NORMAND, MRS. ERNEST—HENRIETTA RAE. Medals in Paris and at Chicago Exposition, 1893. Born in London, 1859. Daughter of T. B. Rae, Esquire. Married the artist, Ernest Normand, 1884. Pupil of Queen's Square School of Art, Heatherley's, British Museum, and Royal Academy Schools. Began the study of art at the age of thirteen. First exhibited at the Royal Academy in 1880, and has sent important pictures there annually since that time.

Mrs. Normand executed decorative frescoes in the Royal Exchange, London, the subject being "Sir Richard Whittington and His Charities."

In the past ten years she has exhibited "Mariana," 1893; "Psyche at the Throne of Venus," 1894; "Apollo and Daphne," 1895; "Summer," 1896; "Isabella," 1897; "Diana and Calisto," 1899; "Portrait of Marquis of Dufferin and Ava," 1901; "Lady Winifred Renshaw and Son," and the "Sirens," 1903, which is a picture of three nude enchantresses, on a sandy shore, watching a distant galley among rocky islets.

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NOURSE, ELIZABETH. Medal at Chicago Exposition, 1903; Nashville Exposition, 1897; Carthage Institute, Tunis, 1897; elected associate of the Beaux-Arts, Paris, 1895; silver medal, Paris Exposition, 1900; elected Societaire des Beaux-Arts, 1901. Born in Cincinnati, Ohio, where she began her studies, later going to the Julian Academy, under Boulanger and Lefebvre, and afterward studying with Carolus Duran and Henner. This artist idealizes the subjects of every-day, practical life, and gives them a poetic quality which is an uncommon and delightful attainment.

At the Salon des Beaux-Arts, 1902, Miss Nourse exhibited "The Children," "Evening Toilet of the Baby," "In the Shade at Pen'march," "Brother and Sister at Pen'march," "The Madeleine Chapel at Pen'march." In 1903, "Our Lady of Joy, Pen'march," "Around the Cradle," "The Little Sister," and "A Breton Interior."

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OAKLEY, VIOLET. Member of Pennsylvania Academy of Fine Arts, Philadelphia Water-Color Club, Plastic Club, Philadelphia. Born in New Jersey, but has lived in New York, where she studied at the Art Students' League under Carroll Beckwith. Pupil of Collin and Aman-Jean in Paris and Charles Lasar in England; also in Philadelphia of Joseph de Camp, Henry Thouron, Cecilia Beaux, and Howard Pyle.

Miss Oakley has executed mural decorations, a mosaic reredos, and five stained-glass windows in the Church of All Saints, New York City, and a window in the Convent of the Holy Child, at Sharon Hill, Pennsylvania.

In the summer of 1903 she was commissioned to decorate the walls of the Governor's reception room in the new Capitol at Harrisburg. Before engaging in this work—the first of its kind to be confided to an American woman—Miss Oakley went to Italy to study mural painting. She then went to England to thoroughly inform herself concerning the historical foundation of her subject, the history of the earliest days of Pennsylvania. At Oxford and in London she found what she required, and on her return to America established herself in a studio in Villa Nova, Pennsylvania, to make her designs for "The Romance of the Founding of the State," which is to be painted on a frieze five feet deep. The room is seventy by thirty feet, and sixteen feet in height.

The decoration of this Capitol is to be more elaborate and costly than that of any other public edifice in the United States. In mural decoration Miss Oakley will be associated with Edwin A. Abbey, but the Governor's room is to be her work entirely, and will doubtless occupy her during several years.

Mr Charles A. Caffin, in his article upon the exhibition of the New York Water-Color Club, January, 1904, says: "Miss Oakley has had considerable experience in designing stained-glass windows, and has reproduced in some of her designs for book covers a corresponding treatment of the composition, with an attempt, not very logical or desirable, considering the differences between paint and glass, to reproduce also something of her window color schemes.... But for myself, her cover, in which some girls are picking flowers, is far more charming in its easy grace of composition, choice gravity of color, and spontaneity of feeling. Here is revealed a very naive imagination, free of any obsessions."



OCCIONI, SIGNORA LUCILLA MARZOLO. Diploma of gold medal at the Women's Exhibition, Earl's Court, London, 1900. Born in Trieste. Pupil, in Rome, of Professor Giuseppe Ferrari.

This artist paints figure subjects, portraits, landscapes, and flowers, in both oils and water-colors, and also makes pen-drawings. Her works are in many private galleries. She gives me no list of subjects. Her pictures have been praised by critics.



O'CONNELL, FREDERIQUE EMILIE AUGUSTE MIETHE. Born in Potsdam. 1823-1885. She passed her early life in her native city, having all the advantages of a solid and brilliant education. She early exhibited a love of drawing and devoted herself to the study of anatomical plates. She soon designed original subjects and introduced persons of her own imagination, which early marked her as powerful in her fancy and original in her manner of rendering her ideas.

A picture of "Raphael and the Fornarina," which she executed at the age of fifteen, was so satisfactory as to determine her fate, and she was allowed to study art.

When about eighteen years old she became the pupil of Charles Joseph Begas, a very celebrated artist of Berlin. Under his supervision she painted her first picture, called the "Day of the Dupes," which, though full of faults, had also virtues enough to secure much attention in the exhibition. It was first hung in a disadvantageous position, but the crowd discovered its merits and would have it noticed. She received a complimentary letter from the Academy of Berlin, and the venerable artist Cornelius made her a visit of congratulation.

About 1844 she married and removed to Brussels. Here she came into an entirely new atmosphere and her manner of painting was changed. She sought to free herself from all outer influence and to express her own feeling. She studied color especially, and became an imitator of Rubens. She gained in Brussels all the medals of the Belgian expositions, and there began two historical pictures, "Peter the Great and Catherine" and "Maria Theresa and Frederick the Great." These were not finished until after her removal to Paris in 1853. They were bought by Prince Demidoff for the Russian Government.

She obtained her first triumph in Paris, at the Salon of 1853, by a portrait of Rachel. She represented the famous actress dressed entirely in white, with the worn expression which her professional exertions and the fatal malady from which she was already suffering had given to her remarkable face. The critics had no words for this portrait which were not words of praise, and two years later, in 1855, Madame O'Connell reached the height of her talent. "A Faunesse," as it was called, in the exposition of that year, was a remarkable work, and thus described by Barty:

"A strong and beautiful young woman was seated near a spring, where beneath the shade of the chestnut trees the water lilies spread themselves out upon the stream which flowed forth. She was nude and her flesh palpitated beneath the caresses of the sun. With feminine caprice she wore a bracelet of pearls of the style of the gold workers of the Renaissance. Her black hair had lights of golden brown upon it, and she opened her great brown eyes with an expression of indifference. A half smile played upon her rosy lips and lessened the oval of the face like that of the 'Dancing Faun.' The whole effect of the lines of the figure was bold and gave an appearance of youth, the extremities were studiously finished, the skin was fine, and the whole tournure elegant. It was a Faunesse of Fontainebleau of the time of the Valois."

Mme. O'Connell then executed several fine portraits—two of Rachel, one of M. O'Connell, others of Charles Edward and Theophile Gautier, which were likened to works of Vandyck, and a portrait in crayon of herself which was a chef-d'oeuvre. She excelled in rendering passionate natures; she found in her palette the secret of that pallor which spreads itself over the faces of those devoted to study—the fatigues of days and nights without sleep; she knew how to kindle the feverish light in the eyes of poets and of the women of society. She worked with great freedom, used a thick pate in which she brushed freely and left the ridges thus made in the colors; then, later, she put over a glaze, and all was done. Her etchings were also executed with great freedom, and many parts, especially the hair, were remarkably fine. She finished numerous etchings, among which a "St. Magdalen in the Desert" and a "Charity Surrounded by Children" are worthy of particular notice.

After Madame O'Connell removed to Paris she opened a large atelier and received many pupils. It was a most attractive place, with gorgeous pieces of antique furniture, loaded with models of sculpture, books, albums, engravings, and so on, while draperies, tapestries, armor, and ornaments in copper and brass all lent their colors and effects to enhance the attractions of the place. Many persons of rank and genius were among the friends of the artist and she was much in society.

In spite of all her talent and all her success the end of Madame O'Connell's life was sad beyond expression. Her health suffered, her reason tottered and faded out, yet life remained and she was for years in an asylum for the insane. Everything that had surrounded her in her Paris home was sold at auction. No time was given and no attempt was made to bring her friends together. No one who had known or loved her was there to shed a tear or to bear away a memento of her happy past. All the beautiful things of which we have spoken were sacrificed and scattered as unconscionably as if she had never loved or her friends enjoyed them.

In the busy world of Paris no one remembered the brilliant woman who had flashed upon them, gained her place among them, and then disappeared. They recalled neither her genius nor her womanly qualities which they had admired, appreciated, and so soon forgotten!



OOSTERWYCK, MARIA VAN. The seventeenth century is remarkable for the perfection attained in still-life and flower painting. The most famous masters in this art were William van Aelst of Delft, the brothers De Heem of Utrecht, William Kalf and the Van Huysums of Amsterdam. The last of this name, however, Jan van Huysum, belongs to the next century.

Maria van Oosterwyck and Rachel Ruysch disputed honors with the above named and are still famous for their talents.

The former was a daughter of a preacher of the reformed religion. She was born at Nootdorp, near Delft, in 1630. She was the pupil of Jan David de Heem, and her pictures were remarkable for accuracy in drawing, fine coloring, and an admirable finish.

Louis XIV. of France, William III. of England, the Emperor Leopold of Germany, and Augustus I. of Poland gave her commissions for pictures. Large prices were paid her in a most deferential manner, as if the tributes of friendship rather than the reward of labor, and to these generous sums were added gifts of jewels and other precious objects.

Of Maria van Oosterwyck Kugler writes: "In my opinion she does not occupy that place in the history of the art of this period that she deserves, which may be partly owing to the rarity of her pictures, especially in public galleries. For although her flower pieces are weak in arrangement and often gaudy in the combination of color, she yet represents her flowers with the utmost truth of drawing, and with a depth, brilliancy, and juiciness of local coloring unattained by any other flower painter"

A picture in the Vienna Gallery of a sunflower with tulips and poppies, in glowing color, is probably her best work in a public collection. Her pictures are also in the galleries of Dresden, Florence, Carlsruhe, Copenhagen, the Schwerin Gallery, and the Metropolitan Museum of New York.

