When there is no evidence as to the sexual relations of famous women, we can still obtain important conclusions from the details of their personal appearance. Such data support my general proposition. George Eliot had a broad, massive forehead; her movements, like her expression, were quick and decided, and lacked all womanly grace. The face of Lavinia Fontana was intellectual and decided, very rarely charming; whilst that of Rachel Ruysch was almost wholly masculine. The biography of that original poetess, Annette von Droste-Hülshoff, speaks of her wiry, unwomanly frame, and of her face as being masculine, and recalling that of Dante. The authoress and mathematician, Sonia Kowalevska, like Sappho, had an abnormally scanty growth of hair, still less than is the fashion amongst the poetesses and female students of the present day. It would be a serious omission to forget Rosa Bonheur, the very distinguished painter; and it would be difficult to point to a single female trait in her appearance or character. The notorious Madame Blavatsky is extremely masculine in her appearance. I might refer to many other emancipated women at present well known to the public, consideration of whom has provided me with much material for the support of my proposition that the true female element, the abstract “woman,” has nothing to do with emancipation. There is some historical justification for the saying “the longer the hair the smaller the brain,” but the reservations made in chap. ii. must be taken into account. It is only the male element in emancipated women that craves for emancipation. There is, then, a stronger reason than has generally been supposed for the familiar assumption of male pseudonyms by women writers. Their choice is a mode of giving expression to the inherent maleness they feel; and this is still more marked in the case of those who, like George Sand, have a preference for male attire and masculine pursuits. The motive for choosing a man’s name springs from the feeling that it corresponds with their own character much more than from any desire for increased notice from the public. As a matter of fact, up to the present, partly owing to interest in the sex question, women’s writings have aroused more interest, _ceteris paribus_, than those of men; and, owing to the issues involved, have always received a fuller consideration and, if there were any justification, a greater meed of praise than has been accorded to a man’s work of equal merit. At the present time especially many women have attained celebrity by work which, if it had been produced by a man, would have passed almost unnoticed. Let us pause and examine this more closely.