[Illustration:  From a Copley Print.

DOROTHY

LYDIA FIELD EMMET]

Miss Emmet has painted many portraits, which are in private hands in New York, Chicago, Boston, and elsewhere.  She executed a decorative painting for the Woman’s Building at Chicago which is still in that city.

EMMET, ROSINA—­MRS. ARTHUR MURRAY SHERWOOD. Silver medal, Paris Exposition, 1889; the Art Department medal, Chicago, 1893; bronze medal, Buffalo, 1901.  Member of the Society of American Artists, American Water-Color Society, New York Water-Color Club.  Born in New York City.  Studied two years under William M. Chase and six months at Julian Academy, Paris.

Miss Emmet exhibited at the National Academy of Design, in 1881, a “Portrait of a Boy”; in 1882, a “Portrait of Alexander Stevens” and “Waiting for the Doctor”; in 1883, “Red Rose Land” and “La Mesciana”; her picture called “September” belongs to the Boston Art Club.  The greater number of her works are in private collections.

ESCALLIER, MME. ELEONORE. Medal at Salon, 1868.  A pupil of Ziegler.  A painter of still-life whose pictures of flowers and birds were much admired.  “Chrysanthemums,” exhibited in 1869, was purchased by the Government.  “Peaches and Grapes,” 1872, is in the Museum at Dijon; and in 1875 she executed decorative panels for the Palais de la Legion d’Honneur.

ESCH, MATHILDE. Born at Kletten, Bohemia, 1820.  Pupil of Waldmueller in Vienna.  She also studied a long time in Duesseldorf and several years in Paris, finally settling in Vienna.  She painted charming scenes from German and Hungarian life, as well as flowers and still-life.  Most of her works are in private galleries.

ESINGER, ADELE. Born in Salzburg, 1846.  In 1874 she became a student at the Art School in Stuttgart, where she worked under the special direction of Funk, and later entered the Art School at Carlsruhe, where she was a pupil of Gude.  She also received instruction from Hansch.  Her pictures are remarkable for their poetic feeling; especially is this true of “A Quiet Sea,” “The Gollinger Waterfall,” and “A Country Party.”

EYCK, MARGARETHA VAN. In Bruges, in the early decades of the fifteenth century, the Van Eycks were inventing new methods in the preparation of colors.  Their discoveries in this regard assured them an undying fame, second only to that of their marvellous pictures.

Here, in the quaint old city—­a large part of which we still describe as mediaeval—­in an atmosphere totally unlike that of Italy, beside her devout brothers, Hubert and Jan, was Margaretha.  When we examine the minute detail and delicate finish of the pictures of Jan van Eyck, we see a reason why the sister should have been a miniaturist, and do not wonder that with such an example before her she should have excelled in this art.  The fame of her miniatures extended even to Southern Italy, where her name was honorably known.