Glancing over the prominent Frenchwomen who enjoyed a reputation among their contemporaries during the eighteenth century, we may notice the stamp-cutters Marie Anne de St. Urbin and Elise Lesueur, with the sculptress Mademoiselle Collot, who afterward married Falconnet, and assisted him in the completion of the statue of Peter the Great. She was said to be enamored of the czar, and to have executed the finest bust of him extant. The female painters of this period are but little known. In the early part of the century, Lucrece Catherine de la Ronde and Elizabeth Gauthier engraved after Edelinck and Langlais. Marie Catherine Herault accompanied her husband, the painter Silvestre, to Dresden; and Geneviéve Blanchot, and the Dames Godefroy and Davin, among others less noted, complete the list during the first half of the century. The number of devotees to art, however, was rapidly increasing, as the ateliers of Regnault, David, and Redouté could bear witness, when they became central points of reunion for female enterprise and study. The influence of those celebrated men, whose fair scholars have exercised their talents in the nineteenth century, brought more into vogue the tender and emotional kind of genre-painting, shown by Greuze and Fragonard to be so well adapted to the taste and the feeling of woman. Marguerite Gérard, the sister-in-law and pupil of Fragonard, in this manner painted scenes of domestic life and family groups with much grace and repose. A Madame Gérard has been mentioned as a dilettante, who possessed a large fortune, and had a hotel furnished with facilities for painting Sèvres. Her splendid cupboards of polished mahogany were gilded and bronzed, and their contents looked like a rich collection for the gratification of taste rather than for sale. She purchased some pieces for sixty and eighty louis-d’ors. A pair of vases, not very large, painted with sacred subjects, sold for twenty-six thousand livres. The genre style was practiced by Mademoiselle Duquesnoy and Madame Gois. Greuze’s manner was also imitated by his wife, Anna Gabrielle, with Marie Geneviéve Brossard de Beaulieu, who had the honor of membership in the Academies of Paris and Rome. Other disciples of this school entered into their profession after the commencement of the nineteenth century; and they, with the pupils of Regnault, Redouté, and David, belong to a later period than that under discussion. Portrait-painting was more in vogue than any other kind, and that almost altogether in oil; while miniature-painting, so much in favor among the women of Germany, was in France much less practiced. Among those who gained some celebrity, Caroline Sattler deserves mention. She studied in Paris, and was not only received as a member of the Academy in that city, but was honored with the title of Professor. Some time afterward she gave her hand to a merchant named Tridon, and went to live in Dresden.