and a most industrious artist, highly commended by the famous portrait painter, Sir Peter Lely. Anne Killigrew, maid of honour to Mary of Modena, Duchess of York, had only twenty-five years in which to make a name, but she has secured a niche not only through her pictures, which included portraits of the Duke and Duchess of York, but also by her verses. It is anticipating events to proceed to the days of Angelica Kaufmann and Mary Moser, but, for the sake of preserving the continuity of the subject, a rapid review may be taken of the work done by women in the last century. In 1768 the Royal Academy was founded, the first keeper being George Moser, for many years manager of a private academy for artists in St. Martin’s Lane, London. He was the father of Mary Moser, who, like Angelica Kaufmann, was elected a member of the Royal Academy, these two being the only women on whom that honour was conferred. Both had signed a memorial to George III. in favour of the foundation of an Academy of Arts. When it was opened in 1769, Angelica Kaufmann sent two large paintings, and she continued for years to be an exhibitor. Mary Moser sent a flower piece in oils, and two years later a figure subject. After her marriage with Captain Lloyd she ceased to appear among the ranks of professional painters, though she continued to exhibit at the Academy uninterruptedly until 1779, and at intervals to a later period, her last contribution being in the year 1800. Angelica Kaufmann and Mary Moser were both of Swiss parentage. Angelica’s father was a native of Schwartzenberg, near Lake Constance, and George Moser was born at Schaffhausen. Angelica Kaufmann was born about 1741--the exact date is uncertain--and Mary Moser in 1744. But while the more celebrated artist spent the years of her childhood among the beautiful surroundings of Morbegno, in Lombardy, and on the shores of Lake Como, and acquired her early training in the galleries of Milan, Mary Moser was born and educated in England. Angelica Kaufmann did not come to this country until 1765, after she had made a name for herself in Italy, and had helped her father to decorate the Church of Schwartzenberg with frescoes, had painted the portraits of several noble personages, had been warmly praised and munificently treated by the Bishop of Constance, and had become the pet of the ladies about the court of the Governor of Milan, Francis III., Duke of Modena. It was through Lady Wentworth, the wife of the English Minister at Venice, Mr. Murray, that Angelica Kaufmann came to England, where she was welcomed by artists both English and foreign, and made much of in the fashionable world. The painter Fuseli, whom she had already met in Rome, was desperately in love with her, but she, unfortunately, fell into the meshes of that arch adventurer who passed himself off as Count de Horn, while her fellow-artist, Mary Moser, was languishing for love of Fuseli, who was indifferent or blind to her attachment. In 1781