had their share in all the interests of life. Were there not artists among them who decorated temples and tombs with their imperishable colors? Did not women paint those pictures of Isis—goddess of Sothis—that are like precursors of the pictures of the Immaculate Conception? Surely we may hope that a papyrus will be brought to light that will reveal to us the part that women had in the decoration of the monuments of ancient Egypt.
At present we have no reliable records of the lives and works of women artists before the time of the Renaissance in Italy
M. Taine's philosophy which regards the art of any people or period as the necessary result of the conditions of race, religion, civilization, and manners in the midst of which the art was produced—and esteems a knowledge of these conditions as sufficient to account for the character of the art, seems to me to exclude many complex and mysterious influences, especially in individual cases, which must affect the work of the artists. At the same time an intelligent study of the art of any nation or period demands a study of the conditions in which it was produced, and I shall endeavor in this résumé of the history of women in Art—mere outline as it is—to give an idea of the atmosphere in which they lived and worked, and the influences which affected the results of their labor.
It has been claimed that everything of importance that originated in Italy from the thirteenth to the seventeenth century bore the distinctive mark of Fine Art. So high an authority as John Addington Symonds is in accord