There is a romantic story told of Maria van Oosterwyck, as follows. William van Aelst, the painter of exquisite pictures of still-life, fruits, glass, and objects in gold and silver, was a suitor for her hand. She did not love him, but wishing not to be too abrupt in her refusal, she required, as a condition of his acceptance, that he should work ten hours a day during a year. This he readily promised to do. His studio being opposite that of Maria, she watched narrowly for the days when he did not work and marked them down on her window-sash. At the close of the year Van Aelst claimed her as his bride, assuming that he had fulfilled her condition; but she pointed to the record of his delinquencies, and he could but accept her crafty dismissal of his suit.



OSENGA, GIUSEPPINA. This artist resides in Parma, and has there exhibited landscapes that are praised for their color and for the manner in which they are painted, as well as for the attractive subjects she habitually chooses. "A View near Parma," the "Faces of Montmorency," and the "Bridge of Attaro" are three of her works which are especially admired.



OSTERTAG, BLANCHE. Member of Society of Western Artists; Arts Club, Chicago; Municipal Art League. Born in St. Louis. From 1892-1896 pupil of Laurens and Raphael Collin in Paris, where her works were hung on the line at the New Gallery, Champ de Mars.

A decorative artist who has executed mural decoration in a private house in Chicago, and has illustrated "Max Mueller's Memories" and other publications. For use in schools she made a color print, "Reading of the Declaration of Independence before the Army."

Her calendars and posters are in demand by collectors at home and in foreign countries. Miss Ostertag has designed elaborate chimney pieces to be executed in mosaic and glass. Her droll conceits in "Mary and Her Lamb," the "Ten Little Injuns," and other juvenile tales were complimented by Boutet de Monvel, who was so much interested in her work that he gave her valuable criticism and advice without solicitation.



O'TAMA-CHIOVARA. Gold medal at an exhibition of laces in Rome and prizes at all the exhibitions held in Palermo by the Art Club. Born in Tokio, where she came to the notice of Vicenzo Ragusa, a Sicilian sculptor in the employ of the Japanese Government at Tokio. He taught her design, color, and modelling, and finally induced her to go with his sister to Palermo. Here her merit was soon recognized in a varied collection of water-colors representing flowers and fruits, which were reproduced with surpassing truth. When the School of Applied Art was instituted at Palermo in 1887, she was put in charge of the drawing, water-color, and modelling in the Women's Section.

She knows the flowers of various countries—those of Japan and Sicily wonderfully well, and her fancy is inexhaustible; her exquisite embroideries reflect this quality. She has many private pupils, and is as much beloved for her character as she is admired for her talents. When she renounced Buddhism for Christianity, the Princess of Scalca was her godmother.



PACZKA-WAGNER, CORNELIA. Honorable mention, Berlin, 1890. Born in Goettingen, 1864. She has been, in the main, her own instructor, living for some years in Rome for the purpose of study. In 1895 she settled in Berlin, where she has made a specialty of women's and children's portraits in olgraphy (?) and lithography. Beautiful drawings by her were exhibited at the International Water-Color Exhibition in Dresden, 1892.

An interesting account of a visit to the studio of the Hungarian painter Paczka and his German wife tells of a strong series of paintings in progress there, under the general title, "A Woman's Soul." In freedom and boldness of conception they were said to remind one of Klinger, but in warmth and depth of feeling to surpass him. Frau Paczka had just finished a very large picture, representing the first couple after the expulsion from Paradise. The scene is on the waste, stony slope of a mountain; the sun shines with full force in the background, while upon the unshadowed rocks of the foreground are the prostrate Adam and his wife—more accusing than complaining.

In 1899 Frau Paczka exhibited in Berlin, "Vanitas," which excels in richness of fancy and boldness of representation, while wanting somewhat in detail; the ensemble presents a remarkably fine, symbolic composition, which sets forth in rich color the dance of mankind before the golden calf, and the bitter disillusions in the struggle for fame, wealth, and happiness.



PARLAGHY, VILMA, OR THE PRINCESS LWOFF. Great gold medal from the Emperor of Austria, 1890; great gold medal, 1894; small gold medal at Berlin, 1890, adjudged to her portrait of Windhorst. Born at Hadju-Dorogh in 1863, and studied in Budapest, Munich, Venice, Florence, and Turin. Her portraits having found great favor at the Court of Berlin, she removed her studio from Munich to that capital.

One of her instructors was Lenbach, and she is said by some critics to have appropriated his peculiarities as a colorist and his shortcomings in drawing, without attaining his geniality and power of divination. In 1891 her portrait of Count von Moltke, begun shortly before his death and finished afterward, was sent to the International Exposition at Berlin, but was rejected. The Emperor, however, bought it for his private collection, and at his request it was given a place of honor at the Exposition, the incident causing much comment. She exhibited a portrait of the Emperor William at Berlin in 1893, which Rosenberg called careless in drawing and modelling and inconceivable in its unrefreshing, dirty-gray color.

In January, 1895, she gave an exhibition of one hundred and four of her works, mostly portraits, including those of the Emperor, Caprivi, von Moltke, and Kossuth, which had previously been exhibited in Berlin, Munich, and Paris. The proceeds of this exhibition went to the building fund of the Emperor William Memorial Church.

Of a portrait exhibited in 1896, at Munich, a critic said that while it was not wholly bad, it was no better than what hundreds of others could do as well, and hundreds of others could do much better.



PASCH, ULRICKE FRIEDERIKA. Member of the Academy of Fine Arts of Sweden. Born in Stockholm. 1735-1796. A portrait of Gustavus-Adolphus II. by this artist is in the Castle at Stockholm. She was a sister of Lorenz Pasch.



PASCOLI, LUIGIA. This Venetian painter has exhibited in various Italian cities since 1870, when she sent a "Magdalen" to Parma. "First Love" appeared at Naples in 1877, and "The Maskers"—pastel—at Venice in 1881. A "Girl with a Cat," a "Roman Girl," and a "Seller of Eggs"—the latter in Venetian costume—are works of true value. Her copies of Titian's "St. Mark" and of Gian Bellini's "Supper at Emmaus" have attracted attention and are much esteemed.



PASSE, MAGDALENA VAN DE. Born at Utrecht about 1600; she died at the age of forty. This engraver was a daughter of Crispus van de Passe, the elder. She practised her art in Germany, England, Denmark, and the Netherlands, and was important as an artist. Her engraving was exceedingly careful and skilful. Among her plates are "Three Sibyls," 1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes after the works of Bril, Savery, Willars, etc.



PATTISON, HELEN SEARLE. Born in Burlington, Vermont. Daughter of Henry Searle, a talented architect who moved to Rochester, New York, where his daughter spent much of her girlhood. She held the position of art teacher in a school in Batavia, New York, while still a girl herself.

About 1860 she became the pupil of Herr Johan Wilhelm Preyer, the well-known painter of still-life, fruit, and flowers. Preyer was a dwarf and an excellent man, but as a rule took no pupils. He was much interested in Miss Searle, and made an exception in her case. She soon acquired the technique of her master and painted much as he did, but with less minute detail, finer color, and far more sentiment.



In 1876 Miss Searle married the artist, James William Pattison, now on the staff of the Art Institute, Chicago. After their marriage Mr. and Mrs. Pattison resided at Ecouen, near Paris. Returning to America in 1882, they spent some time in Chicago and New York City, removing to Jacksonville, Illinois, in 1884. Here Mr. Pattison was at the head of the School of Fine Arts.

Mrs. Pattison lived but a few months in Jacksonville, dying in November, 1884.

Mrs. Pattison's artistic reputation was well established and her works were exhibited at the Paris Salon and in all the German cities of importance. They were frequently seen in England and at the National Academy of Design in New York. Her subjects were still-life, fruit, and flowers, and her works are widely distributed.



PAZZI, CATERINA DE, whose conventual name was Maria Maddalena. Was born in Florence in 1566. It would be interesting to know the relation that this gentle lady bore to those Pazzi who had earned a fame so unlike hers fourscore years before she saw the light.

Caterina de Pazzi, when a mere girl, entered a convent which stood on the site of the church known by her name in the Via Pinti. The cell of Santa Maddalena—now a chapel—may still be visited. She was canonized by Pope Alexander VIII. in 1670, sixty-two years after her death.

The Florentines have many lovely legends associated with her memory. One of these relates that she painted pictures of sacred subjects when asleep. Be this as it may, we know that her pictures were esteemed in the days when the best artists lived and worked beside her. Examples of her art may still be seen in churches in Rome and Parma, as well as in the church of her native city which bears her name.



PEALE, ANNA C. Made her mark as a miniature painter and for some years was the only professional woman artist in Philadelphia. Her portrait of General Jackson made in 1819 was well considered. She also made portraits of President Monroe, Henry Clay, R. M. Johnson, John Randolph of Roanoke, and other prominent men. Miss Peale married in 1829 the Rev. William Staughton, a Baptist clergyman, the president of the theological college at Georgetown, Kentucky. He lived but three months after their marriage, and she returned to Philadelphia and again pursued her artistic labors. She married a second husband, General William Duncan, and from this time gave up professional painting.



PEALE, SARA M. 1860-1885. Daughter of James Peale, under whose teaching she made her first studies. She was also a pupil of her uncle, the founder of Peale's Museum, Philadelphia. Miss Peale painted portraits and spent some years in Baltimore and Washington. Among her portraits are those of Lafayette, Thomas Benton, Henry A. Wise, Caleb Cushing, and other distinguished men. From 1847 she resided in St. Louis thirty years and then went to Philadelphia. Her later works were still-life subjects, especially fruits.



PELICHY, GEERTRUIDA. Honorary member of the Academy of Vienna. Born in Utrecht, 1744; died in Bruegge, 1825. Pupil of P. de Cock and Suvee. In 1753, she went to Bruegge with her father, and later to Paris and Vienna. She painted portraits of the Emperor Joseph II. and Maria Theresa, some good landscapes, and animal studies. Two of her pictures are in the Museum at Bruegge.



PELLEGRINO, ITALA. Born at Milan, 1865. Pupil of Battaglia. Her pictures are of genre and marine subjects. At the great exhibition at Turin, 1884, she exhibited a marine view which was bought by Prince Amadeo. Another marine view exhibited at Milan was acquired by the Societa Promotrice. In 1888 she sent to the exhibition at Naples, where she resides, a view of Portici, which was added to the Royal Gallery. The excellence of her work is in the strength and certainty of touch and the sincerity and originality of composition. She has painted a "Marine View of Naples," "In the Gulf," "Fair Weather," and "Evening at Sea"; also a genre picture, "Frusta la," which was sold while in an exhibition in Rome.



PENICKE, CLARA. Born at Berlin in 1818, where she died in 1899. She studied first with Remy and later with Carl Begas and Edward Magnus. Her work was largely confined to portrait and historical painting. In the Gallery at Schwerin is her "Elector Frederick of Saxony Refusing to Accept the Interim." Another good example of her historical work is the "Reconciliation of Charlemagne with Thassilo of Bavaria." A well-known and strongly modelled portrait of Minister Von Stoach and several Luther portraits, "Luther's Family Devotion" and "Luther Finds the First Latin Bible," show her facility in this branch of art. She also painted a "Christ on the Cross."



