We find, therefore, a certain uniformity and mediocrity among numerous women artists of the eighteenth century, rather than eminent talent in special instances. Yet this was not wholly wanting, while the standard of excellence was elevated, and a more general spirit of emulation prevailed. Contrary to the experience of preceding ages, we discover the greatest evidence of artistic activity among women in Germany; next to that, in France; then in Italy. The Netherlands and England may be classed together, while Spain and the Scandinavian countries are at the minimum in this respect. These proportions are not owing to chance, but correspond with the general development of art among the nations at this time. The aspect of female culture also corresponded with national characteristics. The decorative was of rapid growth and early bloom in Prussia; Berlin, hardly mentioned heretofore, became suddenly alive with energetic talent superior to that which displayed itself in any other German city. Art sprang into luxuriance, too, at the Electoral court, and Dresden claimed no insignificant rank in the scale. France meanwhile sustained her old renown; while Nuremberg and Munich should not be slighted. But the Austrian and Rhine countries had less reason to boast; and many cities of northern Germany were in like poverty of women artists. During the first half of the eighteenth century, the order of things differed not essentially from the close of the seventeenth; in fact, the same influences predominated, both in literature and art. The Pegnitzschäfer and other poetical orders were still in existence; the sacred poems composed by noble ladies had their imitations; female authors wrote after the established fashion, while they entered on a wider field, and partook of the new spirit breathed into German poetry. Women then became not only creators in the realm of fancy and imagination, but exercised a controlling influence, by their relations of friendship and intimacy with distinguished literary characters. Meta arose beside her Klopstock; Herder sought inspiration from his bride; by Wieland stood Sophie Delaroche; Schiller was aided by Caroline Wolzogen and Madame von Kalb; Goëthe by Madame von Stein. Princesses and the noble ladies of the land gave their patronage and protection to letters, and sought to gather round them the choice spirits of their day. This, in the beginning of the century, did Sophie Charlotte, the great Queen of Prussia; and Amalia von Weimar thus aided the richest development of German mind.