“Among Miss Lewis’s works are two small groups illustrating Longfellow’s poem of Hiawatha.  Her first, ‘Hiawatha’s Wooing,’ represents Minnehaha seated, making a pair of moccasins, and Hiawatha by her side with a world of love and longing in his eyes.  In the ‘Marriage’ they stand side by side with clasped hands.  In both the Indian type of feature is carefully preserved, and every detail of dress, etc., is true to nature.  The sentiment equals the execution.  They are charming bits, poetic, simple, and natural, and no happier illustrations of Longfellow’s most original poem were ever made than these by the Indian sculptor.”—­Revolution, April, 1871.

“This was not a beautiful work—­’Cleopatra’—­but it was very original and very striking, and it merits particular comment, as its ideal was so radically different from those adopted by Story and Gould in their statues of the Egyptian Queen....  The effects of death are represented with such skill as to be absolutely repellent.  Apart from all questions of taste, however, the striking qualities of the work are undeniable, and it could only have been produced by a sculptor of very genuine endowments.”—­Great American Sculptors.

LEY, SOPHIE. Third-class medal at Melbourne; honor diplomas, Karlsruhe.  Member of the Kuenstlerbund, Karlsruhe.  Born at Bodman am Bodensee, 1859.  Pupil of the Art School in Stuttgart, where she received several prizes; and of Gude and Bracht in Karlsruhe.

Some flower pieces by this artist are in the collection of the Grand Duke of Baden; others belong to the Hereditary Grand Duke and to the Queen of Saxony; still others are in various private galleries.

A recently published design for the wall decoration of a school, “Fingerhut im Walde,” was awarded a prize.  Fraeulein Ley receives young women students in her atelier in Karlsruhe.

LICATA-FACCIOLI, ORSOLA. A first-class and several other medals as a student of the Academy at Venice.  Member of the Academies of Venice and Perugia, 1864.  Born in Venice, 1826.  In 1848 she married and made a journey with her husband through Italy.  Three pictures which she exhibited at Perugia, in 1864, won her election to the Academy; the Marquis Ala-Ponzoni purchased these.  The Gallery at Vicenza has several of her views of Venice and Rome, and there are others in the municipal palace at Naples.  Her pictures have usually sold immediately upon their exhibition, and are scattered through many European cities.  At Hamburg is a view of Capodimonte; at Venice a large picture showing a view of San Marcellino; and at Capodimonte the “Choir of the Capuchins at Rome.”  Private collectors have also bought many of her landscapes.  Since 1867 she has taught drawing in the Royal Institute at Naples.  Two of the Signora’s later pictures are “Arum Italicum,” exhibited at Milan in 1881, and a “Park at Capodimonte,” shown at the International Exposition in Rome—­the latter is a brilliant piece of work.  Her style is vigorous and robust, and her touch sure.  Family cares seem never to have interrupted her art activity, for her work has been constant and of an especially high order.