This artist has painted principally figure subjects, among which are "Cedric's Daughter," "Thoughts of Youth are Long Thoughts," "Dream of the Past," "Pippa Passes," "Dorothy's Bridesmaid's Dress," etc., etc. Recently she has devoted herself to portraits of ladies and children, in both oil and water-colors.



SIRANI, ELISABETTA. Has been praised as a woman and as an artist by Lanzi, Malvasia, Picinardi, and other writers until one must believe that in spite of the exaggeration of her personal qualities and her artistic genius, she was a singularly admirable woman and a gifted artist.

She was born in Bologna about 1640, and, like Artemisia Gentileschi, was the daughter of a painter of the school of Guido Reni, whose follower Elisabetta also became. From the study of her master she seems to have acquired the power to perceive and reproduce the greatest possible beauty with which her subjects could be invested.

She worked with such rapidity that she was accused of profiting by her father's assistance, and in order to refute this accusation it was arranged that the Duchess of Brunswick, the Duchess of Mirandola, Duke Cosimo, and others should meet in her studio, on which occasion Elisabetta charmed and astonished her guests by the ease and perfection with which she sketched in and shaded drawings of the subjects which one person after another suggested to her.

Her large picture of the "Baptism of Christ" was completed when the artist was but twenty years old. Malvasia gives a list of one hundred and twenty pictures executed by Elisabetta, and yet she was but twenty-five when her mysterious death occurred.

In the Pinacoteca of Bologna is the "St. Anthony Adoring the Virgin and Infant Jesus," by the Sirani, which is much admired; several other works of hers are in her native city. "The Death of Abel" is in the Gallery of Turin; the "Charity," in the Sciarra Palace in Rome; "Cupids" and a picture of "Martha and Mary," in the Vienna Gallery; an "Infant Jesus" and a picture called "A Subject after Guido" are in the Hermitage at Petersburg.

Her composition was graceful and refined, her drawing good, her color fresh and sweet, with a resemblance to Guido Reni in the half tones. She was especially happy in the heads of the Madonna and the Magdalene, imparting to them an expression of exalted tenderness.

Her paintings on copper and her etchings were most attractive; indeed, all her works revealed the innate grace and refinement of her nature.

Aside from her art the Sirani was a most interesting woman. She was very beautiful in person, and the sweetness of her temper made her a favorite with her friends, while her charming voice and fine musical talent added to her many attractions. Her admirers have also commended her taste in dress, which was very simple, and have even praised her moderation in eating! She was skilled in domestic matters and accustomed to rise at dawn to attend to her household affairs, not permitting her art to interfere with the more homely duties of her life. One writer says that "her devoted filial affection, her feminine grace, and the artless benignity of her manners rounded out a character regarded as an ideal of perfection by her friends."

It may be that her tragic fate caused an exaggerated estimate to be made of her both as a woman and an artist. The actual cause of her death is unknown. There have been many theories concerning it. It was very generally believed that she was poisoned, although neither the reason for the crime nor the name of its perpetrator was known.

By some she was believed to have been sacrificed to the same professional jealousy that destroyed Domenichino; others accepted the theory that a princely lover who had made unworthy proposals to her, which she had scorned, had revenged himself by her murder. At length a servant, Lucia Tolomelli, who had been a long time in the Sirani family, was suspected of having poisoned her young mistress, was arrested, tried, and banished. But after a time the father of Elisabetta, finding no convincing reason to believe her guilty, obtained her pardon.

Whatever may have been the cause of the artist's death, the effect upon her native city was overwhelming and the day of her burial was one of general mourning, the ceremony being attended with great pomp. She was buried beside Guido Reni, in the Chapel of Our Lady of the Rosary, in the magnificent Church of the Dominicans.

Poets and orators vied with each other in sounding her praises, and a book called "Il Penello Lagrimato," published at Bologna soon after her death, is a collection of orations, sonnets, odes, epitaphs, and anagrams, in Latin and Italian, setting forth the love which her native city bore to this beautiful woman, and rehearsing again and again her charms and her virtues.

In the Ercolani Gallery there is a picture of Elisabetta painting a portrait of her father. It is said that she also painted a portrait of herself looking up with a spiritual expression, which is in a private collection and seen by few people.



SMITH, JESSIE WILLCOX. Mary Smith prize, Pennsylvania Academy of Fine Arts, 1903. Member of the Plastic Club and a fellow of the Academy, Philadelphia. Born in Philadelphia, where she was a pupil of the Academy; also studied under Thomas Eakins, Thomas P. Anschutz, and Howard Pyle.

Miss Smith is essentially an illustrator and her work is seen in all the leading American magazines. "The Child's Calendar" is the work of this artist.



SONREL, MLLE. E. Honorable mention, Paris, 1893; third-class medal, 1895; bronze medal, Paris Exposition, 1900. At the Salon des Artistes Francais, 1902, she exhibited "Sybille" and "Monica"; in 1903, "The Dance of Terpsichore" and "Princesse Lointaine."

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SPANO, MARIA. Silver medal, Naples, 1859, for a picture of a "Contadina of Sorrento." Born in Naples, 1843. Pupil of her father, Raffaele Spano, under whose direction she made a thorough study of figure painting, the results of which are evident in her excellent portraits and historical subjects. She has also been greatly interested in landscape painting, in which she has been successful. "A Confidence" was bought by the Gallery at Capodimonte, and two of her pictures were acquired by the Provincial Council of Naples—a "Contadina," life size, and a "Country Farmyard." One of her best pictures is "Bice at the Castle of Rosate."



SPILIMBERG, IRENE DI. Born in Udina, 1540. Her family was of German origin and exalted position. She was educated in Venice with great care and all the advantages that wealth could command. She was much in the society of learned men, which she preferred before that of the world of fashion.

Titian was her roaster in painting. Lanzi and Rudolfi praised her as an artist, and her fame now rests on the testimony of those who saw her works rather than on the pictures themselves, some of which are said to be in private collections in Italy. Titian painted her portrait as a tribute to her beauty; Tasso celebrated her intellectual charm in a sonnet, and yet she was but nineteen years old when she died.

Twenty years later a collection of orations and poems was published, all of which set forth her attractions and acquirements, and emphasized the sadness of her early death and the loss that the world had suffered thereby. When one remembers how soon after death those who have done a life work are forgotten, such a memorial to one so young is worthy of note.



SPURR, GERTRUDE E. Associate member of Royal Canadian Academy and member of the Ontario Society of Arts. Born in Scarborough, England. Pupil of the Lambeth Art School in drawing, of E. H. Holder in painting, in England; also of George B. Bridgman in New York. This artist usually paints small pictures of rural scenery in England and Wales—little stone cottages, bridges, river and mountain scenes. "Castle Rock, North Devon," was exhibited at Buffalo, and is owned by Herbert Mason, Esq., of Toronto. "A Peep at Snowdon" and "Dutch Farm Door, Ontario," are in Montreal collections. Her works have been exhibited in London at the Royal Society of British Artists and the Society of Lady Artists, and have been sold from these exhibitions.

I quote from the Queen, in reference to one of Miss Spurr's London exhibitions: "We know of no more favorite sketching-ground in N. Wales for the artist than Bettws-y-coed. Every yard of that most picturesque district has been painted and sketched over and over again. The artist in this instance reproduces some of the very primitive cottages in which the natives of the principality sojourn. The play of light on the modest dwelling-places is an effective element in the cleverly rendered drawing now in the Society of Artists' Exhibition. Miss Spurr, the daughter of a Scarboro lawyer, commenced her art studies with Mr. E. H. Holder, in the winter painting dead birds, fruit, and other natural objects, and in summer spending her time on the coast or in the woods or about Rievaulx Abbey. Any remaining time to be filled up was occupied by attending the Scarboro School of Art under the instruction of Mr. Strange. In a local sketching club Miss Spurr distinguished herself and gained several prizes, and she has at length taken up her abode in the metropolis, where she has attended the Lambeth Schools, studying diligently both from casts and life."



STACEY, ANNA L. Honorable mention at Exhibition of Chicago Artists, 1900; Young Fortnightly Club prize, 1902; Martin B. Cahn prize, Exhibition at Art Institute, Chicago, 1902. Member of Chicago Society of Artists. Born in Glasgow, Missouri.

Pupil of Art Institute in Chicago. Paints portraits, figure subjects, and landscapes. The Cahn prize was awarded to the "Village at Twilight." "Florence" is owned by the Klio Club; "Trophies of the Fields," by the Union League Club, Chicago.

Recently Miss Stacey has painted a number of successful portraits.



STADING, EVELINA. Born in Stockholm. 1803-1829. She was a pupil of Fahlcrantz for a time in her native city, and then went to Dresden, where she made a thorough study and some excellent copies of the works of Ruisdael. In 1827 she went to Rome, making studies in Volzburg and the Tyrol en route. She painted views in Switzerland and Italy, and two of her landscapes are in the gallery in Christiania.



STANLEY, LADY DOROTHY. Member of the Ladies' Athenaeum Club. Born in London. Pupil of Sir Edward Poynter—then Mr. Poynter—and of M. Legros, at Slade School, University College, London; also of Carolus Duran and Henner in Paris.

