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        In a period in which the women's sphere was ideologically located in the home, their entrance in to the public sphere was seen as either a scandal or an object of mockery. However, while the fields of politics and commerce were largely closed to females, paradoxically, other positions in the public eye were not. Women writers and artists could be found from the Renaissance onwards and actresses in particular could achieve great fame for their work. However, women who entered into the public sphere in this way were generally considered to be outside of the normal rules of society even while being lionised by its members. This equivocal social position left them open to abuse, but at the same time meant that they could move freely around all sections of it while remaining at liberty to look after their own business and financial affairs in a way that a woman was not normally permitted to do. By the beginning of the twentieth century, the ambiguous status of such individuals with its benefits and limitations led a number of women involved in the arts to become acutely conscious of women's overall status. This led a number of them to become engaged in the campaign for the vote and for improvement of women's status. Groups such as the Actresses' Franchise League and the Artists' Suffrage League undertook collective action which others continued on an individual level throughout this period and into the second half of the nineteenth century as the campaign to improve women's status continued.

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