Though nothing new or striking can be said to have been accomplished in art by women during the first half of this century, the latter part witnessed a revolution in which they greatly aided to spread and deepen the growth of new ideas. It became necessary to the complete education of ladies of the higher classes, that they should possess some knowledge of art. Hagedorn mentions the fact that a teacher who could give instruction in drawing and painting could much more readily obtain a situation than one ignorant of those branches. Fashion and custom enjoined not only a degree of knowledge, but also of skill, on those who wished to be thought accomplished. There were many aristocratic dilettanti, and a few royal ladies emulated the fame of the princely dames of an older time in the pictorial crafts. Among these may be mentioned, Anna Amalia, of Brunswick; the Archduchesses Charlotte and Maria Anna, of Austria; Duchess Sophia, of Coburg-Saalfeld; the Margravine of Baden-Durlach; the Princess Victoria, of Anhalt-Bernburg, and Elizabeth Ernestine Antonia, of Saxe-Meiningen; besides the excellent Elizabeth Christina, of Brunswick, who sought to promote the restoration of art and the advance of knowledge, for the love of Frederick, her royal husband, and who will ever be honored as the ornament of a house that henceforward showed itself ready to foster and appreciate the liberal arts. We observe here, as before, that many painters of note had female pupils or assistants, who endeavored to carry out the ideas they originated. Dietrich, esteemed one of the best masters of the eclectic school of the eighteenth century, had his enthusiasm shared by his two sisters; Tischbein, who cultivated the French style, as Dietrich did the Dutch, found appreciative companions and co-laborers in his wife and daughter; and there were other women who strove to ennoble the eclectic system by greater purity of tone and a more ardent study of the antique. Oeser had several female pupils; and two sisters worked in modest retirement beside the greatest artist of this style--Antoine Raphael Mengs--having been taken through the same course of severe study and exercise by their pedantic father. Carstens obtained and brought to perfection what Mengs toiled to reach and realize. The grand and comprehensive ideas of Winkelmann found in him a harmonious development. Averse to the reflective, which formed the chief characteristic of Mengs and Oeser, he was steeped in the inspiration caught from the antique ideal, and, without becoming a copyist of any style, was able to reproduce the seed from the fruitful soil of his own endowments. He may be called the founder of modern German art. His grand, bold, and ingenious style did not particularly commend itself to female talent; we do not find, therefore, that he had any disciples of the softer sex.