“She was born at Palermo in 1813, and was married in 1837 to Duke Alexander of Wurtemberg. Her health was impaired, and she went to Pisa in the hope of recovering, but died there in 1839. Her statue of the Maid of Orleans is of the size of life, and is placed at Versailles; it is full of animation and spirit. But her last work, an angel in white marble, seems to be the result of inspiration. It is in the chapel of Sablonville, on the sarcophagus of her brother. It may be deeply lamented that the Princess Marie did not live to give additional proofs of the capability of her sex for works of sculpture. Her early death frustrated the efforts of a genius which bade fair to compete with the graceful forms of Canova or Flaxman.” Mrs. Lee says, “We were much gratified by seeing a font in the church St. Germain de l’Auxerrois in Paris, by Madame Lamartine, the wife of the poet and historian; the font is surrounded by marble angels, who rest on its margin. It is a beautiful record of her taste, ingenuity, and benevolence.” Paris at this period, more emphatically than ever, was the centre of active efforts among artists. “_Paris--c’est la France_” was an expression as true as in the literary and political life of the nation. This was advantageous for the development of talent, and the advance of skill in details; bringing rival merits more keenly into conflict, and furnishing the student with more varied means of instruction. Painting on porcelain became much practiced by French women in the early part of the present century. Amélie Legris was skilled in it, as well as in painting in oil, miniatures, and aquarell. Madame Jacotot was noted for her beautiful paintings on porcelain. She was sent to Italy by the French government to copy the paintings of Raphael. She lived in style, was in much society, and was distinguished for her wit. Madame Ducluzeau is the wife of a physician, and has gained considerable celebrity as an artist. The Comtesse de Mirbel painted miniatures. Louis Philippe, and many persons of his court, and the nobility, sat to her. She was employed to copy paintings for cadeaus to royalty. Madame Aizelin had some charming pieces in pastel in the Paris Exhibition, 1857. Transparency of tissue was never better rendered than in her gauze drapery. Madame Fontaine, a pupil of Cogniet, excelled in the department of still-life. Mademoiselle Augustine Aumont had twelve panels, giving the flowers of each month. Miss Mutrie, Mademoiselle Alloin, pupil of Rosa Bonheur, and many other women, were praised for beautiful groups of fruit and flowers. In this branch, as in portraits, miniatures, and porcelain-painting, the palm of excellence is awarded to lady artists. The productions of Madame Herbalin were conspicuous for delicacy and purity of execution and coloring.