PERELLI, LIDA. A landscape painter living in Milan, who has become well known by pictures that have been seen at the exhibitions in several Italian cities, especially through some Roman studies that appeared at Florence and Turin in 1884. "A View of Lecco, Lake Como," "Casolare," and "A Lombard Plain" are among her best works.



PERMAN, LOUISE E. Born at Birkenshaw, Renfrewshire. Studied in Glasgow. This artist paints roses, and roses only, in oils. In this art she has been very successful. She has exhibited at the Royal Academy and the New Gallery, London; at the Royal Scottish Academy, Glasgow; at art exhibits in Munich, Dresden, Berlin, Prague, Hanover, etc., and wherever her works have been seen they have been sold. In May, 1903, a collection of twenty-five rose pictures were exhibited by a prominent dealer, and but few were left in his hands.

A critic in the Studio of April, 1903, writing of the exhibition at the Ladies' Artists' Club, Glasgow, says: "Miss Louise Perman's rose pictures were as refined and charming as ever. This last-named lady certainly has a remarkable power of rendering the beauties of the queen of flowers, whether she chooses to paint the sumptuous yellow of the 'Marechal Niel,' the blush of the 'Katherine Mermet,' or the crimson glory of the 'Queen of Autumn.' She seems not only to give the richness of color and fulness of contour of the flowers, but to capture for the delight of the beholder the very spiritual essence of them." To the London Academy, 1903, she sent a picture called "York and Lancaster."



PERRIER, MARIE. Mention honorable at Salon des Artistes Francais, 1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition, 1900; numerous medals from foreign and provincial exhibitions; medals in gold and silver at Rouen, Nimes, Rennes, etc.; bronze medals at Amiens and Angers. Member of the Societe des Artistes Francais; perpetual member of the Baron Taylor Association, section of the Arts of Painting, etc. Born at Paris. Pupil of Benjamin Constant, Jules Lefebvre, and J. P. Laurens.

Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum; several pictures by her belonging to the city of Paris are scenes connected with the schools of the city—"Breakfast at the Communal School"; "After School at Montmartre" were at the Salon des Artistes Francais, 1903; others are "Manual Labor at the Maternal School," "Flowers," and "Recreation of the Children at the Maternal School." Of the last Gabriel Moury says, "It is one of the really good pictures in the Salon."

This artist decorated a villa near Nimes with four large panels representing the "Seasons," twelve small panels, the "Hours," and pictures of the labors of the fields, such as the gathering of grapes and picking of olives.

She has painted numerous portraits of children and a series of pictures illustrating the "Life of the Children of Paris." They are "Children at School and after School," "Children on the Promenade and Their Games," and "Children at Home."



PERRY, CLARA GREENLEAF. Member of the Copley Society. Born at Long Branch, New Jersey. Pupil of Boston Art Museum School, under Mr. Benson and Mr. Tarbell; in Paris pupil of M. Raphael Collin and Robert Henri.

Miss Perry has exhibited her portrait of Mrs. U. in the Salon of the Societe Nationale des Beaux-Arts and in Philadelphia. She paints landscapes and portraits.



PERRY, LILLA CABOT. Pupil in Boston of Dennis Bunker and Alfred Collins; in Paris of Alfred Stevens, Robert Fleury, Bouguereau, and Courtois; in Munich of Fritz von Uhde.

Mrs. Perry is essentially a portrait painter, but has painted landscapes, especially in Japan, where she spent some years. The scenery of Japan and its wonderfully beautiful Fuziyama would almost compel an artist to paint landscapes.

Mrs. Perry says that her pictures of French and Japanese types are, in fact, portraits as truly as are those she is asked to paint.

Her picture of a "Japanese Lacemaker" belongs to Mr. Quincy A. Shaw. It has been much admired in the exhibitions in which it has been seen.

In the Water-Color Exhibition of the Boston Art Club, 1903, Mrs. Perry's portrait of Miss S. attracted much attention. The delicate flesh tones, the excellent modelling of the features, and what may be called the whole atmosphere of the picture combine in producing an effective and pleasing example of portraiture.



PERUGINI, CATERINA E. An Italian painter living in London, where she frequently exhibits her excellent pictures. Among them are "A Siesta," "Dolce far Niente," "Multiplication," and portraits of Guy Cohn, son of Sir Guy Campbell, Bart., and of Peggy and Kitty Hammond, two charming children.

At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."



PERUGINI, MRS. KATE DICKENS. Younger daughter of Charles Dickens and wife of Charles Edward Perugini. This artist has exhibited at the Royal Academy and at other exhibitions since 1877. Her pictures are of genre subjects, such as the "Dolls' Dressmaker," "Little-Red-Cap," "Old Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring Flowers."

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PETERS, ANNA. Medals at Vienna, 1873; London, 1874; Munich, 1876; Amsterdam and Antwerp, 1877. Born at Mannheim, 1843. Pupil of her father, Pieter Francis Peters, in Stuttgart. Miss Peters travelled over Europe and was commissioned to decorate apartments in the royal castles at Stuttgart and Friedrichshafen.

Her picture of "Roses and Grapes" is in the National Gallery, London; and one of "Autumn Flowers" in the Museum at Stuttgart.



PILLINI, MARGHERITA. An Italian painter living in Paris. Her most successful exhibitions have been those at Rome, in 1883, when her "Silk-cocoon Carder of Quimper" and "Charity" appeared; and at Turin, in 1884, when "The Three Ages," "The Poor Blind Man," and a portrait of the Prince of Naples were shown, all exquisite in sentiment and excellent in execution. The "Silk-cocoon Carder of Quimper" has been thus noticed by De Rengis: "If I am not mistaken, Signora Margherita Pillini has also taken this road, full of modernity, but not free from great danger. Her 'Silk-cocoon Carder' is touched with great disdain for every suggestion of the old school. Rare worth—if worth it is—that a young woman should be carried by natural inclination into such care for detail."



PINTO-SEZZI, IDA. Silver medal at the Beatrice Exposition, Florence, 1890. Since 1882 pictures by this artist have been seen in various Italian exhibitions. In the Beatrice of that year she exhibited "Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted general attention at Venice in 1887.

This artist has also given some time to the decoration of terra-cotta in oil colors. An amphora decorated with landscape and figures was exhibited at the Promotrice in Florence in 1889 (?) and much admired.



POETTING, COUNTESS ADRIENNE. Born in Chrudim, Bohemia, 1856. The effect of her thorough training under Blass, Straschiripka, and Frittjof Smith is seen in her portraits of the Deputy-Burgomaster Franz Khume, which is in the Rathhaus, Vienna, as well as in those of the Princess Freda von Oldenburg and the writer, Bertha von Suttner. Her excellence is also apparent in her genre subjects, "In the Land of Dreams" being an excellent example of these.



POPERT, CHARLOTTE. Silver medal at the Beatrice, Florence, 1890. Born in Hamburg, 1848. Pupil in Weimar of the elder Preller and Carl Gherts; of P. Joris in Rome, and Bonnat in Paris. After extensive travels in the Orient, England, the Netherlands, and Spain, she established herself in Rome and painted chiefly in water-colors. Her "Praying Women of Bethlehem" is an excellent example of her art.

In 1883 she exhibited at Rome, "In the Temple at Bethlehem"; at Turin in 1884, "In the Seventeenth Century" and "The Nun"; at Venice in 1887, an exquisite portrait in water-colors.



POPPE-LUeDERITZ, ELIZABETH. Honorable mention, Berlin, 1891. For the second time only the Senate of the Berlin Academy conferred this distinction upon a woman. The artist exhibited two portraits, "painted with Holbein-like delicacy and truthfulness"—if we may agree with the critics.

This artist was born in Berlin in 1858, and was a pupil of Gussow. Her best pictures are portraits, but her "Sappho" and "Euphrosine" are excellent works.



POPP, BABETTE. Born in Regensburg, 1800; died about 1840. Made her studies in Munich. In the Cathedral of Regensburg is her "Adoration of the Kings."



POWELL, CAROLINE A. Bronze medal at Chicago, 1893; silver medal at Buffalo, 1901. Member of the Society of American Wood-Engravers and of the Boston Society of Arts and Crafts. Born in Dublin, Ireland. Pupil of W. J. Linton and Timothy Cole.



Miss Powell was an illustrator of the Century Magazine from 1880 to 1895. The engraving after "The Resurrection" by John La Farge, in the Church of St. Thomas, New York, is the work of this artist. She also illustrated "Engravings on Wood," by William M. Laffan, in which book her work is commended.

Miss Powell is now employed by Messrs. Houghton, Mifflin & Co., and writes me: "So far as I know, I am, at present, the only woman in America engaged in the practise of engraving as a fine art."



PRESTEL, MARIA CATHARINA; FAMILY NAME HOLL. Born in Nuremburg, 1747. Her husband, Johan Prestel, was her teacher, and she was of great assistance in the work which he produced at Frankfort-on-the-Main, in 1783. In 1786, however, she separated from him and went to London, where she devoted herself to aquatints. She executed more than seventy plates, some of them of great size.



PRESTEL, URSULA MAGDALENA. Born in Nuremburg. 1777-1845. Daughter of the preceding artist. She worked in Frankfort and London, travelled in France and Switzerland, and died in Brussels. Her moonlight scenes, some of her portraits, and her picture of the "Falls of the Rhine near Laufen," are admirable.



PREUSCHEN, HERMINE VON SCHMIDT; married name, Telman. Born at Darmstadt, 1857. Pupil of Ferdinand Keller in Karlsruhe. Travelled in Spain, France, Italy, the Netherlands, and Denmark. She remained some time in Munich, Berlin, and Rome, establishing her studio in these cities and painting a variety of subjects. Her flower pictures are her best works. Her "Mors Imperator" created a sensation by reason of its striking qualities rather than by intrinsic artistic merit. In the gallery at Metz is her picture of "Irene von Spilimberg on the Funeral Gondola."

In 1883 she exhibited in Rome, "Answered," a study of thistles; "In Autumn," a variety of fruits; and "Questions," a charming study of carnations. At Berlin, in 1890, "Meadow Saffron and Cineraria" was praised for its glowing color and artistic arrangement. A Viennese critic, the same year, lamented that an artist of so much talent should paint lifeless objects only. In Berlin, in 1894, she held an exhibition, in which her landscapes and flower pieces were better than her still-life pictures. Frau Preuschen is also a musician and poet.