Lady Stanley has exhibited at the Royal Academy, the new Gallery, at the English provincial exhibitions, and at the Salon, Paris.

Her picture, "His First Offence," is in the Tate National Gallery; "Leap Frog," in the National Gallery of Natal, Pietermaritzburg. Other pictures of hers are "A Water Nymph," "The Bathers," etc., which are in private galleries. "Leap Frog" was in the Academy exhibition, 1903.



STEBBINS, EMMA. 1815-1882. Born in New York. As an amateur artist Miss Stebbins made a mark by her work in black and white and her pictures in oils. After a time she decided to devote herself to sculpture. In Rome she studied this art and made her first success with a statuette of "Joseph." This was followed by "Columbus" and "Satan Descending to tempt Mankind." For Central Park, New York, she executed a large fountain, the subject being "The Angel of the Waters."



STEPHENS, MRS. ALICE BARBER. Mary Smith prize, 1890. Pupil of the Pennsylvania Academy of Fine Arts and of the Julian Academy, Paris. An illustrator whose favorite subjects are those of every-day home life—the baby, the little child, the grandmother in cap and spectacles, etc.

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STEVENS, EDITH BARRETTO. Two scholarships and a prize of one hundred dollars from the Art Students' League, of which she is a member. Born in Houston, Virginia, in 1878. Studied at Art Students' League and under Daniel C. French and George Gray Barnard.

Miss Stevens mentions as her principal works "A Candlestick Representing a Girl Asleep under a Poppy," "Figure of Spring," and the "Spirit of Flame."

Miss Stevens is one of the women sculptors who have been selected to share in the decoration of the buildings for the St. Louis Exposition. She is to make two reclining figures on the pediment over the main entrance to the Liberal Arts Building. She has in her studio two reclining figures which will probably serve to fulfil this commission.

Miss Stevens is modest about her work and does not care to talk much about this important commission, even suggesting that her design may not be accepted; if she is successful it will certainly be an unusual honor for a woman at her age, whose artistic career covers less than five years.



STEVENS, MARY. Bronze medal at the Crystal Palace. Member of the Dudley Gallery, London. Born at Liverpool. Pupil of William Kerry and of her husband, Albert Stevens, in England, and of the Julian Academy, Paris.

Mrs. Stevens' pictures were well considered when she exhibited a variety of subjects; of late, however, she has made a specialty of pictures of gardens, and has painted in many famous English and French gardens, among others, those of Holland House, Warwick Castle, and St. Anne's, Dublin. In France, the gardens of the Duchesse de Dino and the Countess Foucher de Careil.

Mrs. Stevens—several of whose works are owned in America—has commissions to paint in some American gardens and intends to execute them in 1904.



STILLMAN, MARIE SPARTALI. Pupil of Ford Madox Brown. This artist first exhibited in public at the Dudley Gallery, London, in 1867, a picture called "Lady Pray's Desire." In 1870 she exhibited at the Royal Academy, "Saint Barbara" and "The Mystic Tryst." In 1873 she exhibited "The Finding of Sir Lancelot Disguised as a Fool" and "Sir Tristram and La Belle Isolde," both in water-colors. Of these, a writer in the Art Journal said: "Mrs. Stillman has brought imagination to her work. These vistas of garden landscape are conceived in the true spirit of romantic luxuriance, when the beauty of each separate flower was a delight. The figures, too, have a grace that belongs properly to art, and which has been well fitted to pictorial expression. The least satisfactory part of these clever drawings is their color. There is an evident feeling of harmony, but the effect is confused and the prevailing tones are uncomfortably warm."

W. M. Rossetti wrote: "Miss Spartali has a fine power of fusing the emotion of her subject into its color and of giving aspiration to both; beyond what is actually achieved one sees a reaching toward something ulterior. As one pauses before her work, a film in that or in the mind lifts or seems meant to lift, and a subtler essence from within the picture quickens the sense. In short, Miss Spartali, having a keen perception of the poetry which resides in beauty and in the means of art for embodying beauty, succeeds in infusing that perception into the spectator of her handiwork."

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STOCKS, MINNA. Born in Scheverin, 1846. Pupil of Schloepke in Scheverin, Stiffeck in Berlin, E. Bosch in Duesseldorf, and J. Bauck in Munich. Her "Lake of Scheverin" is in the Museum of her native city.

Her artistic reputation rests largely on her pictures of animals. She exhibits at the Expositions of the Society of Women Artists, Berlin, and among her pictures seen there is "A Journey through Africa," which represents kittens playing with a map of that country. It was attractive and was praised for its artistic merit. In fact, her puppies and kittens are most excellent results—have been called masterpieces—of the most intimate and intelligent study of nature.

Among her works are "A Quartet of Cats," "The Hostile Brothers," and "The Outcast."



STOKES, MARIANNA. Honorable mention at Paris Salon, 1884; gold medal in Munich, 1890; medal at Chicago in 1893. Member of the Society of Painters in Tempera. Born in Graz-Styria. Pupil of Professor W. von Lindenschmit in Munich, of M. Dagnan Bouveret and M. Courtois in Paris.

Her picture, "A Parting," is in the Liverpool Gallery; "Childhood's Wonder," in the Nottingham Gallery; "Aucassin and Nicolette," in the Pittsburg Gallery, etc.

Mrs. Stokes writes me that she has taken great interest in the revival of tempera painting in recent years. In reviewing the exhibition in the New Gallery, London, the Spectator of May 2, 1903, speaks of the portraits by Mrs. Stokes as charming, and adds: "They are influenced by the primitive painters, but in the right way. That is, the painter has used a formal and unrealistic style, but without any sacrifice of artistic freedom." Of a portrait of a child the same writer says: "It would be difficult to imagine a happier portrait of a little child,... and in it may be seen how the artist has used her freedom; for although she has preserved a primitive simplicity, the sky, sea, and windmill have modern qualities of atmosphere. The picture is very subtle in drawing and color, and the sympathy for child-life is perfect, seen as it is both in the hands and in the eyes.

"Another portrait by the same artist is hung on a marble pillar at the top of the stairs leading up to the balcony. The admirable qualities of decoration are well shown by the way it is hung.... Is a fine piece of strong and satisfactory color, but the decorative aspect in no way takes precedence of the portraiture. We think of the man first and the picture afterward."

At the Academy, in 1903, Mrs. Stokes exhibited a portrait of J. Westlake, Esq., K.C.



STORER, MRS. MARIA LONGWORTH. Gold medal at Paris Exposition, 1900. Born in Cincinnati, Ohio. Pupil of the Cincinnati Art School, which her father, Joseph Longworth, endowed with three hundred thousand dollars.

After working four years, making experiments in clay decoration at the Dallas White Ware Pottery, Mrs. Storer, "who had the enthusiasm of the artistic temperament coupled with fixity of purpose and financial resources,... had the courage to open a Pottery which she called Rookwood, the name of her father's place on the hills beyond. This was in 1880."

Nine years later this pottery had become self-supporting, and Mrs. Storer then dissolved her personal association with it, leaving it in charge of Mr. William Watts Taylor, who had collaborated with her during six years.

At the Paris Exposition Mrs. Storer exhibited about twenty pieces of pottery mounted in bronze—all her own work. It was an exquisite exhibition, and I was proud that it was the work of one of my countrywomen.

In 1897 Mr. Storer was appointed United States minister to Belgium, and Mrs. Storer took a Japanese artist, Asano, to Brussels, to instruct her in bronze work. Two years later Mr. Storer's mission was changed to Spain, and there Mrs. Storer continued, under Asano's guidance, her work in bronze, some of the results being seen in the mounting of her pottery.

At present Mr. Storer is our Ambassador to Austria, and Mrs. Storer writes me that she hopes to continue her work in bronze in Vienna.

In the summer of 1903 Mrs. Storer was in Colorado Springs, where she was much interested in the pottery made by Mr. Van Briggle. She became one of the directors of the Van Briggle Pottery Company, and encouraged the undertaking most heartily.



STUMM, MAUD. Born in Cleveland, Ohio. Pupil of Art Students' League under Kenyon Cox and Siddons Mowbray, and of Oliver Merson in Paris, where her painting was also criticised and approved by Whistler. Her earliest work was flower painting, in which she gained an enviable reputation.

In Paris she began the study of figure painting, and her exhibition at the Salon was favorably received, the purity and brilliancy of her coloring being especially commended.

Several of Miss Stumm's pictures are well known by reproductions. Among these is the "Mother and Child," the original of which is owned by Mr. Patterson, of the Chicago Tribune. Her calendars, too, are artistic and popular; some of these have reached a sale of nearly half a million.

A series of studies of Sarah Bernhardt, in pastel, and a portrait of Julia Marlowe are among her works in this medium. Many of her figure subjects, such as "A Venetian Matron" and "A Violinist," are portraits, not studies from professional models.

This artist has painted an unusual variety of subjects, but is ambitious in still another department of painting—decorative art—in which she believes she could succeed.

Her works are seen in the exhibitions of the Society of American Artists and of the American Water-Color Society.



