Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/56

Rh Although the highest possibilities in sculpture may not yet be reached, it is animated with new spirit of life and nature. Nineteenth-century aims and modes of expression have greatly enlarged its province. Like Painting, Sculpture has become democratic. It glorifies Labor and all that is comprised in the term "common, every-day life," while it also commemorates noble and useful deeds with genuine sympathy and an intelligent appreciation of the best to which humanity attains; at the same time poetical fancies, myths, and legends are not neglected, but are rendered with all possible delicacy and tenderness.

At present a great number of women are sculptors. The important commissions which are given them in connection with the great expositions of the time—the execution of memorial statues and monuments, fountains, and various other works which is confided to them, testifies to their excellence in their art with an emphasis beyond that of words.

Want of space forbids any special mention of etching, metal work, enamelling, designing, and decorative work in many directions in which women in great numbers are engaged; indeed, in what direction can we look in which women are not employed—I believe I may say by thousands—in all the minor arts? Between the multitude that pursue the Fine Arts and kindred branches for a maintenance—and are rarely heard of—and those fortunate ones who are commissioned to execute important works, there is an enormous middle class. Paris is their Mecca, but they are known in all art centres, and it is by no means