The painting of flower pieces is a delightful art for man or woman, but so many such pictures which are by amateurs are seen in exhibitions—too good to be refused but not of a satisfactory quality—that one can scarcely sympathize with the critic who would have Mme. Preuschen paint other subjects than these charming blossoms, so exquisite in form and color, into which she paints so much delightful sentiment.



PUEHN, SOPHIE. Born at Nuremberg, 1864. This artist studied in Paris and Munich and resides in the latter city. At the International Exhibition, Vienna, 1894, her portrait of a "Lady Drinking Tea" was praised by the critics without exception, and, in fact, her portraits are always well considered. That she is also skilful in etching was shown in her "Forsaken," exhibited in 1896.



PUTNAM, SARAH GOOLD. Member of the Copley Society. Born in Boston. Pupil in Boston and New York of J. B. Johnston, F. Duveneck, Abbott Thayer, and William Chase; in Scheveningen, of Bart. J. Blommers; and in Munich, of Wilhelm Duerr.

Miss Putnam's portrait of Hon. John Lowell is in the District Court Room in Post-Office Building, Boston; that of William G. Russell, in the Law Library in the Court House, Pemberton Square, same city; that of General Charles G. Loring, for many years Director of Boston Museum of Fine Arts, belongs to his family; among her other portraits are those of Dr. Henry P. Bowditch, Francis Boott, George Partridge Bradford, Edward Silsbee, Mrs. Asa Gray, and Lorin Deland. In addition to the above she has painted more than one hundred portraits of men, women, and children, which belong to the families of the subjects.



PUYROCHE, MME. ELISE. Born in Dresden, 1828. Resided in Lyons, France, where she was a pupil of the fine colorist, Simon St. Jean. Mme. Puyroche excelled her master in the arrangement of flowers in her pictures and in the correctness of her drawing, while she acquired his harmonious color. Her picture called the "Tom Wreath," painted in 1850, is in the Dresden Gallery.



QUESTIER, CATHERINE. Born in Amsterdam. In 1655 she published two comedies which were illustrated by engravings of her own design and execution. She achieved a good reputation for painting, copper engraving, and modelling in wax, as well as for her writings.



RAAB, DORIS. Third-class medal, Nuremberg; also second-class medal, 1892. Born in Nuremberg, 1851. Pupil of her father, Johann Leonhard Raab, in etching and engraving. She has engraved many works by Rubens, Van Dyck, and Cuyp; among her plates after works of more recent artists are Piloty's "Death Warrant of Mary Stuart," Lindenschmidt's "In Thought," and Laufberger's "Hunting Fanfare." This artist resides in Munich.



RADOVSKA, BARONESS ANNETTA, of Milan. Her interesting genre pictures are seen in most of the Italian exhibitions. "Old Wine, Young Wife," was at Milan, 1881; in same city, 1883, "An Aggression," "The Visit," "The Betrothed." She also sent to Rome, in 1883, two pictures, one of which, "The Harem," was especially noteworthy. In 1884, at Turin, she exhibited "Tea" and the "Four Ages"; these, were excellent in tone and technique and attractive in subject. At Milan, 1886, her "Will He Arrive?" was heartily commended in the art journals.



RAE, HENRIETTA. See Normand, Mrs. Ernest



RAGUSA, ELEANORA. See O'Tama.



RAPIN, AIMEE. At the Swiss National Exposition, 1896, a large picture of a "Genevese Watchmaker" by this artist was purchased; By the Government and is in the Museum at Neuchatel. In 1903 the city of Geneva commissioned her to paint a portrait of Philippe Plantamour, which is in the Museum Mon-Repos, at Geneva. Member of the Societe des Beaux-Arts of Lausanne, Societe des Femmes peintres et sculpteurs de la Suisse romande, Societe de l'exposition permanente des Beaux-Arts, Geneva. Born at Payerne, Canton de Vaud. Studied at Geneva under M. Hebert and Barthelmy Menn, in painting; Hugues Bovy, modelling.



Mlle. Rapin writes me: "I am, above all, a portrait painter, and my portraits are in private hands." She names among others of her sitters, Ernest Naville, the philosopher; Raoul Pictet, chemist; Jules Salmson, sculptor, etc. She mentions that she painted a portrait of the present Princess of Wales at the time of her marriage, but as it was painted from photographs the artist has no opinion about its truth to life. Mlle. Rapin has executed many portraits of men, women, and children in Paris, London, and Germany, as well as in Switzerland. She refers me to the following account of herself and her art. In the Studio of April, 1903, R. M. writes: "The subject of these notes is a striking example of the compensations of Nature for her apparent cruelty; also of what the genuine artist is capable of achieving notwithstanding the most singular disadvantages. Some years ago in the little town of Payerne, Canton Vaud, a child was born without arms. One day the mother, while standing near a rose-bush with her infant in her arms, was astonished to observe one of its tiny toes clasp the stem of the rose. Little did she guess at the time that these prehensile toes were destined one day to serve an artist, in the execution of her work, with the same marvellous facility as hands. As the child grew up the greatest care was bestowed upon her education. She early manifested unmistakable artistic promise, and at the age of sixteen was sent to the Ecole des Beaux Arts, Geneva.... For reasons already mentioned Mlle. Rapin holds a unique position amongst that valiant and distinguished group of Swiss lady artists to whose work we hope to have the opportunity of referring.... She is a fine example of that singleness of devotion which characterizes the born artist. Her art is the all-absorbing interest of her life. It is not without its limitations, but within these limitations the artist has known how to be true to herself. Drawing her inspiration direct from nature, she has held on her independent way, steadily faithful to the gift she possesses of evoking a character in a portrait or of making us feel how the common task, when representative of genuine human effort and touched with the poetry of national tradition, of religion, and of nature, becomes a subject of noble artistic treatment. She has kept unimpaired that merveilleux frisson de sensibilite which is one of the most precious gifts of the artistic temperament, and which is quick to respond to the ideal in the real. There are some artists who, though possessed of extraordinary mastery over the materials of their art, bring to their work a spirit which beggars and belittles both art and life; there are others who seem to work with an ever-present sense of the noble purpose of their vocation and the pathos and dignity of existence. Mlle. Rapin belongs to the second category. Her 'L'Horloger' is an example of this. A Genevese watchmaker is bending to his work at a bench covered with tools. Through the window of the workshop one perceives in the blue distance Mont Saleve, and nearer the time-honored towers of the Cathedral of St. Pierre. Here is a composition dealing with simple life—a composition which, from the point of execution, color, and harmony of purpose, leaves little or nothing to be desired. But this is not all. It is, so to speak, an artistic resume of the life and history of the old city, and that strongly portrayed national type gathers dignity from his alliance with the generations who helped to make one of the main interests of the city, and from his relationship to that eventful past suggested by the Cathedral and the Mountain.

"Mlle. Rapin is unmistakably one of the best Swiss portraitists, working for the most part in pastels, her medium by predilection; she has at the same time modelled portraits in bas-relief. We are not only impressed by the intensely living quality of her work as a portraitist, but by the extraordinary power with which she has seized and expressed the individual character and history of each of her subjects."

Mlle. Rapin has exhibited her works with success in Paris, Munich, and Berlin. The few specimens of her bas-reliefs which I have seen prove that did she prefer the art of sculpture before that of painting, she would be as successful with her modelling tools as she has been with her brush.



RAPPARD, CLARA VON. Second-class medal, London. Born at Wabern, near Berne, 1857. After studying with Skutelzky and Dreber, she worked under Gussow in Berlin. She spent some time in travel, especially in Germany and Italy, and then, choosing Interlaken as her home, turned her attention to the illustration of books, as well as to portrait and genre painting. In the Museum at Freiburg is her "Point-lace-maker." A series of sixteen "Phantasies" by this artist has been published in Munich.



RATH, HENRIETTE. Honorary member of the Societe des Arts, 1801. Born in 1772, she died in 1856 at Genf, where, with her sister, she founded the Musee Rath. She studied under Isabey, and was well and favorably known as a portrait and enamel painter.



REAM, VINNIE. See Hoxie.



REDMOND, FRIEDA VOELTER. Medal at the Columbian Exhibition, Chicago. Member of the Woman's Art Club. Born in Thun, Switzerland. Studies made in Switzerland and in Paris. A painter of flowers and still-life.

"Mrs. Redmond is a Swiss woman, now residing in New York. She has exhibited her works in the Paris Salon, in the National Academy of Design, at the Society of American Artists' exhibitions, etc., and was awarded a medal at the World's Fair in Chicago. Her work is not only skilful and accurate in description and characterization; it is done with breadth and freedom, and given a quality of fine decorative distinction. Her subjects are roses, cyclamen, chrysanthemums, nasturtiums, double larkspurs, cinneraria, etc., and she makes each panel a distinct study in design, with a background and accessories of appropriate character. For example, the three or four large panels of roses painted at Mentone have a glimpse of the Mediterranean for background, and a suggestion of trellis-work for the support of the vine or bush; and in another rose panel we have a tipped-over Gibraltar basket with its luscious contents strewed about in artful confusion. The double larkspurs make very charming panels for decorative purposes. They are painted with delightful fulness of color and engaging looseness and crispness of touch."—Boston Transcript.



REGIS, EMMA. This Roman painter has given special attention to figures, and has executed a number of portraits, one of the best of which is that of the Marchioness Durazzo Pallavicini. She has exhibited some delightful work at Turin and at Rome, such as "The Lute-Player," "All is not Gold that Glitters," "Humanity," and "In illo Tempore?"

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REINHARDT, SOPHIE. Born at Kirchberg, 1775; died at Karlsruhe, 1843. Pupil of Becker. She travelled in Austro-Hungary and Italy. In the Kunsthalle at Karlsruhe is her picture of "St. Elizabeth and the Child John." Among her best works are "The Death of St. Catherine of Alexandria," "The Death of Tasso," and twelve illustrations for a volume of Hebel's poems.



REMY, MARIE. Born in Berlin, 1829. Daughter of Professor August Remy of the Berlin Academy. Pupil of her father, Hermine Stilke, and Theude Groenland. She travelled extensively in several European countries, making special studies in flowers and still-life, from which many of her water-colors were painted; twenty of these are in the Berlin National Gallery.



REUTER, ELIZABETH. Born in Lubeck, 1853. Pupil of Zimmermann in Munich, A. Schliecker in Hamburg, and of H. Eschke in Berlin. She also went to Duesseldorf to work in the Gallery there. Later she travelled in Scandinavia. Her best pictures are landscapes. Among them is a charming series of six water-colors of views in the park of Friedrichsruhe.



