whom after a fashion, women were honored and idealized, produced a Sappho, but no female painter or sculptor that we know of. In modern days the same fact may be remarked. Taking up a history of European art, we find in running our eyes over the pages, that amongst all the famous names of the Renaissance period not one woman is mentioned. Continuing our search down to the beginning of the nineteenth century, no female sculptor appears and only two women painters of sufficient note to be recorded. They are Rachel Ruysch, a flower painter, one of a family of Dutch artists, her date being given 1664 to 1750, and the famous Angelica Kaufmann, who belongs to the end of the eighteenth century, from which period a new era seems to have commenced for women in the history of art.

Doubtless from early times they had shown themselves skilled in the more strictly feminine art of decorative embroidery, and had even produced pieces destined to be widely famous, as, for instance, the Bayeux tapestry executed by the Norman, Matilda, and her maidens --but in pictorial and sculptural art, women, throughout the earlier centuries had created nothing worthy of fame, while in the last hundred years they have not only gained recognition, but progressed rapidly forward, winning laurels for their sex, since in the front rank of famous living painters they can point to Rosa Bonheur as their able representative.

Since women first gained a foothold among artists, and seemed gradually to more fully realize their own powers and possibilities, the advance made by them in the various branches of work has been so remarkable and so rapidly increasing, that it augurs favorably for future achievements. By no means has the limit been reached of what women can do in art, as compared with men, but the way has been cleared and the road pointed out. The sexes can now work side by side, in competitions, women scoring their share of successes, where but a short time ago their existence even was ignored, and their works not admitted. This equality in chances for distinguishing themselves is yearly more general and more emphasized, so that now, in art at least, women have not so much to fight for their rights, as to learn to make the best use of them, and to prove themselves worthy of their opportunities. The pioneer days are almost over,

and the future looks very bright, but not so brilliant that even one, great or small, can afford to relax in efforts or aim

Women's difficulties in art, one may say, as a general statement, lie less in their talents and faculties than in their social position and domestic relations. Women where they prove successful, owe it usually to their whole-hearted, single devotion to their profession or calling, the entire concentration of their powers and interests, being more essential for their achievements in most cases, one may venture to say, than with men. Many a career has been broken off by the stepping in of new interests, to be resumed perhaps later in life, but never with the same fulness of enthusiasm that makes famous names. Women must realize that as a sex they are thus handicapped, but in America particularly these natural drawbacks have been made less of, and so much has been achieved in spite of them, that we are almost tempted to think the more highly of women's inherent artistic gifts and possibilities, where we can perceive so fair a showing in the face of acknowledged difficulties. For what, in fact, can now be seen? At exhibitions, an increasing number of women's names in each annual catalogue. In sculpture, a woman recently proving successful in the competition of designs for a public statue, for which she was finally given the commission. In the more practical branches of decorative work, designing and illustration, women are not only numerous, but obtaining for their work prices at the same rates with men, where their ability is equal. So much has been gained. For the future, with words of encouragment need to be mingled those also of warning and advice, as reluctantly we realize the tendencies of many in our midst. American women should be true in their work and aims, not only to their art and to their sex, but to their country, for in their hands lies partly the determination as to whether America shall have a National Art worthy of her sons and daughters -whether her artistic productions shall be, not the mere copies of a bygone age, nor the borrowed fruit of foreign talent, but the living witnesses of original creative power within her.-To prove this to the honor of her nation, is the rightful vocation of every true woman artist of America.

THE NEW YORK PUBLIC LIBRARY

R. LENOX AND

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CHAPTER XLVII.

WOMEN ART PATRONS.

BY HELEN EVERTSON SMITH.*

HIS title, used because it is short and comprehensive, requires an explanation. By art patronage is frequently implied merely the buying of works of art directly from the artists. The present meaning is broader. The term art-patron is here applied to those who by gift or bequest have founded, or helped to found and maintain galleries and museums of pictures, sculptures, or other "objects of art," as well as free schools and scholarships for the purpose of art-study.

At first it was feared that our subject might afford too few figures for our canvass. Inspection proves that our small space will be crowded. Wealth and the higher grades of intellectual taste are not always found in association, even among men who have possessed the combination of brains and opportunity necessary to amass large fortunes. Among women, to whom the possession of great wealth is usually a matter of accident only, it has been supposed that the number of those who would use it for public benefit, especially in æsthetic lines, would be proportionately still smaller. But America is able proudly to boast of women who have given, for art purposes alone, sums which are estimated to amount, in the aggregate, to not less than $5,000,000. Had our inquiry included the wealth given to found and endow libraries and schools, this amount would have been more than quintupled. Even within our prescribed limits a more close investigation might prove our estimate to be much too low, for it is probable that a great many women have given collections and founded free schools of design in our smaller cities and towns, which gifts, though of much local value, benefit but limited circles.

* Editor and Journalist, in connection with various magazines and periodicals.