r Grigoletti, Moja, Bresolin, Nani, and Molmenti.
Although all her artistic training was received in Italy and she made
her first successes there, most of her works have been exhibited in
London, under the impression that she was better understood in England.

Annoyed by the commendation of her pictures "as the work of a woman," she
signed a number of her canvases Antonio Brandeis. Although she painted
religious subjects for churches, her special predilection is for views of
Venice, preferably those in which the gondola appears. She has studied
these in their every detail. "Il canale Traghetto de' San Geremia" is in
the Museum Rivoltella at Trieste. This and "Il canale dell' Abbazia della
Misericordia" have been much commended by foreign critics, especially the
English and Austrians. Other Venetian pictures are "La Chiese della
Salute," "Il canale de' Canalregio," and "La Pescaria."

<b>BRESLAU, LOUISA CATHERINE.</b> Gold medal at Paris Exposition, 1889;
gold medal at Paris Exposition, 1900. Chevalier of the Legion of Honor,
1901. Member of the Societe Nationale des Beaux-Arts. A Swiss artist, who
made her studies at the Julian Academy under Robert-Fleury.

She has painted many portraits. Her picture "Under the Apple-Tree" is in
the Museum at Lausanne; the "Little Girls" or "The Sisters" and the
"Child Dreamer"--exhibited at Salon, 1902--are in the Gallery of the
Luxembourg; the "Gamins," in the Museum at Carpentras; the "Tea Party,"
at the Ministry of the Interior, Paris.

At the Salon of 1902 Mlle. Breslau exhibited six pictures, among which
were landscapes, two representing September and October at Saint-Cloud;
two of fruit and flowers; all of which were admired, while the "Dreamer"
was honored with a place in the Luxembourg. In the same Salon she
exhibited six pictures in pastel: four portraits, and heads of a gamin
and of a little girl. The portrait of Margot is an ideal picture of a
happy child, seated at a table, resting her head on her left hand while
with the right she turns the leaves of a book. A toy chicken and a doll
are on the table beside her. In the Salon of 1903 she exhibited five
pictures of flowers and another called the "Child with Long Hair."

I was first interested in this artist by the frequent references to her
and her work in the journal of Marie Bashkirtseff. They were
fellow-pupils in the Julian Academy. Soon after she began her studies
there Marie Bashkirtseff writes: "Breslau has been