REVEST, CORNELIA LOUISA. Second-class medals in 1819 and 1831 in Paris. Born in Amsterdam, 1795; died in Paris, 1856. Pupil of Serangely and Vafflard in Paris. In 1814 she painted a "Magdalen at the Feet of Christ" for a church in Marseilles. She also painted many good portraits and a picture called "The Young Mother Playing the Mandolin."



RICHARD, MME. HORTENSE. Honorable mention, Exposition of 1889; third-class medal, 1892; silver medals at Antwerp and Barcelona, and gold medal in London. Born at Paris, 1860. Pupil of James Bertrand, Jules Lefebvre, and Bouguereau. Has exhibited regularly since 1875. Her picture of "Cinderella" is in the Museum of Poitiers; "At Church in Poitou" is in the Luxembourg. She has painted many portraits.



RICHARDS, ANNA MARY. Norman Dodge prize, National Academy, New York, 1890. Member of the '91 Art Club, London. Born at Germantown, Pennsylvania, 1870. Pupil of Dennis Bunker in Boston, H. Siddons Mowbray and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris, and always of her father, W. T. Richards.

Miss Richards' work is varied. She is fond of color when suited to her subject; she also works much in black and white. When representing nature she is straightforward in her rendering of its aspects and moods, but she also loves the "symbolic expression of emotion" and the so-called "allegorical subjects." The artist writes: "I simply work in the way that at the moment it seems to me fitting to work to express the thing I have in mind. Where the object of the picture is one sort of quality, I use the method that seems to me to emphasize that quality."

When but fourteen years old this artist exhibited at the National Academy, New York, a picture of waves, "The Wild Horses of the Sea," which was immediately sold and a duplicate ordered. In England Miss Richards has exhibited at the Academy, and her pictures have been selected for exhibitions in provincial galleries. Miss Richards is earnestly devoted to her art, and has in mind an end toward which she diligently strives—not to become a painter distinguished for clever mannerism, but "to attain a definite end; one which is difficult to reach and requires widely applied effort."

Judging from what she has already done at her age, one may predict her success in her chosen method. In February, 1903, Miss Richards and her father exhibited their works in the Noe Galleries. I quote a few press opinions.



"Miss Richards paints the sea well; she infuses interest into her figures; she has a love of allegory; her studies in Holland and Norway are interesting. Her 'Whitby,' lighted by sunset, with figures massed in the streets in dark relief against it, is beautiful. Her 'Friends,' showing two women watching the twilight fading from the summits of a mountain range, the cedared slopes and river valley below meantime gathering blueness and shadow, is of such strength and sweetness of fancy that it affects one like a strain of music."

"Miss Richards becomes symbolic or realistic by turn. Some of her figures are creatures of the imagination, winged and iridescent, like the 'Spirit of Hope.' Again, she paints good, honest Dutchmen, loafing about the docks. Sometimes she has recourse to poetry and quotes Emerson for a title.... If technically she is not always convincing, it is apparent that the artist is doing some thinking for herself, and her endeavors are in good taste."

Miss Richards has written "Letter and Spirit," containing fifty-seven "Dramatic Sonnets of Inward Life."

These she has illustrated by sixty full-page pictures. Of these drawings the eminent artist, G. F. Watts, says: "In imaginative comprehension they are more than illustrations; they are interpretations. I find in them an assemblage of great qualities—beauty of line, unity and abundance in composition, variety and appreciation of natural effects, with absence of manner; also unusual qualities in drawing, neither academical nor eccentric—all carried out with great purity and completeness."



RICHARDS, SIGNORA EMMA GAGIOTTI. Rome.

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RIES, THERESE FEODOROWNA. Bronze medal at Ekaterinburg; Karl Ludwig gold medal, Vienna; gold medal, Paris Exposition, 1900. Officer of the Academy. Born in Moscow. Pupil of the Moscow Academy and of Professor Hellmer, Vienna, women not being admitted to the Vienna Academy.

A critic in the Studio of July, 1901, who signs his article A. S. L., writes as follows of this remarkable artist: "Not often does it fall to the lot of a young artist to please both critic and public at the same time, and, having gained their interest, to continue to fill their expectations. But it was so with Feodorowna Ries, a young Russian artist who some eight months ago had never even had a piece of clay in her hand, but who, by dint of 'self,' now stands amongst the foremost of her profession. It was chance that led Miss Ries to the brush, and another chance which led her to abandon the brush for the chisel. Five years ago she was awarded the Carl Ludwig gold medal for her 'Lucifer,' and at the last Paris Exhibition she gained the gold medal for her 'Unbesiegbaren' (The Unconquerable).

"Miss Ries was born and educated in Moscow, but Vienna is the city of her adoption. She first studied painting at the Moscow Academy, her work there showing great breadth of character and power of delineation. At the yearly Exhibition in Moscow, held some five months after she had entered as a student, she took the gold medal for her 'Portrait of a Russian Peasant.' She then abandoned painting for sculpture, and one month later gained the highest commendations for a bust of 'Ariadne.' She then began to study the plastic art from life. Dissatisfied with herself, although her 'Somnambulist' gained a prize, Miss Ries left Moscow for Paris, but on her way stayed in Vienna, studying under Professor Hellmer. One year later, at the Vienna Spring Exhibition, she exhibited her 'Die Hexe.' Here is no traditional witch, though the broomstick on which she will ride through the air is en evidence. She is a demoniac being, knowing her own power, and full of devilish instinct. The marble is full of life, and one seems to feel the warmth of her delicate, powerfully chiselled, though soft and pliable limbs."

"'Die Unbesiegbaren' is a most powerful work, and stood out in the midst of the sculpture at Paris in 1900 with the prominence imparted by unusual power in the perception of the whole of a subject and the skill to render the perception so that others realize its full meaning. There are four figures in this group—men drawing a heavy freight boat along the shore by means of a towline passed round their bodies, on which they throw their weight in such a way that their legs, pressed together, lose their outline—except in the case of the leader—and are as a mass of power. They also pull on the line with their hands. The leader bends over the rope until he looks down; the man behind him raises his head and looks up with an appealing expression; the two others behind are exerting all their force in pulling on the rope, but have twisted the upper part of the body in order to look behind and watch the progress of their great burden. There is not the least resemblance of one to the other, either in feature or expression, and to me it would seem that the woman who had conceived and executed this group might well be content to rest on her laurels.

"But an artistic creator who is really inspired with his art and not with himself is never satisfied; he presses on and on—sometimes after he has expressed the best of his talent. This is not yet reached, I believe, by Miss Ries, and we shall see still greater results of her inspiration."

The Austrian Government commissioned this artist to execute the figure of a saint. One may well prophesy that there will be nothing conventional in this work. She has already produced a striking "Saint Barbara." Her portrait busts include those of Professor Wegr, Professor Hellmer, Mark Twain, Countess Kinsky, Countess Palffs, Baron Berger, and many others.



RIJUTINE, ELISA. A bronze and a gold medal at the Beatrice Exposition, Florence, 1890. Born in Florence, where she resides and devotes herself to painting in imitation of old tapestries. An excellent example of her work is in water-colors and is called "The Gardener's Children." In 1888 and 1889 she exhibited "The Coronation of Esther" and a picture of "Oleanders."



ROBERTS, ELIZABETH WENTWORTH.

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ROBINSON, MRS. IMOGENE MORRELL. Medals at the Mechanics' Fair, Boston, and at the Centennial Exhibition, Philadelphia, 1876. Born in Attleborough, Massachusetts. Pupil of Camphausen in Duesseldorf, and of Couture in Paris, where she resided several years. Among her important works are "The First Battle between the Puritans and Indians" and "Washington and His Staff Welcoming a Provision Train," both at Philadelphia. Mrs. Morrell continued to sign her pictures with her maiden name, Imogene Robinson.

A critic of the New York Evening Post said of her pictures at Philadelphia: "In the painting of the horses Mrs. Morrell has shown great knowledge of their action, and their finish is superb. The work is painted with great strength throughout, and its solidity and forcible treatment will be admired by all who take an interest in Revolutionary history.... In the drawing of the figures of Standish and the chief at his side, and the dead and dying savages, there is a fine display of artistic power, and the grouping of the figures is masterly.... In color the works are exceedingly brilliant."



ROBUSTI, MARIETTA. Born in Venice. 1560-1590. The parentage of this artist would seem to promise her talent and insure its culture. She was the daughter of Jacopo Robusti, better known as "Il Tintoretto," who has been called "the thunder of art," and who avowed his ambition to equal "the drawing of Michael Angelo and the coloring of Titian."

The portrait of Marietta Robusti proves her to have been justly celebrated for her beauty. Her face is sweet and gentle in expression. She was sprightly in manner and full of enthusiasm for anything that interested and attracted her; she had a good talent for music and a charming voice in singing.

Her father's fondness for her made him desire her constant companionship, and at times he permitted her to dress as a boy and share with him certain studies that she could only have made in this disguise. Tintoretto carefully cultivated the talents of his daughter, and some of the portraits she painted did her honor. That of Marco dei Vescovi first turned public attention to her artistic merits. The beard was especially praised and it was even said by good judges that she equalled her father. Indeed, her works were so enthusiastically esteemed by some critics that it is difficult to make a just estimate of her as an artist, but we are assured of her exquisite taste in the arrangement of her pictures and of the rare excellence of her coloring.

It soon became the fashion in the aristocratic circles of Venice to sit for portraits to this fascinating artist. Her likeness of Jacopo Strada, the antiquarian, was considered a worthy gift for the Emperor Maximilian, and a portrait of Marietta was hung in the chamber of his Majesty. Maximilian, Philip II. of Spain, and the Archduke Ferdinand, each in turn invited Marietta to be the painter of his Court.

Tintoretto could not be induced to be separated from his daughter, and the honors she received so alarmed him that he hastened to marry her to Mario Augusti, a wealthy German jeweller, upon the condition that she should remain at home.

But the Monarch who asks no consent and heeds no refusal claimed this daughter so beloved. She died at thirty, and it is recorded that both her father and her husband mourned for her so long as they lived. Marietta was buried in the Church of Santa Maria dell' Orto, where, within sight of her tomb, are several of her father's pictures.

Tintoretto painting his daughter's portrait after her death has been the subject of pictures by artists of various countries, and has lost nothing of its poetic and pathetic interest in the three centuries and more that have elapsed since that day when the brave old artist painted the likeness of all that remained to him of his idolized child.



ROCCHI, LINDA. Born in Florence; she resides in Geneva. Two of her flower pieces, in water-color, were seen at the Fine Arts Exposition, Milan, 1881. In 1883, also in Milan, she exhibited "A Wedding Garland," "Hawthorne," etc. The constantly increasing brilliancy of her work was shown in three pictures, flowers in water-colors, seen at the Milan Exposition, 1886. To Vienna, 1887, she sent four pictures of wild flowers, which were much admired.



