Mrs. Cox gives her ideas about her picture of the “Fates” as follows:  “My interpretation of the Fates is not the one usually accepted.  The idea took root in my mind years ago when I was a student at the League.  It remained urgently with me until I was forced to work it out.  As you see, the faces of the Fates are young and beautiful, but almost expressionless.  The heads are drooping, the eyes heavy as though half asleep.  My idea is, that they are merely instruments under the control of a higher power.  They perform their work, they must do it without will or wish of their own.  It would be beyond human or superhuman endurance for any conscious instrument to bear for ages and ages the horrible responsibility placed upon the Fates.”

CRESPO DE REIGON, ASUNCION. Honorable mention at the National Exhibition, Madrid, 1860.  Member of the Academy of San Fernando, 1839.  Pupil of her father.  To the exhibition in 1860 she sent a “Magdalen in the Desert,” “The Education of the Virgin,” “The Divine Shepherdess,” “A Madonna,” and a “Venus.”  Her works have been seen in many public exhibitions.  In 1846 she exhibited a miniature of Queen Isabel II.  Many of her pictures are in private collections.

CROMENBURCH, ANNA VON. In the Museum of Madrid are four portraits by this artist:  “A Lady of the Netherlands,” which belonged to Philip IV.; “A Lady and Child,” “A Lady with her Infant before Her,” and another “Portrait of a Lady.”  The catalogue of the Museum gallery says:  “It is not known in what place or in what year this talented lady was born.  She is said to have belonged to an old and noble family of Friesland.  At any rate, she was an excellent portrait painter, and flourished about the end of the sixteenth century.  The Museo del Prado is the only gallery in Europe which possesses works signed by this distinguished artist.”

DAHN-FRIES, SOPHIE. Born in Munich. 1835-98.  This artist was endowed with unusual musical and artistic talent.  After the education of her only son, she devoted herself to painting, principally of landscape and flowers.  After 1868, so long as she lived she was much interested in Frau von Weber’s Art School for Girls.  In 1886, when a financial crisis came, Mme. Dahn-Fries saved the enterprise from ruin.  She exhibited, in 1887, two pictures which are well known—­“Harvest Time” and “Forest Depths.”

DAMER, MRS. ANNE SEYMOUR. Family name Conway. 1748-1828.  She was a granddaughter of the Duke of Argyle, a relative of the Marquis of Hertford, and a cousin of Horace Walpole.  Her education was conducted with great care; the history of ancient nations, especially in relation to art, was her favorite study.  She had seen but few sculptures, but was fascinated by them, and almost unconsciously cherished the idea that she could at least model portraits and possibly give form to original conceptions.

Allan Cunningham wrote of her thus:  “Her birth entitled her to a life of ease and luxury; her beauty exposed her to the assiduity of suitors and the temptations of courts; but it was her pleasure to forget all such advantages and dedicate the golden hours of her youth to the task of raising a name by working in wet clay, plaster of Paris, stubborn marble, and still more intractable bronze.”