When Charles II. died she had just completed a statue of our Saviour which he had ordered for a convent; its destination was then changed to a nunnery at Sisanto. She died at Madrid in 1704, leaving in the palace treasure a small group, modeled in clay, representing St. Anna teaching the Virgin to read, and attended by angels. Some of her works were placed in the Recolete Convent, and some in the Chartreuse of Paulan. Doña Isabella Carasquilla was a painter, and married a miniaturist, Juan de Valdes Leal of Cordova. Their daughters Luisa and Maria were highly educated, and painted miniatures. The latter died in 1730, a nun in the Sistercian Convent at Seville. Rosalba Salvioni, a painter of celebrity, was the pupil of Mesquida. Doña Inez Zarcillo evinced no small taste in drawing and modeling. She was the sister of a sculptor. Maria de Loreto Prieto, an artist’s daughter, possessed extraordinary talent for painting and engraving. Her father was highly esteemed by Charles III., and had the oversight of all the coins for the purpose of improving the stamps. Caterina Querubini, the wife of Preciado, a miniature-painter, enjoyed a pension from the Spanish court, and an honored place in the Academy de San Fernando. Doña Isabella Farnese, the wife of Philip V., and Angela Perez Caballero, drew exceedingly well, and were members of the Academy in Madrid. WOMEN ARTISTS IN FRANCE. In France women had taken a position more prominent than in the preceding century. Even the gallantry prevailing in society, and the corruption of court manners, were promoted by feminine influence. Unworthy women were raised to power, and the history of court favorites from the reign of the knightly Henry IV. to that of the great monarch Louis XIV. forms the most important part of the annals of the empire. Women took eminent places in every department of literature; in the drama Catherine Bernard was the disciple of Racine, and Mademoiselle de Scudery had many imitators in her poetical romances; while Madame de la Fayette took the lead in a more modern style of fiction. Madame Dacier became celebrated as “the most learned and eloquent of women,” and her example helped to spread a love of knowledge and classical attainment among the French ladies. Even theological pursuits had a Jeanne de la Mothe-Guyon to represent mysticism in conflict with the orthodoxy of the court and the state. In art the ascendency of woman was by no means so great. We may, however, name, as prominent in portrait and miniature painting, Antoinette and Madelaine Herault; the latter, in 1660, married Noel Coypel. She joined noble virtues to her extraordinary talents. Henriette Stresor and Catherine Perrot may also be mentioned. Catherine Duchemin, a flower-painter, married the famous sculptor Girardon.