ROCCO, LILI ROSALIA. Honorable mention, a bronze medal, and four silver medals were accorded this artist at the Institute of Fine Arts in Naples, where she studied from 1880 to 1886, and was also a pupil of Solari. Born in Mazzara del Vallo, Sicily, 1863. In 1886 she exhibited, at Naples, "Cari Fiori!" at Palermo, "Flora"; and in Rome, "A Sicilian Contadina." In 1888 her picture, "Spring," was exhibited in London. Two of her works were in the Simonetti Exposition, 1889, one being a marine view from her birthplace. She has painted many portraits, both in oils and water-colors, and has been appointed a teacher in at least two Government schools in Naples.



RODIANA, ONORATA. Was a contemporary of the saintly Caterina de Vigri, but was of quite another order of women. She had one quality which, if not always attractive, at least commands attention. She was unique, since we know of no other woman who was at the same time a successful artist and a valiant soldier!

Born in Castelleone, near Cremona, early in the fifteenth century, she was known as a reputable artist while still young, and was commissioned to decorate the palace of the tyrant, Gabrino Fondolo, at Cremona. The girlish painter was beautiful in person, frank and engaging in manner, and most attractive to the gentlemen of the tyrant's court.

One day when alone and absorbed in the execution of a wall-painting, a dissolute young noble addressed her with insulting freedom. She could not escape, and in the struggle which ensued she drew a dagger and stabbed her assailant to the heart.

Rushing from the palace, she disguised herself in male attire and fled to the mountains, where she joined a company of Condottieri. She soon became so good a soldier that she was made an officer of the band.

Fondolo raged as tyrants are wont to do, both on account of the murder and of the escape. He vowed the direst vengeance on Onorata if ever she were again in his power. Later, when his anger had cooled and he had no other artist at command who could worthily complete her decorations, he published her pardon and summoned her to return to his service.

Onorata completed her work, but her new vocation held her with a potent spell, and henceforth she led a divided life—never entirely relinquishing her brush, and remaining always a soldier.

When Castelleone was besieged by the Venetians, Onorata led her band thither and was victorious in the defence of her birthplace. She was fatally wounded in this action and died soon after, in the midst of the men and women whose homes she had saved. They loved her for her bravery and deeply mourned the sacrifice of her life.

Few stories from real life are so interesting and romantic as this, yet little notice has been taken of Onorata's talent or of her prowess, while many less spirited and unusual lives have been commemorated in prose and poetry.



RODRIGUEZ DE TORO, LUISA. Honorable mention, Madrid, 1856, for a picture of "Queen Isabel the Catholic Reading with Dona Beatriz de Galindo"; honorable mention, 1860, for her "Boabdil Returning from Prison."

Born in Madrid; a descendant of the Counts of Los Villares, and wife of the Count of Mirasol. Pupil of Carlos Ribera.



RONNER, MME. HENRIETTE. Medals and honorable mentions and elections to academies have been showered on Mme. Ronner all over Europe. The King of Belgium decorated her with the Cross of the Order of Leopold. Born in Amsterdam in 1821. The grandfather of this artist was Nicolas Frederick Knip, a flower painter; her father, Josephus Augustus Knip, a landscape painter, went blind, and after this misfortune was the teacher of his daughter; her aunt, for whom she was named, received medals in Paris and Amsterdam for her flower pictures. What could Henriette Knip do except paint pictures? Hers was a clear case of predestination!

At all events, almost from babyhood she occupied herself with her pencil, and when she was twelve years old her blind father began to teach her. Even at six years of age it was plainly seen that she would be a painter of animals. When sixteen she exhibited a "Cat in a Window," and from that time was considered a reputable artist.

In 1850 she was married and settled in Brussels. From this time for fifteen years she painted dogs almost without exception. Her picture called "Friend of Man" was exhibited in 1850. It is her most famous work and represents an old sand-seller, whose dog, still harnessed to the little sand-wagon, is dying, while two other dogs are looking on with well-defined sympathy. It is a most pathetic scene, wonderfully rendered.

About 1870 she devoted herself to pictures of cats, in which specialty of art she has been most important. In 1876, however, she sent to the Philadelphia Exposition a picture of "Setter Dogs." "A Cart Drawn by Dogs" is in the Museum at Hanover; "Dog and Pigeon," in the Stettin Museum; "Coming from Market" is in a private collection in San Francisco.

Mme. Ronner has invented a method of posing cats that is ingenious and of great advantage. To the uninitiated it would seem that one could only take the portrait of a sleeping cat, so untiring are the little beasts in their gymnastic performances. But Mme. Ronner, having studied them with infinite patience, proceeded to arrange a glass box, in which, on a comfortable cushion, she persuades her cats to assume the positions she desires. This box is enclosed in a wire cage, and from the top of this she hangs some cat attraction, upon which the creature bounds and shows those wonderful antics that the artist has so marvellously reproduced in her painting. Mme. Ronner has two favorite models, "Jem" and "Monmouth." The last name is classical, since the cat of Mother Michel has been made immortal.

Miss Winslow, in "Concerning Cats," says that "Mme. Ronner excels all other cat painters, living or dead. She not only infuses a wonderful degree of life into her little figures, but reproduces the shades of expression, shifting and variable as the sands of the sea, as no other artist of the brush has done. Asleep or awake, her cats look to the" felinarian "like cats with whom he or she is familiar. Curiosity, drowsiness, indifference, alertness, love, hate, anxiety, temper, innocence, cunning, fear, confidence, mischief, earnestness, dignity, helplessness—they are all in Mme. Ronner's cats' faces, just as we see them in our own cats."

It is but a short time ago that Mme. Ronner was still painting in Brussels, and had not only cats, but a splendid black dog and a cockatoo to bear her company, while her son is devoted to her. Her house is large and her grounds pleasant, and her fourscore years did not prevent her painting several hours a day, and, like some other ladies of whom we know, she was "eighty years young."

The editor of the Magazine of Art, M. H. Spielman, in an article on the Royal Academy Exhibition, 1903, writes: "What the dog is to Mr. Riviere, to Madame Ronner is the cat. With what unerring truth she records delightful kittenly nature, the feline nobility of haughty indifference to human approval or discontent, the subtlety of expression, and drawing of heads and bodies, the exact quality and tone of the fur, the expressive eloquence of the tail! With all her eighty years, Madame Ronner's hand, vision, and sensibility have not diminished; only her sobriety of color seems to have increased." Her pictures of this year were called "The Ladybird" and "Coaxing." To the Exhibition of the Beaux-Arts in Brussels, 1903, Mme. Ronner sent pictures of cats, full of life and mischief.



ROOSENBOOM, MARGARITE VOGEL. Second-class medal, Munich, 1892. Born in 1843 and died in 1896, near The Hague. She spent a large part of her life near Utrecht, devoting herself mainly to the painting of flowers. One of her works is in the Royal Museum at Amsterdam, and another in the Museum at Breslau.



ROPE, ELLEN M. This English sculptor executed four large panels for the Women's Building at the Chicago Exhibition. They represented Faith, Hope, Charity, and Heavenly Wisdom. They are now in the Ladies' Dwelling, Cherries Street, London. A "Memorial" by her is in Salisbury Cathedral. Her reliefs of children are, however, her best works; that of a "Boy on a Dolphin" is most attractive. "Christ Blessing Little Children" is charmingly rendered.

At the Academy, 1903, she exhibited a panel for an organ chamber, in low relief.



ROSA, ANIELLA DI. 1613-1649. A pupil in Naples of Stanzioni, who, by reason of her violent death, has been called the Neapolitan Sirani. She acquired a good reputation as a historical painter and doubtless had unusual talent, but as she worked in conjunction with Stanzioni and with her husband, Agostino Beltrano, it is difficult to speak of works entirely her own.

Two pictures that were acknowledged to be hers represented the birth and death of the Virgin; these were praised and were at one time in a church in Naples, but in a recent search for them I was unable to satisfy myself that the pictures I saw were genuine.

Another pupil in the studio of Stanzioni was the Beltrano whom Aniella married. He painted in fresco, Aniella in oils, and they were frequently employed together. The fine picture of San Biagio, in the church of Santa Maria della Sanita, was one of their joint works.

Their early married life was very happy, but Aniella was beautiful and Beltrano grew jealous; it is said without cause, through the influence of a woman who loved him and hated Aniella; and in spite of the efforts she made to merit her husband's confidence, his distrust of her increased. Her base rival, by her art and falsehood, finally succeeded in convincing Beltrano that Aniella was unworthy, and in his rage he fatally stabbed her, when, at thirty-six, she was in the prime of her beauty and talent. She survived long enough to convince her husband of her innocence and to pardon him for his crime, but he fled from Italy and lived the life of an outcast during ten years. He then returned to Naples, where after seven years, tormented by remorse, death came to his release.

Domenici generously praised the works of Aniella, and quoted her master, Stanzioni, as saying that she was the equal of the best painters of her time.



ROSALBA. See Carriera.



ROSSI, PROPERZIA DE. Born in Bologna. 1490-1530. This artist was the first woman to succeed as a sculptor whose works can still be seen. Pupil of Raimondi, she was more or less influenced by Tribolo. In the Church of San Petronio, in her native city, in the eleventh chapel, is a beautiful bas-relief of two angels, executed by Properzia. They are near Tribolo's "Ascension." A relief and a portrait bust in the same church are also ascribed to her.

Her first work in sculpture was a minute representation of the Crucifixion on a peach stone! The executioners, women, soldiers, and disciples were all represented in this infinitesimal space. She also inserted in a coat of arms a double-headed eagle in silver filigree; eleven peach stones on each side, one set representing eleven apostles with an article of the creed underneath, the other set eleven virgins with the name of a saint and her special attribute on each. Some of these intaglios are still in a private collection in Bologna.

At length Properzia saw the folly of thus belittling her talent, and when the facade of San Petronio was to be enriched with sculpture she asked for a share in the work and presented a bust she had made as a pledge of her ability; she was appointed to execute a portion of the decorations. She made a bas-relief, the subject being "Joseph and Potiphar's Wife," which Vasari called "a lovely picture, sculptured with womanly grace, and more than admirable."

By this time the jealousy of other artists was aroused, and a story was diligently repeated to the effect that Properzia loved a young nobleman who did not care for her, and that the above work, so much admired, represented her own passion. Albertini and other artists waged an absolute crusade against her, and so influenced the superintendents of the church that Properzia was obliged to leave the work and her relief was never put in place. Through mortification and grief her health failed, and she died when but forty years old.