SWOBODA, JOSEPHINE. Born in Vienna, 1861. Pupil of Laufberger and I. V. Berger. This portrait artist has been successful and numbers among her subjects the Princess Henry of Prussia, the late Queen of England, whose portrait she painted at Balmoral in 1893, the Minister Bauhaus, and several members of the royal house of Austria. The portrait of Queen Victoria was exhibited at the Water-Color Club, Vienna.

She also paints charming miniatures. Her pictures are in both oil and water-colors, and are praised by the critics of the exhibitions in which they are seen.



SWOPE, MRS. KATE. Honorable mention at National Academy of Design, 1888; honorable mention and gold medal, Southern Art League, 1895; highest award, Louisville Art League, 1897. Member of Louisville Art League. Born in Louisville, Kentucky. Pupil of Edgar Ward and M. Flagg in New York, and later of B. R. Fitz.

Mrs. Swope devotes herself almost entirely to sacred subjects. The pictures that have been awarded medals are Madonnas. She prefers to paint her pictures out of doors and in the sunlight, which results in her working in a high key and, as she writes, "in tender, opalescent color."

One of her medal pictures is the "Head of a Madonna," out of doors, in a hazy, blue shadow, against a background of grapevine foliage. The head is draped in white; the eyes are cast down upon the beholder. A sun spot kisses the white draperies on the shoulder. It is a young, girlish face, but the head is suggestive of great exaltation.

A second picture which received an award was a "Madonna and Child," out of doors. The figure is half life size. Dressed in white, the Madonna is stretched at full length upon the grass. Raised on one arm, she gazes into the face of the infant Christ Child.

Mrs. Swope has had success in pastel, in which, not long since, she exhibited a "Mother and Child," which was much admired. The mother—in an arbor—held the child up and reverently kissed the cheek. It was called "Love," and was exhibited in New York, Philadelphia, and Chicago.

Mrs. Swope's most ambitious work—five by three feet in size—represents an allegorical subject and is called "Revelation."



SUES, MLLE. LEA. Three silver medals from the School of Arts, Geneva; diploma of honor at the National Swiss Exposition, 1896. Member of l'Athenee, Geneva. Born at Genoa and studied there under Professors Gillet, Poggy, and Castan.

This artist paints landscapes, Swiss subjects principally. Her pictures of Mont Blanc and Chamounix are popular and have been readily sold. They are in private collections in several countries, and when exhibited have been praised in German and French as well as in Swiss publications.



SYAMOUR, MME. MARGUERITE. Honorable mention, 1887; bronze medal at Exposition at Lyons. Born at Brery, 1861. Pupil of Mercie. Her principal works are a plaster statue, "New France," 1886, in the Museum of Issoudun; a statue of Voltaire; a plaster statue, "Life"; a plaster group, the "Last Farewells"; a statue of "Diana," in the Museum of Amiens; a great number of portrait busts, among them those of Jules Grevy, Flammarion, J. Claretie, etc.

At the Salon, Artistes Francais, 1902, this artist exhibited a "Portrait of M. G. L.," and in 1904 "A Vision" and "La Dame aux Camelias."



TAYLOR, ELIZABETH V. Sears prize, Boston Art Museum; bronze medal, Nashville Exposition, 1897. Member of the Copley Society, Boston. Pupil of E. C. Tarbell and Joseph de Camp in the School of the Museum of Fine Arts, Boston.

This artist paints portraits in miniature and in life size. Her works are numerous and have been seen in many exhibitions.



THAULOW, MME. ALEXANDRA. Wife of the great Scandinavian painter. This lady is an artist in bookbinding and her work is much admired. A writer, H. F., says, in the Studio, December, 1903: "When the exhibition of bookbinding was held some time ago at the Musee Galliera, Madame Thaulow's showcase attracted attention by its variety and its grace. The charm of these bindings lies in the fact that they have none of the massive heaviness of so many productions of this kind. One should be able to handle a book with ease, and not be forced to rest content with beholding it displaying its beauties behind glass or on the library shelf; and Madame Thaulow understood this perfectly when she executed the bindings now reproduced here. But these bindings are interesting not only from the standpoint of their utility and intelligent application; their ornamentation delights one by its graceful interpretation of Nature, rendered with a very special sense of decoration; moreover, the coloring of these mosaics of leather is restrained and fresh, and the hollyhocks and the hortensias, the bunches of mistletoe and the poppies, which form some of her favorite motifs, go to make up a delicious symphony."



THEVENIN, MARIE ANNE ROSALIE. Medals at the Salons of 1849, 1859, 1861. Born at Lyons. Pupil of Leon Cogniet. Portrait and figure painter. Among her pictures the following are noticeable: "Flora McIvor and Rose Bradwardine," 1848; "Portrait of Abbe Jacquet," 1859; "Portrait of a Lady," 1861.



THOMAS-SOYER, MME. MATHILDE. Honorable mention, 1880; third-class medal, 1881; bronze medal, Exposition, 1889. Born at Troyes, 1859. Pupil of Chapu and Cain. The principal works of this sculptor are: "A Russian Horse"; "Lost Dogs"; "Russian Greyhounds"; "Huntsmen and a Poacher," in the Museum of Semur; "Combat of Dogs," purchased by the Government; "Cow and Calf," in the Museum of Nevers; "Stag and Bloodhound," in the Museum of Troyes, etc.

At the Salon, Artistes Francais, 1902, Mme. Thomas-Soyer exhibited "An Irish Setter and a Laverock," and in 1903 "Under the White Squall."



THORNYCROFT, MARY. Born 1814; died 1895. Daughter of John Francis, the sculptor, whose pupil she was. This artist exhibited at the Royal Academy when very young. Her first important work was a life-size figure called "The Flower-Girl." In 1840 she married Thomas Thornycroft, and went to Rome two years later, spending a year in study there. Queen Victoria, after her return, commissioned her to execute statues of the royal children as the Four Seasons. These were much admired when exhibited at the Academy. Later she made portrait statues and busts of many members of the royal family, which were also seen at the Academy Exhibition.

In his "Essays on Art," Palgrave wrote: "Sculpture has at no time numbered many successful followers among women. We have, however, in Mrs. Thornycroft, one such artist who, by some recent advance and by the degrees of success which she has already reached, promises fairly for the art. Some of this lady's busts have refinement and feeling."



THURBER, CAROLINE NETTLETON. Born in Oberlin, Ohio. Pupil of Howard Helmick in Washington, and of Benjamin Constant and Jean Paul Laurens in Paris.

In 1898 Mrs. Thurber took a studio in Paris, where her first work was the portrait of a young violinist, which was exhibited in the Salon of the following spring. This picture met with immediate favor with the public, the art critics, and the press. The Duchess of Sutherland, upon seeing it, sent for the artist and arranged for a portrait of her daughter, which was painted the following autumn while Mrs. Thurber was a guest at Dunrobin Castle. This portrait was subsequently exhibited in London and Liverpool.

Mrs. Thurber has painted portraits of many persons of distinction in Paris, among them one of Mlle. Ollivier, only daughter of Emile Ollivier, president of the Academie Francaise. Monsieur Ollivier, in a personal note to the artist, made the following comment upon the portrait of his daughter: "How much I thank you for the portrait of my daughter; it lives, so powerfully is it colored, and one is tempted to speak to it." Mrs. Thurber is an exhibitor in the Salon, Royal Academy, and New Gallery, London, and other foreign exhibitions, as well as in those of this country.

She now has a studio in the family home at Bristol, Rhode Island, on Narragansett Bay, where she works during half the year. In winter she divides her time among the larger cities as her orders demand. While Mrs. Thurber's name is well known through her special success in the portraiture of children, she has painted many prominent men and women in Chicago, New York, Philadelphia, Washington, and New England.

Among her later portraits are those of Mrs. James Sullivan, one of the lady commissioners of the St. Louis Exposition; Lieut.-Gen. Nelson A. Miles; Albert, son of Dr. Shaw, editor of the Review of Reviews; Mrs. A. A. F. Johnston, former Dean of Oberlin College; Augustus S. Miller, mayor of Providence; Hon. L. F. C. Garvin, governor of Rhode Island; and Judge Austin Adams, late of the Supreme Court of Iowa.



THURWANGER, FELICITE CHASTANIER. This remarkable artist, not long since, when eighty-four years old, sent to the exhibition at Nice—which is, in a sense, a branch of the Paris Salon—three portraits which she had just finished. "They were hung in the place of honor and unanimously voted to belong to the first class."

Mme. Thurwanger was the pupil of Delacroix during five years. The master unconsciously did his pupil an injury by saying to her father: "That daughter of yours is wonderfully gifted, and if she were a man I would make a great artist of her." Hearing this, the young artist burst into tears, and her whole career was clouded by the thought that her sex prevented her being a really great artist, and induced in her an abnormal modesty. This occurred about forty-five years ago; since then we have signally changed all that!

Delacroix, who was an enthusiast in color, was the leader of one school of his time, and was opposed by Ingres, who was so wanting in this regard that he was accused of being color-blind.

