Among other "_Académistes_," interesting if not so well known, was that sister of the "_Visitandine_" order, Anne Marie Trésor, who decorated with religious subjects the church of the monastery of the "Dames de Ste. Marie de Chaillot." She was received by the Academy in 1676, and the choice of the Academy showed, as its accepted members were of such different views, that the body was after all somewhat broad in character. Another proof of this liberal spirit is to be found in the fact that the Academy received foreign artists within its body. There were three of them; the first was Mlle. Haverman, of Dutch origin, who was, however, excluded shortly after her election--she attempted to justify her election by sending in a painting which was not her own, but the work of her master, Van Huysum. The second foreign "_Académiste_" was specially illustrious and worthy of the honour conferred on her. She was Rosalba Carriera, a Venetian, a woman who was really original, and whose reputation has lived through the centuries, but about whom, in this chapter devoted to France, I must not speak at length. The last of the three was Mme. Terbouche, or, more exactly, Therbousch, who, although born in 1728 at Berlin, was numbered by our old museum catalogues in the ranks of the French School. May 31st, 1783, was an exceptionally important date for the Academy, in respect of women artists. On that day were received Mme. Vigée Le Brun and Mme. Adélaïde Labille Guyard (or Guiard). One may say that at that very hour began officially the rivalry which constantly existed between the two women, both of real merit, throughout their careers--a rivalry which has been maintained in the preference shown for one or the other, after death, by their historians. Mme. Vigée Le Brun was the more celebrated of the two, and rightly so, for one might say that of all the women painters of her time she had a personality quite her own, quite feminine, rich in grace, ease, variety of attitude, gesture and composition, discreet and delicate affectedness, freshness and brightness. Mme. Vigée Le Brun was the daughter of a somewhat mediocre painter, and the wife of a well-known picture dealer, whom she married when quite young. She had lessons from Doyen, Greuze and Joseph Vernet, and her success was quickly achieved. Mlle. Adélaïde Labille des Vertus, the daughter of a mercer, was married to a certain Guyard, a neighbour. She did not live long with him, and had lessons from an old friend, the painter Vincent (the father), and afterwards from La Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette, was supported by the Court, Mme. Guyard secretly made friends in the body of the Academy itself, painting the portraits of first one member and then another. On the day of the election, she seemed to be overcoming her rival, whom her friends succeeded in putting on one side because the rules of the Academy forbade the traffic in pictures. Mme.