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Rh and sentimental poet, and with Chopin, who might be described almost as the only female musician, so effeminate are his compositions. Vittoria Colonna is less known because of her own poetic compositions than because of the infatuation for her shown by Michael Angelo, whose earlier friendships had been with youths. The authoress, Daniel Stern, was the mistress of Franz Liszt, whose life and compositions were extremely effeminate, and who had a dubious friendship with Wagner, the interpretation of which was made plain by his later devotion to King Ludwig II. of Bavaria. Madame de Staal, whose work on Germany is probably the greatest book ever produced by a woman, is supposed to have been intimate with August Wilhelm Schlegel, who was a homo-sexualist, and who had been tutor to her children. At certain periods of his life, the face of the husband of Clara Schumann might have been taken as that of a woman, and a good deal of his music, although certainly not all, was effeminate.

When there is no evidence as to the sexual relations of famous women, we can still obtain important conclusions from the details of their personal appearance. Such data support my general proposition.

George Eliot had a broad, massive forehead; her movements, like her expression, were quick and decided, and lacked all womanly grace. The face of Lavinia Fontana was intellectual and decided, very rarely charming; whilst that of Rachel Ruysch was almost wholly masculine. The biography of that original poetess, Annette von Droste-Hülshoff, speaks of her wiry, unwomanly frame, and of her face as being masculine, and recalling that of Dante. The authoress and mathematician, Sonia Kowalevska, like Sappho, had an abnormally scanty growth of hair, still less than is the fashion amongst the poetesses and female