Mme. Thurwanger had a curious experience with these artists. When but seventeen she was commissioned by the Government to copy a picture in the Louvre. One morning, when she was working in the Gallery, Ingres passed by and stopped to look at her picture. He examined it carefully, and with an expression of satisfaction said: "I am so very glad to see that you have the true idea of art! Remember always that there is no color in Nature; the outline is all; if the outline is good, no matter about the coloring, the picture will be good."

This story would favor the color-blind theory, as Ingres apparently saw color neither in the original nor the copy.

An hour later Delacroix came to watch the work of his pupil, and after a few minutes exclaimed: "I am so happy, my dear girl, to see that you have the true and only spirit of art. Never forget that in Nature there is no line, no outline; everything is color!"

In 1852 Mme. Thurwanger was in Philadelphia and remained more than two years. She exhibited her pictures, which were favorably noticed by the Philadelphia Enquirer. In July of the above year her portraits were enthusiastically praised. "Not a lineament, not a feature, however trivial, escapes the all-searching eye of the artist, who has the happy faculty of causing the expression of the mind and soul to beam forth in the life-like and speaking face."

In October, 1854, her picture of a "Madonna and Child" was thus noticed by the same paper: "For brilliancy, animation, maternal solicitude, form, grace, and feature, it would be difficult to imagine anything more impressive. It is in every sense a gem of the pictorial art, while the execution and finish are such as genius alone could inspire."



TIRLINKS, LIEWENA. Born in Bruges, a daughter of Master Simon. This lady was not only esteemed as an artist in London, but she won the heart of an English nobleman, to whom she was given in marriage by Henry VIII. Her miniatures were much admired and greatly in fashion at the court. Some critics have thought the Tirlinks to be the same person with Liewena Bennings or Benic, whose story, as we know it, is much the same as the above.



TORMOCZY, BERTHA VON. Diploma of honor, Budapest and Agram. Born at Innspruck, 1846. Pupil of Hausch, Her, and Schindler. Among her pictures are "Girl in the Garden," "Blossoming Meadows," "Autumn Morning," and a variety of landscapes.



TORO, PETRONELLA. A painter of miniatures on ivory which have attained distinction. Among those best known are the portraits of the Prince of Carignano, Duke Amadeo, and the Duchess d'Aosta with the sons of the Prince of Carignano. She has painted a young woman in an antique dress and another in a modern costume. Her works are distinguished by firmness of touch and great intelligence. She has executed some most attractive landscapes.



TREU, OR TREY, KATHARINA. Born at Bamberg. 1742-1811. A successful painter of flowers and still-life. Her talent was remarkable when but a child, and her father, who was her only master, began her lessons when she was ten years old. When still young she was appointed court painter at Mannheim, and in 1776 was made a professor in the Academy at Duesseldorf. Her pictures are in the Galleries of Bamberg and Carlsruhe, and in the Darmstadt and Stuttgart Museums.



URRUTIA DE URMENETA, ANA GERTRUDIS DE. Member of the Academy of Fine Arts, Cadiz, 1846. Born in Cadiz. 1812-1850. She began the study of drawing with Javier, and after her marriage to Juan Jose de Urmeneta, professor of painting and sculpture and director of the Cadiz Academy, continued her work under his direction. A "St. Filomena" and "Resurrection of the Body," exhibited in 1846, are among her best pictures. Her "St. Jeronimo" is in the new cathedral at Cadiz, and the Academy has shown respect to her memory by placing her portrait in the room in which its sessions are held.



VIANI, MARIA. Born at Bologna. 1670-1711. I find no reliable biographical account of this artist, whose name appears in the catalogue of the Dresden Gallery as the painter of the "Reclining Venus, lying on a blue cushion, with a Cupid at her side."



VERELST, MARIAN. Born in 1680. This artist belonged in Antwerp and was of the celebrated artistic family of her name. She was a pupil of her father, Hermann, and her uncle, Simon Verelst. She became famous for the excellent likenesses she made and for the artistic qualities of her small portraits.

Like so many other artists, she was distinguished for accomplishments outside her art. She was a fine musician and a marvel in her aptitude in acquiring both ancient and modern languages. A very interesting anecdote is related of her, as follows: When in London, one evening at the theatre she sat near six German gentlemen, who expressed their admiration of her in the most flattering terms of their language, and at the same time observed her so closely as to be extremely rude. The artist, in their own tongue, remarked that such extravagant praise was the opposite of a compliment. One of them repeated his words in Latin, when she again replied in the same language. The strangers then asked her if she would give them her name. This she did and further told them that she lived with her uncle, Simon Verelst. In the end she painted the portrait of each of these men, and the story of their experience proved the reason for the acquaintance of the artist being sought by people of culture and position. Walpole speaks in praise of her portraits and also mentions her unusual attainments in languages.



VIGEE, MARIE LOUISE ELIZABETH. Member of the French Academy. Born in Paris in 1755. That happy writer and learned critic, M. Charles Blanc, begins his account of her thus: "All the fairies gathered about the cradle of Elizabeth Vigee, as for the birth of a little princess in the kingdom of art. One gave her beauty, another genius; the fairy Gracious offered her a pencil and a palette. The fairy of marriage, who had not been summoned, told her, it is true, that she should wed M. Le Brun, the expert in pictures—but for her consolation the fairy of travellers promised her that she should bear from court to court, from academy to academy, from Paris to Petersburg, and from Rome to London, her gayety, her talent, and her easel—before which all the sovereigns of Europe and all those whom genius had crowned should place themselves as subjects for her brush."



It is difficult to write of Madame Le Brun in outline because her life was so interesting in detail. Though she had many sorrows, there is a halo of romance and a brilliancy of atmosphere about her which marks her as a prominent woman of her day, and her autobiography is charming—it is so alive that one forgets that she is not present, telling her story!

The father of this gifted daughter was an artist of moderate ability and made portraits in pastel, which Elizabeth, in her "Souvenirs," speaks of as good and thinks some of them worthy of comparison with those of the famous Latour. M. Vigee was an agreeable man with much vivacity of manner. His friends were numerous and he was able to present his daughter to people whose acquaintance was of value to her. She was but twelve years old at the time of his death, and he had already so encouraged her talents as to make her future comparatively easy for her.

Elizabeth passed five years of her childhood in a convent, where she constantly busied herself in sketching everything that she saw. She tells of her intense pleasure in the use of her pencil, and says that her passion for painting was innate and never grew less, but increased in charm as she grew older. She claimed that it was a source of perpetual youth, and that she owed to it her acquaintance and friendship with the most delightful men and women of Europe.

While still a young girl, Mlle. Vigee studied under Briard, Doyen, and Greuze, but Joseph Vernet advised her to study the works of Italian and Flemish masters, and, above all, to study Nature for herself—to follow no school or system. To this advice Mme. Le Brun attributed her success.

When sixteen years old she presented two portraits to the French Academy, and was thus early brought to public notice.

When twenty-one she married M. Le Brun, of whom she speaks discreetly in her story of her life, but it was well known that he was of dissipated habits and did not hesitate to spend all that his wife could earn. When she left France, thirteen years after her marriage, she had not so much as twenty francs, although she had earned a million!

She painted portraits of many eminent people, and was esteemed as a friend by men and women of culture and high position. The friendship between the artist and Marie Antoinette was a sincere and deep affection between two women, neither of whom remembered that one of them was a queen. It was a great advantage to the artist to be thus intimately associated with her sovereign lady. Even in the great state picture of the Queen surrounded by her children, at Versailles, one realizes the tenderness of the painter as she lovingly reproduced her friend.

Marie Antoinette desired that Mme. Le Brun should be elected to the Academy; Vernet approved it, and an unusual honor was shown her in being made an Academician before the completion of her reception picture. At that time it was a great advantage to be a member of the Academy, as no other artists were permitted to exhibit their works in the Salon of the Beaux-Arts.

Mme. Le Brun had one habit with which she allowed nothing to interfere, which was taking a rest after her work for the day was done. She called it her "calm," and to it she attributed a large share of her power of endurance, although it lost her many pleasures. She could not go out to dinner or entertain at that hour. The evening was her only time for social pleasures. But when one reads her "Souvenirs," and realizes how many notable people she met in her studio and in evening society, it scarcely seems necessary to regret that she could not dine out!

Mme. Le Brun was at one period thought to be very extravagant, and one of her entertainments caused endless comments. Her own account of it shows how greatly the cost was exaggerated. She writes that on one occasion she invited twelve or fifteen friends to listen to her brother's reading during her "calm." The poem read was the "Voyage du jeune Anacharsis en Grece," in which a dinner was described, and even the receipts for making various sauces were given. The artist was seized with the idea of improvising a Greek supper.

She summoned her cook and instructed her in what had been read. Among her guests were several unusually pretty ladies, who attired themselves in Greek costumes as nearly as the time permitted. Mme. Le Brun retained the white blouse she wore at her work, adding a veil and a crown of flowers. Her studio was rich in antique objects, and a dealer whom she knew loaned her cups, vases, and lamps. All was arranged with the effect an artist knows how to produce.

