The eighteenth century is important in the annals of women artists, since their numbers then exceeded the collective number of those who had preceded them--so far as is known--from the earliest period in the history of art. In a critical review of the time, however, we find a general and active interest in culture and art among women rather than any considerable number of noteworthy artists. Germany was the scene of the greatest activity of women artists. France held the second place and Italy the third, thus reversing the conditions of preceding centuries. * * * * * Many German women emulated the examples of the earlier flower painters, but no one was so important as to merit special attention, though a goodly number were elected to academies and several appointed painters to the minor courts. Among the genre and historical painters we find the names of Anna Amalia of Brunswick and Anna Maria, daughter of the Empress Maria Theresa, both of whom were successful artists. In Berlin and Dresden the interest in art was much greater in the eighteenth than in previous centuries, and with this new impulse many women devoted themselves to various specialties in art. Miniature and enamel painting were much in vogue, and collections of these works, now seen in museums and private galleries, are exquisitely beautiful and challenge our admiration, not only for their beauty, but for the delicacy of their handling and the infinite patience demanded for their execution. The making of medals was carried to great excellence by German women, as may be seen in a medal of Queen Sophie Charlotte, which is preserved in the royal collection of medals. It is the work of Rosa Elizabeth Schwindel, of Leipsic, who was well known in Berlin in the beginning of the century. The cutting of gems was also extensively done by women. Susannah Dorsch was famous for her accomplishment in this art. Her father and grandfather had been gem-cutters, and Susannah could not remember at what age she began this work. So highly was she esteemed as an artist that medals were made in her honor. As frequently happens in a study of this kind, I find long lists of the names of women artists of this period of whose lives and works I find no record, while the events related in other cases are too trivial for repetition. This is especially true in Holland, where we find many names of Dutch women who must have been reputable artists, since they are mentioned in Art Chronicles of their time; but we know little of their lives and can mention no pictures executed by them. * * * * *