She may depict these conceptions, full of feeling, in the dull colors of the North, or in rich and glowing hues, but the impression she gives is much the same in both cases, a generally restful effect, though the faces in her pictures are full of life and emotion.  Her choice of subjects and her manner of treatment almost inevitably introduce some archaic quality in her work.  This habit and the fact that she cares more for color than for drawing are the usual criticisms of her pictures.

Her “St. Agnes” is an interesting rendering of a well-worn subject.  “Adelil the Proud,” exhibited at the Paris Exposition of 1889, tells the story of the Duke of Frydensburg, who was in love with Adelil, the king’s daughter.  The king put him to death, and the attendants of Adelil made of his heart a viand which they presented to her.  When she learned what this singular substance was—­that caused her to tremble violently—­she asked for wine, and carrying the cup to her lips with a tragic gesture, in memory of her lover, she died of a broken heart.  It is such legends as these that Mme. Slott-Moeller revives, and by which she is widely known.

MORISOT OR MORIZOT, BERTHE. Married name Manet.  Born at Bourges, 1840, died in Paris, 1895.  A pupil of Guichard and Oudinot.  After her marriage to Eugene Manet she came under the influence of his famous brother, Edouard.  This artist signed her pictures with her maiden name, being too modest to use that which she felt belonged only to Edouard Manet, in the world of art.

A great interest was, however, aroused in the private galleries, where the works of the early impressionists were seen, by the pictures of Berthe Morisot.  Camille Mauclair, an enthusiastic admirer of this school of art, says:  “Berthe Morizot will remain the most fascinating figure of Impressionism—­the one who has stated most precisely the femininity of this luminous and iridescent art.”

A great-granddaughter of Fragonard, she seems to have inherited his talent; Corot and Renoir forcibly appealed to her.  These elements, modified by her personal attitude, imparted a strong individuality to her works, which divided honors with her personal charms.

According to the general verdict, she was equally successful in oils and water-colors.  Her favorite subjects—­although she painted others—­were sea-coast views, flowers, orchards, and gardens and young girls in every variety of costume.

After the death of Edouard Manet, she devoted herself to building up an appreciation of his work in the public mind.  So intelligent were her methods that she doubtless had great influence in making the memory of his art enduring.

Among her most characteristic works are:  “The Memories of the Oise,” 1864; “Ros-Bras,” “Finistere,” 1868; “A Young Girl at a Window,” 1870; a pastel, “Blanche,” 1873; “The Toilet,” and “A Young Woman at the Ball.”

*NEY, ELIZABETH. The Fine Arts jury of the St. Louis Exposition have accepted three works by this sculptor to be placed in the Fine Arts Building.  They are the Albert Sidney Johnston memorial; the portrait bust of Jacob Grimm, in marble; and a bronze statuette of Garibaldi.  It is unusual to allow so many entries to one artist.