In England, at the close of the 18th century, quite a number of ladies came to the front in art, like Caroline Watson, the admirable stipple engraver (page 89), or like Catherine Maria Fanshawe, a painter-etcher who could put a body into a peasant's smock and could show in a rustic figure the mingled influences of Morland and Gainsborough, while keeping a tender sympathy of her own (page 89). Amelia Hotham, too, in the native art of water-colour, attained to a broad and vigorous style in landscape, while taking far too many hints from the scenic pomp that Francis Nicholson made popular in outdoor scenes (page 88). Nevertheless, Amelia Hotham's work has interest in the history of British water-colour, like that of three other ladies who followed her, the Viscountess Templetown (page 94), Matilda Heming and Mrs. John Herford, the grandmother of Mrs. Allingham. Matilda Heming's picture on page 95, "Backwater, Weymouth, Dorset," is weak in the drawing of the hills, but the rest of the design is quite admirable, the boats particularly being very well drawn. We see, then, that during the last decades of the 18th century, and at the beginning of the nineteenth, a little band of Englishwomen studied landscape painting seriously; and this fact is worth remembering, as women have seldom been drawn in art to nature in the woods and fields. The gentler sex, as a rule, has not appreciated landscapes. On the other hand, they have shown in art a great love for the beauty of flowers, the colour and the forms of insects, and the "other-naturalness" of many kinds of animals. Maria Sibylla Merian, Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell, Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch--these ladies will not be forgotten, let us hope, as long as there are students who take delight in plants, flowers, birds and animals. Among the flower and fruit painters in England, during the 18th century and the first few decades of the nineteenth, conspicuous places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and Anne Frances Byrne, illustrations of whose pictures will be found on page 94; and the reader will do well to compare this early work with that of Mrs. Coleman Angell, the female counterpart of William Hunt (page 102). Whilst these flower-painters were busy, another small group of ladies won considerable popularity by their little figure-subjects, such as the Countess Spencer's drawing on page 90, or again, like the fanciful miniatures by Mrs. Mee or the sentimental portraits by Mrs. J. Robertson, types of which are given on page 93. Miss Curran's portrait of Shelley is a valuable portrait-sketch historically (page 90), and it has something of the charm that distinguishes the able portraits drawn to-day by the Marchioness of Granby.