In spite of her persecution she was known in all Italy, not only for her sculpture, but for her copper-plate engraving and etching. When Pope Clement VII. went to Bologna for the coronation of Charles V. he asked for Properzia, only to hear that she had been buried that very week.

Her story has been told by Vasari and other writers. She was handsome, accomplished in music, distinguished for her knowledge of science, and withal a good and orderly housewife. "Well calculated to awaken the envy, not of women only, but also of men." Canova ardently admired the work of Properzia that remained in his day, and esteemed her early death as one of the chief misfortunes to the advance of the fine arts in Italy.



ROTKY, BARONESS HANNA. Born at Czernowitz in 1857. She studied portrait painting under Blaas, Swerdts, and Trentino, and has worked principally in Vienna. Her portrait of Freiherr von Sterneck is in the Military Academy at Wiener-Neustadt.



RUDDER, MME. DE. This lady has made an art of her embroidery, and may be said to have revived this decorative specialty and to have equalled the ancient productions which are so beautiful and valuable. After her marriage to the well-known sculptor this gifted couple began their collaboration. M. P. Verneuil, in Brush and Pencil, November, 1903, writes: "The first result of this joint work was shown in 1894 at the Exposition Cercle pour l'Art, in the form of a panel, called 'The Eagle and the Swan.' It was exhibited afterward at the Secession in Vienna, where it was purchased by a well-known amateur and connoisseur. Other works were produced in succession, each more interesting than its predecessor. Not daunted by difficulties that would have discouraged the most ambitious and audacious craftswoman, Mme. de Rudder took for a subject 'The Fates,' to decorate a screen. Aside from the artistic interest attaching to this work, it is remarkable for another quality. The artist yielded to the instinctive liking that she had for useful art—she ornamented a useful article—and in mastering the technical difficulties of her work she created the new method called 're-embroidery.' For the dresses of her 'Fates' ancient silks were utilized for a background. Some of the pieces had moth-holes, which necessitated the addition of 'supplementary ornamental motives,' 'embroidered on cloth to conceal the defects.' The discovery of 're-embroidery' was the result of this enforced expedient.

"This screen, finished in 1896, was exhibited at the Cercle Artistique, Brussels, where the mayor, M. Buls, saw it. Realizing the possibilities of the method and the skill of the artist, he gave an order to Mme. de Rudder to decorate the Marriage Hall of the Hotel de Ville. This order was delivered in 1896. During this period Mme. de Rudder worked feverishly. About the same time that the order for the Hotel de Ville was given, she received from M. Van Yssendyck, architect of the Hotel Provincial in Ghent, a commission to design and embroider six large allegorical panels. One of them represented 'Wisdom' in the habiliments of Minerva, modernized, holding an olive branch. The five others were 'Justice,' holding a thistle, symbolizing law; 'Eloquence,' crowned with roses and holding a lyre; 'Strength,' bending an oak branch; 'Truth,' crushing a serpent and bearing a mirror and some lilies; and 'Prudence,' with the horn of plenty and some holly. These six panels are remarkable for the beautiful decorative feeling that suffuses their composition. The tricks of workmanship are varied, and all combine to give a wonderful effect. Contrary to the form of presenting the 'Fates,' all the figures are draped."

Her next important commission was for eight large panels, intended to decorate the Congo Free State department in the Brussels Exposition. These panels represent the "Triumph of Civilization over Barbarism," and are now in the Museum at Tervueren. They are curious in their symbols of fetichism, and have an attraction that one can scarcely explain. The above are but a part of her important works, and naturally, when not absorbed by these, Mme. de Rudder executes some smaller pieces which are marvels of patience in their exquisite detail.

Perhaps her panels of the "Four Seasons" may be called her chef-d'oeuvre. The writer quoted above also says:

"To Mme. de Rudder must be given the credit for the interpretation of work demanding large and varied decorative effect, while in the creation of true artistic composition she easily stands at the head of the limited coterie of men and women who have mastered this delicate and difficult art. She is a leader in her peculiar craft."



RUDE, MME. SOPHIE FREMIET. 1797-1867. Medal at Paris Salon, 1833. Born in Dijon. This artist painted historical and genre subjects as well as portraits. Her picture of the "Sleeping Virgin," 1831, and that of the "Arrest of the Duchess of Burgundy in Bruges," 1841, are in the Dijon Museum.



RUYSCH, RACHEL. The perfection of flower-painting is seen in the works of Rachel Ruysch. The daughter of a distinguished professor of anatomy, she was born at Amsterdam in 1664. She was for a time a pupil of William van Aelst, but soon studied from nature alone. Some art critics esteem her works superior to those of De Heem and Van Huysum. Let that be as it may, the pictures with which she was no doubt dissatisfied when they passed from her hand more than two centuries ago are greatly valued to-day and her genius is undisputed.

When thirty years old Rachel Ruysch married the portrait painter, Julian van Pool. She bore him ten children, but in the midst of all her cares she never laid her brush aside. Her reputation extended to every court of Europe. She received many honors, and was elected to the Academical Society at The Hague. She was received with distinguished courtesies on the two occasions when she visited Duesseldorf.



The Elector John of Pfalz appointed her painter at his court, and beyond paying her generously for her pictures, bestowed valuable gifts on her. The Elector sent several of her works to the Grand Duke of Tuscany and to other distinguished rulers of that day.

The advance of years in no wise dulled her powers. Her pictures painted when eighty years old are as delicately finished as those of many years earlier. She died when eighty-six, "respected by the great, beloved even by her rivals, praised by all who knew her."

The pictures by Rachel Ruysch are honorably placed in many public galleries; in those of Florence and Turin, as well as at Amsterdam, The Hague, Berlin, Dresden, Vienna, and Munich, they are much valued. Although these pictures are characterized by extreme delicacy of touch, softness, and lightness, this artist knew how so to combine these qualities as to impart an effect of strength to her painting. Her rendering of separate flowers was exquisite, and her roses, either by themselves or combined with other flowers, are especially beautiful. She painted fruits in perfection, and the insects and butterflies which she sometimes added are admirably executed.

The chief criticism that can be made of her pictures is that she was less skilful in the grouping of her flowers than in their painting. Many of her works are in private galleries, especially in Holland. They are rarely sold; in London, about thirty years ago, a small "Bouquet of Flowers with Insects" was sold for more than two thousand dollars, and is now of double that value.

Her pictures have the same clearness and individuality that are seen in her portrait, in which she has short hair, a simple low-cut dress, with a necklace of beads about the throat.



SALLES, ADELHEID. Born in Dresden, 1825; died in Paris, 1890. Pupil of Bernhard and Jacquand, she established her studio in Paris. Many of her works are in museums: "Elijah in the Desert," at Lyons; "The Legend of the Alyscamps," at Nimes; "The Village Maiden," at Grenoble; "Field Flowers," at Havre, etc. She also painted portraits and historical subjects, among which are "Psyche in Olympus," "The Daughters of Jerusalem in the Babylonian Captivity," and the "Daughter of Jairus."

She was a sister of E. Puyroche-Wagner.



SARTAIN, EMILY. Medal at Philadelphia Exhibition, 1876; Mary Smith prize at the Pennsylvania Academy for best painting by a woman, in 1881 and 1883. Born in Philadelphia, 1841. Miss Sartain has been the principal of the Philadelphia School of Design for Women since 1886.

She studied engraving under her father, John Sartain, and with Luminais in Paris. She engraved and etched book illustrations and numerous larger prints. She is also a painter of portraits and genre pictures, and has exhibited at the Salon des Beaux-Arts, Paris. Miss Sartain has been appointed as delegate from the United States to the International Congress on Instruction in Drawing to be held at Berne next August. Her appointment was recommended by the Secretary of the Interior, the United States Commissioner of Education, and Prof. J. H. Gore. Miss Sartain has also received letters from Switzerland from M. Leon Genoud, president of the Swiss Commission, begging her to accept the appointment.



SCHAEFER, MARIA. First-class medal, Bene-merenti, Roumania. Born in Dresden, 1854. Her first studies were made in Darmstadt under A. Noack; later she was a pupil of Budde and Bauer in Duesseldorf, and finally of Eisenmenger in Vienna. After travelling in Italy in 1879, she settled in Darmstadt. She made several beautiful copies of Holbein's "Madonna," one for the King of Roumania, and one as a gift from the city of Darmstadt to the Czarina Alexandra. Among her most excellent portraits are those of Friedrich von Schmidt and his son Henry. Several of her religious paintings ornament German churches: "St. Elizabeth" is at Biedenkopf, "Mary's Departure from the Tomb of Christ" is at Nierstein, and "Christ with St. Louis and St. Elizabeth" and a Rosary picture are in the Catholic church at Darmstadt.



SCHEFFER, CAROLINE. The daughter of Ary Lamme and wife of J. B. Scheffer was an artist in the last decades of the eighteenth century, but the special interest connected with her is the fact that she was the mother of Ary and Henry Scheffer. From her artistic standpoint she had an appreciation of what was needed for the benefit of her sons. She took them to Paris to study, devoted herself entirely to their welfare, and died in Paris in 1839.



SCHLEH, ANNA. Born in Berlin, 1833. Her principal studies were made in her native city under Schrader, although she went to Rome in 1868, and finally took up her residence there. She had, previous to her work in Rome, painted "The Marys at the Grave." Her later pictures include "The Citron-Vender" and a number of portraits for the Henkel family of Donnersmark.



SCHMITT-SCHENKH, MARIA. Born in Baden, 1837. She studied her art in Munich, Carlsruhe, and Italy. She established herself in Munich and painted pictures for churches, which are in Kirrlach, Mauer, Ziegelhausen, and other German towns. She also designed church windows, especially for the Liebfrauenkirche at Carlsruhe.



SCHUMANN, ANNA MARIA. Was called by the Dutch poets their Sappho and their Corneille. She was born in 1607, but as her family were Protestants and frequently changed their residence in order to avoid persecution, the place of her birth is unknown. When Anna Maria was eight years old, they went permanently to Utrecht.

This distinguished woman was one of the exceptions said to prove rules, for though a prodigy in childhood she did not become a commonplace or stupid woman. Learning was her passion and art her recreation. It is difficult to repeat what is recorded of her unusual attainments and not feel as if one were being misled by a Munchausen! But it would be ungracious to lessen a fame almost three centuries old.

We are told that Anna Maria could speak in Latin when seven years old, and translated from Seneca at ten. She acquired the Hebrew, Greek, Samaritan, Arabic, Chaldaic, Syriac, Ethiopian, Turkish, and Persian languages with such thoroughness that her admirers claim that she wrote and spoke them all. She also read with ease and spoke with finished elegance Italian, Spanish, English, and French, besides German and her native tongue.

