Among her best works are “St. George and the Dragon,” bronze; the “Martyrdom of St. Dorothea,” “Judith with the Head of Holofernes,” “St. Genoveva,” marble, and a monument to Dante.

Her works display a wonderful skill in the use of drapery and a purity of taste in composition.  She handled successfully the exceedingly difficult subject, a “Scene between Paolo and Francesca da Rimini.”

FAUX-FROIDURE, MME. EUGENIE JULIETTE. Honorable mention at Salon, 1898; the same at the Paris Exposition, 1900; third-class medal at Salon, 1903; first prize of the Union of Women Painters and Sculptors, 1902; chevalier of the Order Nichan Iftikar; Officer of Public Instruction.  Member of the Association of Baron Taylor, of the Societe des Artistes Francais, of the Union of Women Painters and Sculptors, and of the Association of Professors of Design of the City of Paris.  Born at Noyen (Sarthe).  Pupil of P. V. Galland, Albert Maignan, and G. Saintpierre.

Mme. Faux-Froidure’s pictures are principally of fruit and flowers, and three have been purchased by the Government.  One, “Raisins” (Grapes), is in the Museum at Commerey; a second, “Hortensias” (Hydrangeas), is in the Museum of Mans; the third, which was in the Salon of 1903, has not yet been placed.  In 1899 she exhibited a large water-color called “La Barque fleurie,” which was much admired and was reproduced in “L’Illustration.”  Her water-color of “Clematis and Virginia Creeper” is in the Museum at Tunis.  In the summer exhibition of 1903, at Evreux, this artist’s “Peonies” and “Iris” were delightfully painted—­full of freshness and brilliancy, such as would be the despair of a less skilful hand.

At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was announced as hors concours in water-colors.

La Societe Francais des Amis des Arts purchased from the Salon, 1903, two water-colors by Mme. Faux-Froidure—­“Roses” and “Loose Flowers,” or “Jonchee fleurie.”

Her pictures at the Exposition at Toulouse, spring of 1903, were much admired.  In one she had most skilfully arranged “Peaches and Grapes.”  The color was truthful and delicate.  The result was a most artistic picture, in which the art was concealed and nature alone was manifest.  A second picture of “Zinnias” was equally admirable in the painting of the flowers, while that of the table on which they were placed was not quite true in its perspective.

Of a triptych, called the “Life of Roses,” exhibited at the Salon des Artistes Francais, 1903, Jules de Saint Hilaire writes:  “Mme. Faux-Froidure was inspired when she painted her charming triptych of ‘Rose Life.’  In the compartment on the left the roses are twined in a crown resembling those worn in processions; in the centre, in all its dazzling beauty, the red rose, the rose of love, is enthroned; while the panel on the right is consecrated to the faded rose—­the souvenir rose, shrivelled, and lying beside the little casket which it still perfumes with its old-time sweetness.”