Casting a glance at the condition of art at this period in Germany, it is noticeable that women took part with enthusiasm in almost every branch. We have observed the grounding of modern art in this country by Carstens. He went back to the purer forms of the antique, as his French contemporary, David, had done; and his restoration of purity, vigor, and tenderness, found earnest sympathy among his fair countrywomen. A style expressing the heart’s deepest feelings, and the religious veneration which had become traditional, could not fail to meet the aspirations of noble-minded female artists. Among artist-women who flourished at the close of the eighteenth and in the present century we may mention Mademoiselle Sonnenschein, who died in 1816, a member of the Academy in Stuttgard. We should not drop, among minor names, that of Sophie Ludovika Simanowitz, born Reighenbach, whose portrait of Schiller is well known. Magdalena Tischbein, a flower-painter, the daughter of a noted artist, married the court painter Strack, of Oldenburg, in 1795. The Princess of Saxe-Meiningen was noted for her beautiful pictures illustrating Bible history. Mary Anna Bösenbacher, of Cologne, an engraver, was engaged in the service of the Elector Max Francis. Barbara Krafft, born Steiner, of Iglau, painted a number of genre-pictures of life size, and in this branch was the precursor of Madame Jerichow-Baumann. She died in Bamberg, in 1825, aged sixty. One who was busy in Rome at this time was Maria Ellenrieder. She had before visited the Academy in Munich for the purpose of educating herself in historical painting. In her works she sought to revive the spirit of ancient German art, and her longings drew her to the city which has long been the resort of ambitious art-students, where we find her in 1820. Among her productions are many altar-pieces, representing the Holy Family. Some have been lithographed. Since 1825 she has lived in Germany, where she has completed many works, and has practiced the art of etching. Louise Caroline Seidler was at the same time in Rome. Born in Jena, she studied painting in Munich under Professor Von Langer, afterward going to Italy to profit by the works of Pietro Perugino and Raphael. She received the appointment of court painter in Weimar, and executed several pictures that belong to the romantic genre school. A splendid fruit of her study of the old masters is a collection of heads taken from celebrated pictures of the fifteenth and sixteenth centuries. These were lithographed by Von Schmeller, and published in Weimar in 1836.