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WOMAN IN ART good prices even for her time, and were popular even beyond the pictures of a rival in the same field of art; she seemed to express the delicate texture and soul of a flower, as well as its form, color, and grace.

Her pictures are to be seen in most European galleries, and in the Rijks Museum at Amsterdam they are proud to own four of them. Her dew drops on rose petals and leaves look as if nature were responsible for them; and you can take it for real pollen on the stamens and a real drop of honey in the corolla where bee and butterfly sip nectar, all are so delicately painted.

Microscopic work seems a characteristic of the Hollanders and Netherlanders.

Anna Dorothee Liszevska was born in Berlin (1722-1782). She studied first with her father and afterward at the Academy of Beaux-Arts in Paris, and on her return was made a member of the Academy of Berlin, and soon after became court painter to Frederick the Great. Painting portraits and historic pictures kept her busy a number of years, painting for both Prussia and Russia. A fine portrait of herself may be seen in Leipzig, and a number of portraits of men and women at Leyde. In the Chateau at Potsdam, also at Sans Souci are many of her pictures, and a remarkably fine convas at Weimar.

In every age there are children of poverty, children of the soil, and occasionally children in the environment of wealth and culture, and from them all, Life is often leading some to the heights of human possibilities, and they know it not. Theirs are souls and minds with unsatisfied longings and aspirations, developing men and women with hungers of mind and spirit. God made them so, and as leaf, flower, or fruit, on woodpath, hillside, or plain, they are where they belong till the spirit moves within and they find themselves, and opportunity opens the gate before them, and they find what they are made for in the thing they can do best.

In 1742 a German maiden was born to the art world at Chur in the Grisons. Her father was an artist in a small way, but large in ambition. That combination led him to perceive and nurture the budding in his child, and he gave her every opportunity in his power for seeing the best in art and for the study of it.

Angelica Kaufman was that child, who became a noted portrait painter. Her work was remarkable for her time, her age, and, too, because it was the work of a woman.

In Milan, Naples, and Rome she painted masterpieces and portraits. At 76