As the guests arrived Mme. Le Brun added here and there an element of Grecian costume until their number was sufficient for an effective tableau vivant. Her daughter and a little friend were dressed as pages and bore antique vases. A canopy hung over the table, the guests were posed in picturesque attitudes, and those who arrived later were arrested at the door of the supper-room with surprise and delight.

It was as if they had been transported to another clime. A Greek song was chanted to the accompaniment of a lyre, and when the honey, grapes, and other dishes were served a la Grecque, the enchantment was complete. The poet recited odes from Anacreon and all passed off delightfully.

The fame of this novel supper was spread over Paris, and marvellous tales were told of its magnificence and its cost. Mme. Le Brun writes: "Some ladies asked me to repeat this pleasantry. I refused for various reasons, and several of them were disturbed by my refusal. Soon a report that the supper had cost me twenty thousand francs was spread abroad. The King spoke of it as a joke to the Marquis of Cubieres, who fortunately had been one of the guests and was able to convince His Majesty of the folly of such a story. Nevertheless, the modest sum of twenty thousand at Versailles became forty thousand at Rome; at Vienna the Baroness de Strogonoff told me that I had spent sixty thousand francs for my Greek supper; you know that at Petersburg the price at length was fixed at eighty thousand francs, and the truth is that it cost me about fifteen francs!"

Early in 1789, when the warnings of the horrors about to take place began to be heard, Mme. Le Brun went to Italy. In each city that she visited she was received with great kindness and many honors were shown her. In Florence she was invited to paint her own portrait, to be hung in that part of the Uffizi set apart for the portraits of famous painters. Later she sent the well-known portrait, near that of Angelica Kauffman. It is interesting to read Goethe's comparison of the two portraits.

Speaking of Angelica's first, he writes: "It has a truer tone in the coloring, the position is more pleasing, and the whole exhibits more correct taste and a higher spirit in art. But the work of Le Brun shows more careful execution, has more vigor in the drawing, and more delicate touches. It, has, moreover, a clear though somewhat exaggerated coloring. The Frenchwoman understands the art of adornment—the headdress, the hair, the folds of lace on the bosom, all are arranged with care and, as one might say, con amore. The piquant, handsome face, with its lively expression, its parted lips disclosing a row of pearly teeth, presents itself to the beholder's gaze as if coquettishly challenging his admiration, while the hand holds the pencil as in the act of drawing.

"The picture of Angelica, with head gently inclined and a soft, intellectual melancholy pervading the countenance, evinces higher genius, even if, in point of artistic skill, the preference should be given to the other."

Mme. Le Brun found Rome delightful and declared that if she could forget France she should be the happiest of women. She writes of her fellow artist: "I have been to see Angelica Kauffman, whom I greatly desired to know. I found her very interesting, apart from her fine talent, on account of her mind and her general culture.... She has talked much with me during the two evenings I have passed at her house. Her manner is gentle; she is prodigiously learned, but has no enthusiasm, which, considering my ignorance, has not electrified me.... I have seen several of her works; her sketches please me more than her pictures, because they are of a Titianesque color."

Mme. Le Brun received more commissions for portraits than she could find time to paint in the three years she lived in Italy. She tells us: "Not only did I find great pleasure in painting surrounded by so many masterpieces, but it was also necessary for me to make another fortune. I had not a hundred francs of income. Happily I had only to choose among the grandest people the portraits which it pleased me to paint." Her account of her experiences in Italy is very entertaining, but at last the restlessness of the exile overcame her and impelled her to seek other scenes. She went to Vienna and there remained three other years, making many friends and painting industriously until the spirit of unrest drove her to seek new diversions, and she went to Russia.

She was there received with great cordiality and remained six years—years crowded with kindness, labor, honor, attainment, joy, and sorrow. Her daughter was the one all-absorbing passion—at once the joy and the grief of her life. She was so charming and so gifted as to satisfy the critical requirements of her mother's desires. In Petersburg, where the daughter was greatly admired and caressed, the artist found herself a thousand times more happy than she had ever been in her own triumphs.

Mme. Le Brun was so constantly occupied and the need of earning was so great with her, that she was forced to confide her daughter to the care of others when she made her debut in society. Thus it happened that the young girl met M. Nigris, whom she afterward married. Personally he was not agreeable to Mme. Le Brun and his position was not satisfactory to her. We can imagine her chagrin in accepting a son-in-law who even asked her for money with which to go to church on his wedding-day! The whole affair was most distasteful, and the marriage occurred at the time of the death of Mme. Le Brun's mother. She speaks of it as a "time devoted to tears."

Her health suffered so much from this sadness that she tried the benefit of change of scene, and went to Moscow. Returning to Petersburg, she determined—in spite of the remonstrances of her friends, and the inducements offered her to remain—to go to France. She several times interrupted her journey in order to paint portraits of persons who had heard of her fame, and desired to have her pictures.

She reached Paris in 1801 and writes thus of her return: "I shall not attempt to express my emotions when I was again upon the soil of France, from which I had been absent twelve years. Fright, grief, joy possessed me, each in turn, for all these entered into the thousand varying sentiments which swept over my soul. I wept for the friends whom I had lost upon the scaffold, but I was about to see again those who remained. This France to which I returned had been the scene of atrocious crimes; but this France was my Native Land!"

But the new regime was odious to the artist, and she found herself unable to be at home, even in Paris. After a year she went to London, and remained in England three years. She detested the climate and was not in love with the people, but she found a compensation in the society of many French families who had fled from France as she had done.

In 1804 Mme. Nigris was in Paris and her mother returned to see her. The young woman was very beautiful and attractive, very fond of society, entirely indifferent to her husband, and not always wise in the choice of her companions. Mme. Le Brun, always hard at work and always having great anxieties, at length found herself so broken in health, and so nervously fatigued that she longed to be alone with Nature, and in 1808 she went to Switzerland. Her letters written to the Countess Potocka at this time are added to her "Souvenirs," and reveal the very best of her nature. Feeling the need of continued repose, she bought a house at Louveciennes, where she spent much time. In 1818 M. Le Brun died, and six years later the deaths of her daughter and her brother left her with no near relative in the world.

For a time she sought distractions in new scenes and visited the Touraine and other parts of France, but though she still lived a score of years, she spent them in Paris and Louveciennes. She had with her two nieces, who cared for her more tenderly than any one had done before. One of these ladies was a portrait painter and profited much by the advice of Mme. Le Brun, who wrote of this period and these friends: "They made me feel again the sentiments of a mother, and their tender devotion diffused a great charm over my life. It is near these two dear ones and some friends who remain to me that I hope to terminate peacefully a life which has been wandering but calm, laborious but honorable."

During the last years of her life the most distinguished society of Paris was wont to assemble about her—artists, litterateurs, savants, and men of the fashionable world. Here all essential differences of opinion were laid aside and all met on common ground. Her "calm" seemed to have influenced all her life; only good feeling and equality found a place near her, and few women have the blessed fortune to be so sincerely mourned by a host of friends as was Elizabeth Vigee Le Brun, dying at the age of eighty-seven.

Mme. Le Brun's works numbered six hundred and sixty portraits—fifteen genre or figure pictures and about two hundred landscapes painted from sketches made on her journeys. Her portraits included those of the sovereigns and royal families of all Europe, as well as the most famous authors, artists, singers, and the learned men in Church and State.

As an artist M. Charles Blanc thus esteems her: "In short, Mme. Le Brun belonged entirely to the eighteenth century—I wish to say to that period of our time which rested itself suddenly at David. While she followed the counsels of Vernet, her pencil had a certain suppleness, and her brush a force; but she too often attempted to imitate Greuze in her later works and she weakened the resemblance to her subjects by abusing the regard noye (cloudy or indistinct effect). She was too early in vogue to make all the necessary studies, and she too often contented herself with an ingenuity a little too manifest. Without judging her as complacently as the Academy formerly judged her, we owe her an honorable place, because in spite of revolutions and reforms she continued to her last day the light, spiritual, and French Art of Watteau, Nattier, and Fragonard."



VIGRI, CATERINA DE. Lippo Dalmasii was much admired by Malvasia, who not only extols his pictures, but his spirit as well, and represents him as following his art as a religion, beginning and ending his daily work with prayer. Lippo is believed to have been the master of Caterina de Vigri, and the story of her life is in harmony with the influence of such a teacher.

She is the only woman artist who has been canonized; and in the Convent of the Corpus Domini, in Bologna, which she founded, she is known as "La Santa," and as a special patron of the Fine Arts.

Caterina was of a noble family of Ferrara, where she was born in 1413. She died when fifty years old; and so great was the reverence for her memory that her remains were preserved, and may still be seen in a chapel of her convent. There are few places in that ever wonderful Italy of such peculiar interest as this chapel, where sits, clothed in a silken robe, with a crown of gold on the head, the incorrupt body of a woman who died four hundred and forty years ago. The body is quite black, while the nails are still pink. She holds a book and a sceptre. Around her, in the well-lighted chapel, are several memorials of her life: the viola on which she played, and a manuscript in her exquisite chirography, also a service book illuminated by Caterina, and, still more important, one of her pictures, a "Madonna and Child," inserted in the wall on the left of the chapel, which is admirable for the beauty of expression in the face of the Holy Mother.

