painter, sculptor, musician, actress, or busied in some one of the callings that are practical but aesthetic. Certain commercial ocupations gratify her sense of the beautiful and give her opportunity to be creative in it. They also keep her in close contact with lovely femininity. Of course, this type is widely removed from the unidealistic sorts in feminine intersexualism.
An interesting suggestion of the intersexual painter is met in the famous Madame Elizabeth Vigée-Lebrun (1750-1842) not only lauded as a portraitist, but of notable intellectuality in many branches of letters and science. Mme. Lebrun married; but for reasons explicitly apart from sexual interests. As to their entire dismissal of them she had a solemn understanding with her elderly husband, before and after the ceremony. Dargenville remarks of her slyly—"I could well say of her, as of Madame Dacier, that under their traits as two illustrious women one saw two great—men."
An interesting recent example in aesthetics—productively—was Rosa Bonheur; a man in appearance, with not a little of the male in her vigorous artistic personality. Numerous such artists will recur to those who are familiar with the salons of to-day.
In music, we find often (as in the foregoing study of the Uranian) that the aesthetic Uraniad is passionately musical. Uraniad passions are met often in those female musicians conspicuous for bodily abnormality, and masculinity. They occur in the instances of female tenors, female baritones, female basses, such as are heard in "freak" concerts, or as artistic "curios" under more diginified conditions. A Berlin physician, who has a particular clientage among musical professionals, says that experience has led him to the conclusion that the contralto voice in a woman indicates an abnormal sexualism more than does
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