Anna Maria Schurmann wrote verses in various languages, but the chief end which her exhaustive studies served was to aid her in theological research; in this she found her greatest satisfaction and deepest interest. She was respectfully consulted upon important questions by the scholars of different countries.

At the University of Utrecht an honorable place was reserved for her in the lecture-rooms, and she frequently took part in the learned discussions there. The professors of the University of Leyden paid her the compliment of erecting a tribune where she could hear all that passed in the lecture-room without being seen by the audience.

As an artist the Schurmann reached such excellence that the painter Honthorst valued a portrait by her at a thousand Dutch florins—about four hundred and thirty dollars—an enormous sum when we remember that the works of her contemporary, Albert Cuyp, were sold for thirty florins! and no higher price was paid for his works before the middle of the eighteenth century. A few years ago his picture, called "Morning Light," was sold at a public sale in London for twenty-five thousand dollars. How astonishing that a celebrated artist like Honthorst, who painted in Utrecht when Cuyp painted in Dort, should have valued a portrait by Anna Maria Schurmann at the price of thirty-three works by Cuyp! Such facts as these suggest a question regarding the relative value of the works of more modern artists. Will the judgments of the present be thus reversed in the future?

This extraordinary woman filled the measure of possibilities by carving in wood and ivory, engraving on crystal and copper, and having a fine musical talent, playing on several instruments. When it is added that she was of a lovable nature and attractive in manner, one is not surprised that her contemporaries called her "the wonder of creation."

Volsius was her friend and taught her Hebrew. She was intimately associated with such scholars as Salmatius and Heinsius, and was in correspondence with scholars, philosophers, and theologians regarding important questions of her time.

Anna Maria Schurmann was singularly free from egotism. She rarely consented to publish her writings, though often urged to do so. She avoided publicity and refused complimentary attentions which were urged upon her, conducting herself with a modesty as rare as her endowments.

In 1664, when travelling with her brother, she became acquainted with Labadie, the celebrated French enthusiast who preached new doctrines. He had many disciples called Labadists. He taught that God used deceit with man when He judged it well for man to be deceived; that contemplation led to perfection; that self-mortification, self-denial, and prayer were necessary to a godly life; and that the Holy Spirit constantly made new revelations to the human beings prepared to receive them.

Anna Maria Schurmann heard these doctrines when prostrated by a double sorrow, the deaths of her father and brother. She put aside all other interests and devoted herself to those of the Labadists. It is said that after the death of Labadie she gathered his disciples together and conducted them to Vivert, in Friesland. William Penn saw her there, and in his account of the meeting he tells how much he was impressed by her grave solemnity and vigorous intellect.

From this time she devoted her fortune to charity and died in poverty at the age of seventy-one. Besides her fame as an artist and a scholar, her name was renowned for purity of heart and fervent religious feeling. Her virtues were many and her few faults were such as could not belong to an ignoble nature.



SCUDDER, JANET. Medal at Columbian Exposition, 1893. Two of her medallion portraits are in the Luxembourg, Paris. Member of the National Sculpture Society, New York. Born in Terre Haute, Indiana. Pupil of Rebisso in Cincinnati, of Lorado Taft in Chicago, and of Frederic MacMonnies in Paris.

At the Chicago Exposition Miss Scudder exhibited two heroic-sized statues representing Illinois and Indiana. The portraits purchased by the French Government are of American women and are the first work of an American woman sculptor to be admitted to the Luxembourg. These medallions are in bas-relief in marble, framed in bronze. Casts from them have been made in gold and silver. The first is said to be the largest medallion ever made in gold; it is about four inches long.



To the Pan-American Exposition Miss Scudder contributed four boys standing on a snail, which made a part of the "Fountain of Abundance." She has exhibited in New York and Philadelphia a fountain, representing a boy dancing hilariously and snapping his fingers at four huge frogs round his pedestal. The water spurts from the mouths of the frogs and covers the naked child.

Miss Scudder is commissioned to make a portrait statue of heroic size for the St. Louis Exposition. She will no doubt exhibit smaller works there. Portraits are her specialty, and in these she has made a success, as is proved by the appreciation of her work in Paris.

A memorial figure in marble is in Woodlawn Cemetery, also a cinerary urn in stone and bronze; a bronze memorial tablet is in Union College. Miss Scudder also made the seal for the Bar Association of New York.



SEARS, SARAH C. Medal at Chicago, 1893; William Evans prize, American Water-Color Society, New York; honorable mention, Paris Exposition, 1900; bronze medal at Buffalo, 1901; silver medal at Charleston, South Carolina. Member of the New York Water-Color Club, Boston Art Students' Association, National Arts Club, Boston Water-Color Club. Born in Cambridge, Massachusetts. Pupil of Ross Turner, Joseph de Camp, Edmund C. Tarbell, and George de Forest Brush. Mrs. Sears has also studied by herself with the criticism of masters.

She paints portraits, figures, and flowers, and is much interested in the applied arts. Of her exhibition at the Boston Art Club, 1903, a critic writes: "Nothing could be more brilliant in point of color than the group of seven water-color pictures of a sunny flower-garden by Mrs. Sears. In these works pure and limpid color has been pushed to its extreme capacity, under full daylight conditions, with a splendor of brightness which never crosses the line of crudity, but holds the same relative values as we see in nature, the utmost force of local color courageously set forth and contrasted without apparent artifice, blending into an harmonious unity of tone. Two of these pictures are especially fine, with their cool backgrounds of sombre pines to set off the magnificent masses of flowers in the foreground."

At the exhibition of the Philadelphia Water-Color Club, 1903, the Press said: "These brilliant and overpowering combinations of color carry to a limit not before reached the decorative possibilities of flowers."

Mrs. Sears' honors have been awarded to her portraits.



SEIDLER, CAROLINE LUISE. Born in Jena, 1786; died in Weimar, 1866. Her early studies were made in Gotha with Doell; in 1811 she went to Dresden, where she became a pupil of G. von Kuegelgen; in 1817 Langer received her into his Munich studio; and between 1818 and 1823 she was in Italy, making special studies of Vanucci and Raphael. In 1823 she was appointed instructor of the royal princesses at Weimar, and in 1824 inspector of the gallery there, and later became court painter. Among her works are a portrait of Goethe, a picture of "Ulysses and the Sirens," and one of "Christ, the Compassionate," which is in the church at Schestadt, Holstein.



SERRANO Y BARTOLOME, JOAQUINA. Born in Fermoselle. Pupil in Madrid of Juan Espalter, of the School of Arts and Crafts, and of the School of Painting. She sent four pictures to the Exposition of 1876 in Madrid: the portrait of a young woman, a still-life subject, a bunch of grapes, and a "Peasant Girl"—the last two are in the Museum of Murcia. In 1878 she sent "A Kitchen Maid on Saturday," a study, a flower piece, and two still-life pictures; and in 1881 two portraits and some landscapes. Her portrait of the painter Fortuny, which belongs to the Society of Authors and Artists, gained her a membership in that Society. Two other excellent portraits are those of her teacher, Espalter, and General Trillo.



SEWELL, AMANDA BREWSTER. Bronze medal, Chicago, 1893; bronze medal, Buffalo, 1901; silver medal, Charleston; Clarke prize, Academy of Design, 1903. Member of the Woman's Art Club and an associate of National Academy of Design. Born in Northern New York. Pupil at Cooper Union under Douglas Volk and R. Swain Gifford, and of Art Students' League under William Chase and William Sartain; also of Julian's Academy under Tony Robert Fleury and Bouguereau, and of Carolus Duran.

Mrs. Sewell's "A Village Incident" is owned by the Philadelphia Social Art Club; "Where Roses Bloom" is in the Boston Art Club; portrait of Professor William R. Ware is in the Library of Columbia University. Her portrait of Amalia Kuessner will be exhibited and published.

Mrs. Sewell is the first woman to take the Clarke prize. She has been a careful student in the arrangement of portraits in order to make attractive pictures as well as satisfactory likenesses. Of the pictures she exhibited at the Academy of Design, winter of 1903, Charles H. Caffin writes:

"The portrait of Mrs. Charles S. Dodge, by Mrs. A. Brewster Sewell, is the finest example in the exhibition of pictorial treatment, the lady being wrapped in a brown velvet cloak with broad edges of brown fur, and seated before a background of dark foliage. It is a most distinguished canvas, though one may object to the too obvious affectation of the arrangement of the hands and of the gesture of the head—features which will jar upon many eyes and detract from the general handsomeness. The same lady sends a large classical subject, the 'Sacred Hecatomb,' to which the Clarke prize was awarded. It represents a forest scene lit by slanting sunlight, through which winds a string of bulls, the foremost accompanied by a band of youths and maidens with dance and song. The light effects are managed very skilfully and with convincing truth, and the figures are free and animated in movement, though the flesh tints are scarcely agreeable. It is a decorative composition that might be fitly placed in a large hall in some country house."



SEYDELMANN, APOLLONIE. Member of the Dresden Academy. Born at Trieste about 1768; died in Dresden, 1840. Pupil of J. C. Seydelmann, whom she married. Later she went to Italy and there studied miniature painting under Madame Maron.

She is best known for her excellent copies of old pictures, and especially by her copy of the Sistine Madonna, from which Mueller's engraving was made.



SHAW, ANNIE C. The first woman elected Academician in the Academy of Design, Chicago, 1876. Born at Troy, New York. Pupil of H. C. Ford. Landscape painter. Among her works are "On the Calumet," "Willow Island," "Keene Valley, New York," "Returning from the Fair," 1878, which was exhibited in Chicago, New York, and Boston. To the Centennial, Philadelphia, 1876, she sent her "Illinois Prairie."

"Returning from the Fair" shows a group of Alderney cattle in a road curving through a forest. At the time of its exhibition an art critic wrote: "The eye of the spectator is struck with the rich mass of foliage, passing from the light green of the birches in the foreground, where the light breaks through, to the dark green of the dense forest, shading into the brownish tints of the early September-tinged leaves. Farther on, the eye is carried back through a beautiful vista formed by the road leading through the centre of the picture, giving a fine perspective and distance through a leafy archway of elms and other forest trees that gracefully mingle their branches overhead, through which one catches a glimpse of deep blue sky. As the eye follows this roadway to its distant part the sun lights up the sky, tingeing with a mellow light the group of small trees and willows, contrasting beautifully with the almost sombre tones of the dense forest in the middle distance."



SHRIMPTON, ADA M. Has exhibited at the Royal Academy, Royal Institute of Water-Colors, British Artists, and principal provincial galleries in England and in Australia; also at the Paris Salon. Member of Society of Women Artists, London. Born in Old Alresford, Hampshire. Pupil of John Sparkes at South Kensington, and of Jean Paul Laurens and Benjamin Constant in Paris.