<p>For the relatively recent genesis of the emphasis on the artist as the nexus of aesthetic experience, see M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York: Oxford University Press 1953), and Maurice Z. Shroder, Icarus: The Image of the Artist in French Romanticism (Cambridge: Harvard University Press, 1961).</p>

<p>John Stuart Mill, The Subjection of Women (1869) in Three Essays by John Stuart Mill (London: World's Classics Series, 1966), p. 441.</p>

<p>A misconception they share with the public at large, it must be added.</p>

<p>Mary Ellmann, Thinking about Women (New York: Harcourt Brace, 1968).</p>

<p>See, for example, Peter S. Walch's excellent studies of Angelica Kauffmann or his unpublished doctoral dissertation, »Angelica Kauffmann«, Princeton University, 1968, on the subject; for Artemesia Gentileschi, see R. Ward Bissell, »Artemesia Gentileschi - A New Documented Chronology«, Art Bulletin 50 (June 1968): 153-168.</p>

<p>»Women Artists«, Review of Ernest Guhl's Die Frauen in die Kunstgeschichte in The Westminster Review (American Edition) 70 (July 1858): 91-104. I am grateful to Elaine Showalter for having brought this review to my attention.</p>

<p>»Novels by the Authoress of John Halifax«, North British Review, 29 (1858): 384-406.</p>

<p>Ludlow, op. cit., 90.</p>

<p>E. S. Dallas, »Currer Bell«, Blackwood's, 87 (1853): 19.</p>

<p>Ibid.</p>