his way, influenced the nineteenth as well as the eighteenth century.
Though Vien, 1716-1809, made a great effort to revive classic art, he
found little sympathy with his aim until the works of his pupil David
won recognition from the world of the First Empire.

French Art of this period may be described by a single
word--eclectic--and this choice by each important artist of the style he
would adopt culminated in the Rococo School, which may be defined as the
unusual and fantastic in art. It was characterized by good technique and
pleasing color, but lacked purpose, depth, and warmth of feeling. As
usual in a _pot-pourri_, it was far enough above worthlessness not to be
ignored, but so far short of excellence as not to be admired.

In France during this century there was an army of women artists,
painters, sculptors, and engravers. Of a great number we know the names
only; in fact, of but two of these, Adelaide Vincent and Elizabeth Vigée
Le Brun, have we reliable knowledge of their lives and works.

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.

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