Having repeated these panegyrics, it is but just to add that two opinions existed concerning the merit of Mistress Killigrew’s art and of Dryden’s ode, which another critic called “a harmonious hyperbole, composed of the Fall of Adam—­Arethusa—­Vestal Virgins—­Dian—­Cupid—­Noah’s Ark—­the Pleiades—­the fall of Jehoshaphat—­and the last Assizes.”

Anthony Wood, however, says:  “There is nothing spoken of her which she was not equal to, if not superior, and if there had not been more true history in her praises than compliment, her father never would have suffered them to pass the press.”

KINDT, ADELE. This painter of history and of genre subjects won her first prize at Ghent when less than twenty-two, and received medals at Douai, Cambrai, Ghent, and Brussels before she was thirty-two.  Was made a member of the Brussels, Ghent, and Lisbon Academies.  Born in Brussels, 1805.  Pupil of Sophie Fremiet and of Navez.  Her picture of the “Last Moments of Egmont” is in the Ghent Museum; among her other historical pictures are “Melancthon Predicting Prince Willem’s Future” and “Elizabeth Sentencing Mary Stuart,” which is in the Hague Museum.  The “Obstinate Scholar” and “Happier than a King” are two of her best genre pictures.

KING, JESSIE M. A most successful illustrator and designer of book-covers, who was educated as an artist in the Glasgow School of Decorative Art.  In this school and at that of South Kensington she was considered a failure, by reason of her utterly unacademic manner.  She did not see things by rule and she persistently represented them as she saw them.  Her love of nature is intense, and when she illustrated the “Jungle Book” she could more easily imagine that the animals could speak a language that Mowgli could understand, than an academic artist could bring himself to fancy for a moment.  Her work is full of poetic imagination, of symbolism, and of the spirit of her subject.

Walter P. Watson, in a comprehensive critique of her work, says:  “Her imaginations are more perfect and more minutely organized than what is seen by the bodily eye, and she does not permit the outward creation to be a hindrance to the expression of her artistic creed.  The force of representation plants her imagined figures before her; she treats them as real, and talks to them as if they were bodily there; puts words in their mouths such as they should have spoken, and is affected by them as by persons.  Such creation is poetry in the literal sense of the term, and Miss King’s dreamy and poetical nature enables her to create the persons of the drama, to invest them with appropriate figures, faces, costumes, and surroundings; to make them speak after their own characters.”

Her important works are in part the illustrations of “The Little Princess,” “The Magic Grammar,” “La Belle Dame sans Merci,” “L’Evangile de l’Enfance,” “The Romance of the Swan’s Nest,” etc.

She also makes exquisite designs for book-covers, which have the spirit of the book for which they are made so clearly indicated that they add to the meaning as well as to the beauty of the book.