We cannot trace Caterina's artist life step by step, but she doubtless worked with the same spirit of consecration and prayer as did that Beato whom we call Angelico, in his Florentine convent, a century earlier.

Caterina executed many miniatures, and her easel pictures were not large. These were owned by private families. She is known to us by two pictures of "St. Ursula folding her Robe about her Companions." One is in the Bologna Gallery, the other in the Academy in Venice. The first is on a wooden panel, and was painted when the artist was thirty-nine years old. The Saint is represented as unnaturally tall, the figures of her virgins being very small. The mantle and robe of St. Ursula are of rich brocade ornamented with floral designs, while on each side of her is a white flag, on which is a red cross. The face of the saint is so attractive that one forgets the elongation of her figure. There is a delicacy in the execution, combined with a freedom and firmness of handling fully equal to the standard of her school and time. Many honors were paid to the memory of Caterina de Vigri. She was chosen as the protectress of Academies and Art Institutions, and in the eighteenth century a medal was coined, on which she is represented as painting on a panel held by an angel. How few human beings are thus honored three centuries after death!



VINCENT, MME. See Labille.



VISSCHER, ANNA AND MARIA. These daughters of the celebrated Dutch engraver were known as "the Dutch Muses." They made their best reputation by their etchings on glass, but they were also well known for their writing of both poetry and prose. They were associated with the scholars of their time and were much admired.



VOLKMAR, ANTONIE ELIZABETH CAECILIA. Born in Berlin, 1827. She studied with Schroder in her native city, with L. Cogniet in Paris, and later in Italy. She returned to Berlin, where she painted portraits and genre subjects. Her picture of the "Grandmother telling Stories" is in the Museum of Stettin. Among her works are "An Artist's Travels" a "German Emigrant," and "School Friends."



VONNOH, BESSIE POTTER. Bronze medal, Paris Exposition, 1900; Second Prize at Tennessee Centennial. Honorable mention at Buffalo Exposition, 1901. Member of the National Sculpture Society and National Arts Club. Born in St. Louis, Missouri, 1872.

This sculptor is a pupil of the Art Institute, Chicago. Among her best works are "A Young Mother"; "Twin Sisters"; "His First Journey"; "Girl Reading," etc.

In the Century Magazine, September, 1897, Arthur Hoeber wrote: "There were shown at the Society of American Artists in New York, in the Spring of 1896, some statuettes of graceful young womanhood, essentially modern in conception, singularly naive in treatment, refined, and withal intensely personal.... While the disclosure is by no means novel, Miss Potter makes us aware that in the daily prosaic life about us there are possibilities conventional yet attractive, simple, but containing much of suggestion, waiting only the sympathetic touch to be responsive if the proper chord is struck."

This author also notices the affiliation of this young woman with the efforts of the Tanagra workers, and says: "But if the inspiration of the young woman is evident, her work can in no way be called imitative."



VOS, MARIA. Born in Amsterdam, 1824. Pupil of P. Kiers. Her pictures were principally of still-life, two of which are seen in the Amsterdam Museum.



WAGNER, MARIA DOROTHEA; family name Dietrich. 1728-1792. The gallery of Wiesbaden has two of her landscapes, as has also the Museum at Gotha. "Der Muehlengrund," representing a valley with a brook and a mill, is in the Dresden Gallery.



WARD, MISS E. This sculptor has a commission to make a statue of G. R. Clark for the St. Louis Exposition.

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WARD, HENRIETTA MARY ADA. Gold and silver medals at the Crystal Palace; bronze medal at the Vienna Exposition, 1873. Born in Newman Street, London, when that street and the neighborhood was the quarter in which the then celebrated artists resided. Mrs. Ward was a pupil of the Bloomsbury Art School and of Sak's Academy. Her grandfather, James Ward, was a royal Academician, and one of the best animal painters of England. While Sir Thomas Lawrence lived, Mrs. Ward's father, who was a miniaturist, was much occupied in copying the works of Sir Thomas on ivory, as the celebrated portrait painter would permit no other artist to repeat them. After the death of Sir Thomas, Mr. Ward became an engraver. Her mother was also a miniature painter. Her great-uncles were William Ward, R.A., and George Morland; John Jackson, R.A., was her uncle; and her husband, Edward M. Ward, to whom she was married at sixteen, was also a Royal Academican.

From 1849, Mrs. Ward exhibited at the Royal Academy during thirty years, without a break, but her husband's death caused her to omit some exhibitions, and since that time her exhibits have been less regular. For some years Mrs. Ward has had successful classes for women at Chester Studios, which have somewhat interfered with her painting.

Mrs. Ward's subjects have been historical and genre, some of which are extensively known by prints after them. Among these are "Joan of Arc," "Palissy the Potter," and "Mrs. Fry and Mary Saunderson visiting Prisoners at Newgate," the last dedicated by permission to Queen Victoria. This picture was purchased by an American.

Of her picture of "Mary of Scotland, giving her infant to the Care of Lord Mar," Palgrave wrote: "This work is finely painted, and tells its tale with clearness." Among her numerous works are: "The Poet Hogg's First Love"; "Chatterton," the poet, in the Muniment Room, Bristol; "Lady Jane Grey refusing the Crown of England"; "Antwerp Market"; "Queen Mary of Scots' farewell to James I."; "Washing Day at the Liverpool Docks"; "The Princes in the Tower"; "George III. and Mrs. Delayney, with his family at Windsor"; "The Young Pretender," and many others.

When sixteen Mrs. Ward exhibited two heads in crayon. In 1903, at the Academy, she exhibited "The Dining-room, Kent House, Knightsbridge." Mrs. Ward painted for Queen Victoria two portraits of the Princess Beatrice, and a life-size copy of a portrait of the Duke of Albany. She also painted a portrait of Princess Alice of Albany, who is about to marry Prince Alexander of Teck.

Edward VII. has commissioned this artist to make two copies of the state portrait, painted by S. Luke Fildes, R.A.

Mrs. Ward had two more votes for her admission to the Royal Academy than any other woman of her time has had.



WASSER, ANNA. Born at Zuerich, 1676, is notable among the painters of her country. She was the daughter of an artist, and early developed a love of drawing and an unusual aptitude in the study of languages. In painting she was a pupil of Joseph Werner. After a time she devoted herself to miniature painting; her reputation extended to all the German courts, as well as to Holland and England, and her commissions were so numerous that her father began to regard her as a mine of riches. He allowed her neither rest nor recreation, and was even unwilling that she should devote sufficient time to her pictures to finish them properly. Under this pressure of haste and constant labor her health gave way and she became melancholy.

She was separated from her father, and in more agreeable surroundings her health was restored and she resumed her painting. Her father then insisted that she should return to him. On her journey home she had a fall, from the effects of which she died at the age of thirty-four.

Fuseli valued a picture by Anna Wasser, which he owned, and praised her correctness of design and her feeling for color.



WATERS, SADIE P. 1869-1900. Honorable mention Paris Exposition, 1900. Born in St. Louis, Missouri. This unusually gifted artist made her studies entirely in Paris, under the direction of M. Luc-Olivier Merson.

Her earlier works were portraits in miniature, in which she was very successful. That of Jane Hading was much admired. She also excelled in illustrations, but in her later work she found her true province, that of religious subjects. A large picture on ivory, called "La Vierge au Lys," was exhibited in Paris, London, Brussels, and Ghent, and attracted much attention.



Her picture of the "Vierge aux Rosiers," reproduced here, was in the Salon, 1899, and in the exhibition of Religious Art in Brussels in 1900, after which it was exhibited in New York; and wherever seen it was especially admired.

Miss Waters' pictures were exhibited in the Salon Francais, Champs Elysees, from 1891 until her death. From the earliest days of childhood she was remarkable for her skill in drawing and in working out, from her own impressions, pictures of events passing about her. If at the theatre she saw a play that appealed to her, she made a picture symbolic of the play, and constantly startled her friends by her original ideas and the pronounced artistic temperament, which was very early the one controlling power in her life. Mr. Carl Gutherz thus speaks of her good fortune in studying with M. Merson.

"As the Master and Student became more and more acquainted, and the great artist found in the student those kindred qualities which subsequently made her work so refined and beautiful,... he took the utmost care in developing her drawing—the fidelity of line and of expression, and the ever-pervading purity in her work. The sympathy with all good was reflected in the student, as it was ever present with the master, and only those who are acquainted with M. Merson can appreciate how fortunate it was for Art that the young artist was under a master of his character and temperament."

One of her pictures, called "La Chrysantheme," represents a nude figure of a young girl, seated on the ground, leaning against a large basket of chrysanthemums, from which she is plucking blossoms. The figure is beautiful, and shows the deep study the artist had made, although still so young.

