Mme. Golay has executed a variety of pictures both in oil and water-colors.  In an exhibition at the Athenee in Geneva, in the autumn of 1902, she exhibited two pictures of sleep, which afforded an almost startling contrast.  They were called “Sweet Sleep” and the “Eternal Sleep.”  The first was a picture of a beautiful young woman, nude, and sleeping in the midst of roses, while angels watching her inspire rosy dreams of life and love.  The roses are of all possible shades, rendered with wonderful freshness—­scarlet roses, golden roses—­and in such masses and so scattered about the nude figure as to give it a character of purity and modesty.  The flesh tints are warm, the figure is supple in effect, and the whole is a happy picturing of the sleep and dream of a lovely young woman who has thrown herself down in the carelessness of solitude.

It required an effort of will to turn to the second picture.  Here lies another young woman, in her white shroud, surrounded with lilies as white as her face, on which pain has left its traces.  In the artistic speech of the present day, it is a symphony in white.  The figure is as rigid as the other is supple; it is frightfully immovable—­and yet the drawing is not exaggerated in its firmness.  Certainly these contrasting pictures witness to the skill of the artist.  Without doubt the last is by far the most difficult, but Mme. Golay has known how to conquer its obstacles.

A third picture by this artist in the exhibition is called the “Abundance of Spring.”  Mme. Golay’s reputation as a flower painter has been so long established that one need not dwell on the excellence of the work.  A writer in the Geneva Tribune exclaims:  “One has never seen more brilliant peonies, more vigorous or finer branches of lilacs, or iris more delicate and distinguished.  How they breathe—­how they live—­how they smile—­these ephemeral blossoms!”

GONZALEZ, INES. Member of the Academy San Carlos of Valencia.  In the expositions of 1845 and 1846 in that city she was represented by several miniatures, one of which, “Dido,” was much admired.  Another—­the portrait of the Baron of Santa Barbara—­was acquired by the Economic Society of Valencia.  In the Provincial Museum is her picture of the “Two Smokers.”

GRANBY, MARCHIONESS OF. Replies as follows to circular:  “Lady Granby has been written about by Miss Tomlinson, 20 Wigmore Street, London, W. And I advise you if you really want any information to get it from her.  V. G.”

I was not “really” anxious enough to be informed about Lady Granby—­who drops so readily from the third person to the first—­to act on her advice, which I give to my readers, in order that any one who does wish to know about her will be able to obtain the information!

GRANT, MARY R. This sculptor studied in Paris and Florence, as well as in London, where she was a pupil of J. H. Foley, R.A.  She has exhibited at the Royal Academy since 1870.  She has executed portraits of Queen Victoria, Georgina, Lady Dudley, the Duke of Argyll, Mr. C. Parnell, M.P., and Sir Francis Grant, P.R.A.