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.

“The silhouette formed by the mass of the fountain is most interesting and successful from all points of view.  The lines of the composition are large and dignified, especially noticeable in the modelling of the individual figures, which is well studied and technically excellent.”

At Buffalo, where this fountain was exhibited, it received honorable mention.

Miss Yandell has been commissioned to execute a symbolical figure of victory and a statue of Daniel Boone for the St. Louis Exposition.

YKENS, LAURENCE CATHERINE. Elected to the Guild of Antwerp in 1659.  Born in Antwerp.  Pupil of her father, Jan Ykens.  Flowers, fruits, and insects were her favorite subjects, and were painted with rare delicacy.  Two of these pictures are in the Museo del Prado, at Madrid.  They are a “Festoon of Flowers and Fruits with a Medallion in the Centre, on which is a Landscape”; and a “Garland of Flowers with a Similar Medallion.”

ZIESENSIS, MARGARETTA. There were few women artists in the Scandinavian countries in the early years of the eighteenth century.  Among them was Margaretta Ziesensis, a Danish lady, who painted a large number of portraits and some historical subjects.

She was best known, however, for her miniature copies of the works of famous artists.  These pictures were much the same in effect as the “picture-miniatures” now in vogue.  Her copy of Correggio’s Zingarella was much admired, and was several times repeated.

SUPPLEMENT

Containing names previously omitted and additions.  The asterisk (*) denotes preceding mention of the artist.

*BILDERS, MARIE VAN BOSSE. This celebrated landscape painter became an artist through her determination to be an artist rather than because of any impelling natural force driving her to this career.

After patient and continuous toil, she felt that she was developing an artistic impulse.  The advice of Van de Sande-Bakhuyzen greatly encouraged her, and the candid and friendly criticism of Bosboom inspired her with the courage to exhibit her work in public.

In the summer of 1875, in Vorden, she met Johannes Bilders, under whose direction she studied landscape painting.  This master took great pains to develop the originality of his pupil rather than to encourage her adapting the manner of other artists.  During her stay in Vorden she made a distinct gain in the attainment of an individual style of painting.