The following estimate of her work is made by one competent to speak of such matters: "In this epoch of feverish uncertainty, of heated discussions and rivalries in art matters, the quiet, calm figure of Sadie Waters has a peculiar interest and charm generated by her tranquil and persistent pursuit of an ideal—an ideal she attained in her later works, an ideal of the highest mental order, mystical and human, and so far removed from the tendencies of our time that one might truthfully say, it stands alone. Her talents were manifold. She was endowed with the best of artistic qualities. She cultivated them diligently, and slowly acquired the handicraft and skill which enabled her to express herself without restriction. In her miniatures she learned to be careful, precise, and delicate; in her work from nature she was human; and in her studies of illuminating she gained a perfect understanding of ornamental painting and forms; and the subtle ambiance of the beautiful old churches and convents where she worked and pored over the ancient missals, and softly talked with the princely robed Monsignori, no doubt did much to develop her love for the Beautiful Story, the delicate myth of Christianity—and all this, all these rare qualities and honest efforts we find in her last picture, The Virgin.

"The beauty and preciseness of this composition, the divine feeling not without a touch of motherly sentiment, its delicacy so rare and so pure, the distinction of its coloring, are all past expression, and give it a place unique in the nineteenth century."—Paul W. Bartlett, Paris, 1903.



WEGMANN, BERTHA. Honorable mention, Paris Salon, 1880; third-class medal, 1882; Thorwaldsen medal at Copenhagen; small gold medal, Berlin, 1894. Born at Soglio, Switzerland, 1847. Studied in Copenhagen, Munich, Paris, and Florence.

She paints portraits and genre subjects. Her pictures, seen at Berlin in 1893, were much admired. They included portraits, figure studies, and Danish interiors. At Munich, in 1894, her portraits attracted attention, and were commended by those who wrote of the exhibition. Among her works are many portraits: "Mother and Child in the Garden," and "A Widow and Child," are two of her genre subjects.



WEIS, ROSARIO. Silver medal from the Academy of San Fernando, 1842, for a picture called "Silence." Member of the Academy. Pupil of Goya, who early recognized her talent. In 1823, when Goya removed to Burdeos, she studied under the architect Tiburcio Perez. After a time she joined Goya, and remained his pupil until his death in 1828. She then entered the studio Lacour, where she did admirable work. In 1833, for the support of her mother and herself, she made copies of pictures in the Prado on private commissions.

In 1842 she was appointed teacher of drawing to the royal family, in which position she did not long continue, her death occurring in 1843.

Among her pictures are "Attention!" an allegorical figure; "An Angel"; "A Venus"; and "A Diana." Among her portraits are those of Goya, Velasquez, and Figaro.



WIEGMANN, MARIE ELISABETH; family name Hancke. Small gold medal, Berlin. Born 1826 at Solberberg, Silesia; died, 1893, at Duesseldorf. In 1841 she began to study with Stilke in Duesseldorf; later with K. Sohn. She travelled extensively in Germany, England, Holland, and Italy, and settled with her husband, Rudolph Wiegmann, in Duesseldorf. In the Museum at Hanover is "The Colonist's Children Crowning a Negro Woman," and in the National Gallery at Berlin a portrait of Schnaase. Some children's portraits, and one of the Countess Hatzfeld, should also be mentioned among her works.

In portraiture her work was distinguished by talent, spirit, and true artistic composition; in genre—especially the so-called ideal genre—she produced some exquisite examples.



WENTWORTH, MARQUISE CECILIA DE. Gold medal, Tours National Exposition, Lyons and Turin; Honorable mention, Paris Salon, 1891; Bronze medal, Paris Exposition, 1900; Chevalier of the Legion of Honor, 1901. Born in New York. Pupil of the Convent of the Sacred Heart and of Cabanel, in Paris. This artist has painted portraits of Leo XIII., who presented her with a gold medal; of Cardinal Ferrata; of Challemel-Lacour, President of the Senate at the time when the portrait was made, and of many others. Her picture of "Faith" is in the Luxembourg Gallery. At the Salon des Artistes Francais, 1903, Madame de Wentworth exhibited the "Portrait of Mlle. X.," and "Solitude."

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WHEELER, JANET. First Toppan Prize and Mary Smith Prize at Academy of Fine Arts, Philadelphia; Gold medal, Philadelphia Art Club. Fellow of Academy of Fine Arts, and member of Plastic Club, Philadelphia. Born in Detroit, Michigan. Pupil of Academy of Fine Arts, Philadelphia, and of the Julian Academy in Paris.

This artist paints portraits almost entirely, which are in private hands. I know of but one figure picture by her, which is called "Beg for It." She was a miniaturist several years before taking up larger portraits.



WHITE, FLORENCE. Silver medal at Woman's Exhibition, Earl's Court; silver medal for a pastel exhibited in Calcutta. Born at Brighton, England. Pupil of Royal Academy Schools in London, and of Bouguereau and Perrier in Paris.

In 1899 this artist exhibited a portrait in the New Gallery; in 1901 a portrait of Bertram Blunt, Esq., at the Royal Academy; and in 1902 a portrait of "Peggy," a little girl with a poodle.

She has sent miniatures to the Academy exhibitions several years; that of Miss Lyall Wilson was exhibited in 1903.



WHITMAN, SARAH DE ST. PRIX. Bronze medal at Columbian Exposition, Chicago, 1893; gold and bronze medals at Atlanta Exposition; diploma at Pan-American, Buffalo, 1901. Member of the Society of American Artists, New York; Copley Society, Boston; Water-Color Club, Boston. Born in Baltimore, Maryland. Pupil of William M. Hunt and Thomas Couture.

Mrs. Whitman has painted landscapes and portraits, and of recent years has been much occupied with work in glass. Windows by her are in Memorial Hall, Cambridge; in the Episcopal Church in Andover, Massachusetts, etc. An altar-piece by her is in All Saints' Church, Worcester.

Her portrait of Senator Bayard is in the State Department, Washington.



WHITNEY, ANNE. Born in Watertown, Massachusetts. Made her studies in Belmont and Boston, and later in Paris and Rome.

Miss Whitney's sculptures are in many public places. A heroic size statue of Samuel Adams is in Boston and Washington, in bronze and marble; Harriet Martineau is at Wellesley College, in marble; the "Lotos-Eaters" is in Newton and Cambridge, in marble; "Lady Godiva," a life-size statue in marble, is in a private collection in Milton; a statue of Leif Eriksen, in bronze, is in Boston and Milwaukee; a bust of Professor Pickering, in marble, is in the Observatory, Cambridge; a statue, "Roma," is in Albany, Wellesley, St. Louis, and Newton, in both marble and bronze; Charles Sumner, in bronze of heroic size, is in Cambridge; a bust of President Walker, bronze, is also in Cambridge; President Stearns, a bust in marble, is in Amherst; a bust of Mrs. Alice Freeman Palmer is in Cambridge; a bust of Professor Palmer is on a bronze medal; the Calla Fountain, in bronze, is in Franklin Park; and many other busts, medals, etc., in marble, bronze, and plaster, are in private collections.



WILSON, MELVA BEATRICE. Prize of one hundred dollars a year for three successive years at Cincinnati Art Museum. Honorable mention, Paris Salon, 1897. Born in Cincinnati, 1875. Pupil of Cincinnati Art Museum, under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent Norrottny.

By special invitation this sculptor has been an exhibitor at the National Sculpture Society, New York. Her principal works are: "The Minute Man," in Corcoran Art Gallery, Washington, D. C.; "The Volunteer," which was given by the State of New York as a military prize to a Vermont Regiment; an equestrian statue of John F. Doyle, Jr.; "Bull and Bear" and the "Polo Player" in bronze, owned by Tiffany & Co.; "Retribution" in a private collection in New York.

Miss Wilson has been accorded the largest commission given any woman sculptor for the decoration of the buildings of the St. Louis Exposition. She is to design eight spandrils for Machinery Hall, each one being twenty-eight by fifteen feet in size, with figures larger than life. The design represents the wheelwright and boiler-making trades. Reclining nude figures, of colossal size, bend toward the keystone of the arch, each holding a tool of a machinist. Interlaced cog-wheels form the background.



WIRTH, ANNA MARIE. Member of the Munich Art Association. Born in St. Petersburg, 1846. Studied in Vienna under Straschiripka—commonly known as Johann Canon—and in Paris, although her year's work in the latter city seems to have left no trace upon her manner of painting. The genre pictures, in which she excels, clearly show the influence of the old Dutch school. A writer in "Moderne Kunst" says, in general, that she shows us real human beings under the "precieuses ridicules," the languishing gallants and the pedant, and often succeeds in individualizing all these with the sharpness of a Chodowiecki, though at times she is merely good-natured, and therefore weak.

Sometimes, like Terborch, by her anecdotical treatment, she can set a whole romantic story before you; again, in the manner of Gerard Dow, she gives you a penetrating glimpse into old burgher life—work that is quite out of touch with the dilettantism that largely pervades modern art.

The admirers of this unusual artist seek out her genre pictures in the exhibitions of to-day, much as one turns to an idyl of Heinrich Voss, after a dose of the "storm and stress" poets. Most of her works are in private galleries.

One of her best pictures will be seen at the St. Louis Exposition.



WISINGER-FLORIAN, OLGA. Bavarian Ludwig medal, 1891; medal at Chicago, 1893. Born in Vienna, 1844. Pupil of Schaeffer and Schwindler. She has an excellent reputation as a painter of flowers. In the New Gallery, Munich, is one of her pictures of this sort; and at Munich, 1893, her flower pieces were especially praised in the reports of the exhibition.

