f the fountain is most interesting
and successful from all points of view. The lines of the composition are
large and dignified, especially noticeable in the modelling of the
individual figures, which is well studied and technically excellent."

At Buffalo, where this fountain was exhibited, it received honorable
mention.

Miss Yandell has been commissioned to execute a symbolical figure of
victory and a statue of Daniel Boone for the St. Louis Exposition.

<b>YKENS, LAURENCE CATHERINE.</b> Elected to the Guild of Antwerp in 1659.
Born in Antwerp. Pupil of her father, Jan Ykens. Flowers, fruits, and
insects were her favorite subjects, and were painted with rare delicacy.
Two of these pictures are in the Museo del Prado, at Madrid. They are a
"Festoon of Flowers and Fruits with a Medallion in the Centre, on which
is a Landscape"; and a "Garland of Flowers with a Similar Medallion."

<b>ZIESENSIS, MARGARETTA.</b> There were few women artists in the
Scandinavian countries in the early years of the eighteenth century.
Among them was Margaretta Ziesensis, a Danish lady, who painted a large
number of portraits and some historical subjects.

She was best known, however, for her miniature copies of the works of
famous artists. These pictures were much the same in effect as the
"picture-miniatures" now in vogue. Her copy of Correggio's Zingarella was
much admired, and was several times repeated.

SUPPLEMENT

Containing names previously omitted and additions. The asterisk (*)
denotes preceding mention of the artist.

*<b>BILDERS, MARIE VAN BOSSE.</b> This celebrated landscape painter became
an artist through her determination to be an artist rather than because
of any impelling natural force driving her to this career.

After patient and continuous toil, she felt that she was developing an
artistic impulse. The advice of Van de Sande-Bakhuyzen greatly encouraged
her, and the candid and friendly criticism of Bosboom inspired her with
the courage to exhibit her work in public.

In the summer of 1875, in Vorden, she met Johannes Bilders, under whose
direction she studied landscape painting. This master took great pains to
develop the originality of his pupil rather than to encourage her
adapting the manner of other artists. During her stay in Vorden she made
a distinct gain in the attainment of an individual style of painting.

After her return to her home at The Hague, Bilders established a studio
ther