The same observation we made in regard to the increase of art scholars in the last century is true of the present. The stream which has widened has grown shallower in proportion; and while the cultivation of taste and talent has become more general, and many more have attained a respectable degree of skill, there are few instances of pre-eminent ability, or of original genius. This seems a law of the world of art, as well as that of poetry and science; and it holds good no less among men than women. We must look, therefore, for not many remarkable examples of talent. We have already seen something of the influence of Carstens and David in the bent and direction given to female talent; but these had not full scope till the beginning of the nineteenth century. David was inspired by a more earnest feeling than had breathed in the frivolous and conventional style of a former period; and the depth and vigor, and more careful execution he brought into vogue, greatly improved the taste of his day. He may be called the Republican painter, laying the ground-work of French art as it now exists. David himself had a goodly number of female pupils, and some of them displayed no inconsiderable talent. Among them may be enumerated Constance Marie Charpentier, who, besides, enjoyed the advantage of instruction under Gérard and Lafitte, with Angélique Mongez, at first the pupil of David, then of Regnault. She painted a large picture entirely in the classic style of David. Her painting--the figures life size--represented “Ulysses finding young Astyanax at Hector’s Grave.” The design is correct of the antique costume, the disposition is excellent, and a free and light touch is noticed. So large a picture had rarely been exhibited in Paris by a woman. This artist, however, lacked originality and self-reliance, and seemed to follow David too slavishly. Another large picture was “Alexander weeping at the Death of the Wife of Darius.” The connoisseurs gave her the credit of a grand style, but thought her coloring hard. To these may be added Madame Leroulx and Madame Davin. The latter received instruction, also, from Suvé and Augustin, and obtained the gold medal for her miniatures and genre-paintings. Nanine Ballain was noted for her genre-paintings; and Marie Anne Julie Forestier, for her romantic ones in this style and for her classic pictures. Contemporary with these were some female artists who painted in the manner of Greuze; as Constance Mayer, afterward a disciple and friend of Prudhon; Madame Elie, and Philiberte Ledoux; the first well known for her portraits, the latter for her scenes and child-pictures. We may mention, in passing, Madame Villers, whose numerous works were marked by truth and pleasing expression. One of her pieces, “A Child asleep in a Cradle,” carried away by a flood, while a faithful dog plunges in to save it, with eager expression, is very striking and graceful.