She also paints landscapes, in which she gains power each year; her color grows finer and her design or modelling stronger. At Vienna, 1890, it was said that her picture of the "Bauernhofe" was, by its excellent color, a disadvantage to the pictures near it, and the shore motive in "Abbazia" was full of artistic charm. At Vienna, 1893, she exhibited a cycle, "The Months," which bore witness to her admirable mastery of her art.

Among her works are some excellent Venetian subjects: "On the Rialto"; "Morning on the Shore"; and "In Venice."



WOLFF, BETTY. Honorable mention, Berlin, 1890. Member of the Association of Women Artists and Friends of Art; also of the German Art Association. Born in Berlin, where she was a pupil of Karl Stauffer-Bern; she also studied in Munich under Karl Marr.

Besides numerous portraits of children, in pastel, this artist has painted portraits in oils of many well-known persons, among whom are Prof. H. Steinthal, Prof. Albrecht Weber, and General von Zycklinski.



WOLTERS, HENRIETTA, family name Van Pee. Born in Amsterdam. 1692-1741. Pupil of her father, and later made a special study of miniature under Christoffel le Blond. Her early work consisted largely in copies from Van de Velde and Van Dyck. Her miniatures were so highly esteemed that Peter the Great offered her a salary of six thousand florins as his court painter; and Frederick William of Prussia invited her to his court, but nothing could tempt her away from her home in Amsterdam. She received four hundred florins for a single miniature, a most unusual price in her time.



WOOD, CAROLINE S. Daughter of Honorable Horatio D. Wood, of St. Louis. This sculptor has made unusual advances in her art, to which she has seriously devoted herself less than four years. She has studied in the Art School of Washington University, the Art Institute, Chicago, and is now a student in the Art League, New York.

She has been commissioned by the State of Missouri to make a statue to represent "The Spirit of the State of Missouri," for the Louisiana Purchase Exposition.

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WOODBURY, MARCIA OAKES. Prize at Boston Art Club; medals at Mechanics' Association Exhibition, Atlanta and Nashville Expositions. Member of the New York and Boston Water-Color Clubs. Born at South Berwick, Maine. Pupil of Tommasso Juglaris, in Boston, and of Lasar, in Paris.

Mrs. Woodbury paints in oils and water-colors; the latter are genre scenes, and among them are several Dutch subjects. She has painted children's portraits in oils. Her pictures are in private hands in Boston, New York, Chicago, and Cincinnati. "The Smoker," and "Mother and Daughter," a triptych, are two of her principal pictures.



WOODWARD, DEWING. Grand prize of the Academy Julian, 1894. Member of Water-Color Club, Baltimore; Charcoal Club, Baltimore; L'Union des Femmes Peintres et Sculpteurs de France. Born at Williamsport, Pennsylvania. Pupil of Pennsylvania Academy a few months; in Paris, of Bouguereau, Robert-Fleury, and Jules Lefebvre.

Her "Holland Family at Prayer," exhibited at the Paris Salon, 1893, and "Jessica," belong to the Public Library in Williamsport; "Clam-Diggers Coming Home—Cape Cod" was in the Venice Exhibition, 1903; one of her pictures shows the "Julian Academy, Criticism Day."

She has painted many portraits, and her work has often been thought to be that of a man, which idea is no doubt partly due to her choosing subjects from the lives of working men. She is of the modern school of colorists.



WRIGHT, ETHEL. This artist contributed annually to the exhibitions of the London Academy from 1893 to 1900, as follows: In 1893 she exhibited "Milly" and "Echo"; in 1894, "The Prodigal"; in 1895, a water-color, "Lilies"; in 1896, "Rejected"; in 1897, a portrait of Mrs. Laurence Phillips; in 1898, "The Song of Ages," reproduced in this book; in 1899, a portrait of Mrs. Arthur Strauss; and in 1900, one of Miss Vaughan.

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WRIGHT, MRS. PATIENCE. Born at Bordentown, New Jersey, 1725, of a Quaker family. When left a widow, with three children to care for, she went to London, where she found a larger field for her art than she had in the United States, where she had already made a good reputation as a modeller in wax. By reason of this change of residence she has often been called an English sculptress.

Although the imaginative and pictorial is not cultivated or even approved by Quakers, Patience Lovell, while still a child, and before she had seen works of art, was content only when supplied with dough, wax, or clay, from which she made figures of men and women. Very early these figures became portraits of the people she knew best, and in the circle of her family and friends she was considered a genius.

Very soon after Mrs. Wright reached London she was fully employed. She worked in wax, and her full-length portrait of Lord Chatham was placed in Westminster Abbey, protected by a glass case. This attracted much attention, and the London journals praised the artist. She made portraits of the King and Queen, who, attracted by her brilliant conversation, admitted her to an intimacy at Buckingham House, which could not then have been accorded to an untitled English woman.



Mrs. Wright made many portraits of distinguished people; but few, if any, of these can now be seen, although it is said that some of them have been carefully preserved by the families who possess them.

To Americans Mrs. Wright is interesting by reason of her patriotism, which amounted to a passion. She is credited with having been an important source of information to the American leaders in the time of the Revolution. In this she was frank and courageous, making no secret of her views. She even ventured to reprove George III. for his attitude toward the Colonists, and by this boldness lost the royal favor.

She corresponded with Franklin, in Paris, and new appointments, or other important movements in the British army, were speedily known to him.

Washington, when he knew that Mrs. Wright wished to make a bust of him, replied in most flattering terms that he should think himself happy to have his portrait made by her. Mrs. Wright very much desired to make likenesses of those who signed the Treaty of Peace, and of those who had taken a prominent part in making it. She wrote: "To shame the English king, I would go to any trouble and expense, and add my mite to the honor due to Adams, Jefferson, and others."

Though so essentially American as a woman, the best of her professional life was passed in England, where she was liberally patronized and fully appreciated. Dunlap calls her an extraordinary woman, and several writers have mentioned her power of judging the character of her visitors, in which she rarely made a mistake, and chose her friends with unusual intelligence.

Her eldest daughter married in America, and was well known as a modeller in wax in New York. Her younger daughter married the artist Hoppner, a rival in portraiture of Stuart and Lawrence, while her son Joseph was a portrait painter. His likeness of Washington was much admired.



WULFRAAT, MARGARETTA. Born at Arnheim. 1678-1741. Was a pupil of Caspar Netscher of Heidelberg, whose little pictures are of fabulous value. Although he was so excellent a painter he was proud of Margaretta, whose pictures were much admired in her day. Her "Musical Conversation" is in the Museum of Schwerin. Her "Cleopatra" and "Semiramis" are in the Gallery at Amsterdam.



YANDELL, ENID. Special Designer's Medal, Chicago, 1893; silver medal, Tennessee Exposition; Honorable Mention, Buffalo, 1901. Member of National Sculpture Society; Municipal Art Society; National Arts Club, all of New York. Born in Louisville, Kentucky. Graduate of Cincinnati Art Academy. Pupil of Philip Martiny in New York, and in Paris of Frederick McMonnies and Auguste Rodin.

The principal works of this artist are the Mayor Lewis monument at New Haven, Connecticut; the Chancellor Garland Memorial, Vanderbilt University, Nashville; Carrie Brown Memorial Fountain, Providence; Daniel Boone and the Ruff Fountain, Louisville.

Richard Ladegast, in January, 1902, wrote a sketch of Miss Yandell's life and works for the Outlook, in which he says that Miss Yandell was the first woman to become a member of the National Sculpture Society. I quote from his article as follows: "The most imposing product of Miss Yandell's genius was the heroic figure of Athena, twenty-five feet in height, which stood in front of the reproduction of the Parthenon at the Nashville Exposition. This is the largest figure ever designed by a woman.



"The most artistic was probably the little silver tankard which she did for the Tiffany Company, a bit of modelling which involves the figures of a fisher-boy and a mermaid. The figure of Athena is large and correct; those of the fisher-boy and mermaid poetic and impassioned.... The boy kisses the maid when the lid is lifted. He is always looking over the edge, as if yearning for the fate that each new drinker who lifts the lid forces upon him."

Of the Carrie Brown Memorial Fountain he says: "The design of the fountain represents the struggle of life symbolized by a group of figures which is intended to portray, according to Miss Yandell, not the struggle for bare existence, but 'the attempt of the immortal soul within us to free itself from the handicaps and entanglements of its earthly environments. It is the development of character, the triumph of intellectuality and spirituality I have striven to express.' Life is symbolized by the figure of a woman, the soul by an angel, and the earthly tendencies—duty, passion, and avarice—by male figures. Life is represented as struggling to free herself from the gross earthly forms that cling to her. The figure of Life shows a calm, placid strength, well calculated to conquer in a struggle; and the modelling of her clinging robes and the active muscle of the male figures is firm and life-like. The mantle of truth flows from the shoulders of the angel, forming a drapery for the whole group, and serving as a support for the basin, the edges of which are ornamented with dolphins spouting water.