of praise. Miss Cassatt has experimented in numerous directions, has often tried to express herself in a fresh way. She has succeeded. Her draughtsmanship is exceptionally firm, and her colour bright, pure, and harmonious. She has worked in oil, charcoal, water-colour, pastel, and etching, and has remained faithful to the inspiration of her master Degas, and through him to the art of Japan. The pastel drawing here reproduced is one of an extensive series devoted to scenes from maternal life. Although from the nature of things all such reproductions fall far short of the original, still a good idea is conveyed of technique and composition. Miss Mary Cassatt, it may be added, has travelled a great deal in search of subject inspiration, and is the friend of the older members of the original group of French Impressionists, to which she is allied by sympathy and the work of a lifetime. Madame Marie Bracquemond was also an “Impressioniste,” and joined ardently in the movement. At first following the example of Ingres, her first teacher, she received the most valuable help from her husband, an engraver of the rarest talent. The field of her art ranges from a colossal decorative panel (those exhibited in the Paris Exhibition of 1878 were about twenty-one feet by nine feet in size) to a most delicate little etching. It may be understood that mere physical labour did not appal her, for the Exhibition panels required assiduous and heavy toil. [Illustration: LE LEVER · BERTHE MORISOT ] Of Eva Gonzalès there is, unfortunately, little to be said. At first taught by Chaplin, she became the favourite pupil of Edouard Manet, and commenced to display much talent as a pastellist. She married Henri Guérard, the engraver, but death ended at an untimely age a career of great promise. In the Luxembourg gallery she is represented by a pastel drawing.