s a pupil of
Bedussi and of Gordigiani. Her early work consisted of copies from the
Italian and other masters, and these were so well done that she soon
began to receive orders, especially for portraits, from well-known
people. Among them were G. Baccelli--the Minister of Public
Instruction--King Humbert, and Queen Margherita, the latter arousing much
interest when exhibited in Florence. Portraits of her mother, and of her
husband, who was the Minister of Finance, were also recognized as
admirable examples of portraiture. "Modesty and Vanity" is one of her
genre pictures.

<b>MANGILLA, ADA.</b> Gold medal at Ferrara for a "Bacchante," which is now
in the Gallery there; gold medal at Beatrice, in Florence, 1890, for the
"Three Marys." Born in Florence in 1863. Pupil of Cassioli. One of her
early works was a design for two mosaic figures in the left door of the
Cathedral in Florence, representing Bonifazio Lupi and Piero di Luca
Borsi; this was exhibited in 1879, and was received with favor by the
public.

This artist has had much success with Pompeian subjects, such as "A
Pompeian Lady at Her Toilet," and "A Pompeian Flower-Seller." She catches
with great accuracy the characteristics of the Pompeian type; and this
facility, added to the brilliancy of her color and the spirit and
sympathy of her treatment, has given these pictures a vogue. Two of them
were sold in Holland. "Floralia" was sold in Venice. To an exhibition of
Italian artists in London, in 1889, she contributed "The Young Agrippa,"
which was sold to Thomas Walker. Her grace and fancy appear in the
drawings which she finds time to make for "Florentia," and in such
pictures as "The Rose Harvest."

This highly accomplished woman, who has musical and literary talent, is
the wife of Count Francessetti di Mersenile.

<b>MANKIEWICZ, HENRIETTE.</b> Chevalier of the Legion of Honor. A series of
her mural decorations was exhibited in various German cities, and finally
shown at the Paris Exposition of 1890(?), where they excited such
applause that the above honor was accorded her. These decorations are in
the form of panels, in which water, in its varying natural aspects,
supplies the subordinate features, while the fundamental motive is
vegetation of every description. The artist has evidently felt the
influence of Markart in Vienna, and some of her conceptions remind one
of H. von Preusschen. Her technique is a combination of embroidery,
painting, and app