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WOMAN IN ART in Colorado. Here as everywhere she was studying and sketching, sending paintings to various exhibitions.

In the Spring of 1878 Eliza Greatorex took her two daughters to Paris, doubtless for some art study, for three years later Kate, the eldest daughter, began sending pictures to the Academy of Design, the first being "The Last Bit of Autumn." Her Centennial painting (1876) represented "Goethe's Fountain, Frankfort," and in 1877 it was "Thistles and Corn"; for a number of years thereafter similar subjects from her brush were to be seen at the Academy. Miss Eleanor also exhibited in 1876, "From Yuba's Kitchen, Ober Ammergau," but later turned her art ability to the decorating of china.

To return to Mrs. Greatorex: In 1869 she was elected Associate of the National Academy, New York, the first women who received that recognition. She is the only woman member of the Artists' Fund Society of New York.

Among the more important works of Eliza Greatorex, A. N. A., are "Bloomingdale," (belonging to Robert Hoe); "Chateau of Madame Cliffe," (belonging to Dykeman Van Dorn); several pen and ink drawings in the collection of Charlotte Cushman; "Amsterdam Landscape"; "Old St. Paul's"; "Bloomingdale Church," painted on a panel taken from the North Dutch Church, Fulton Street, and "St. Paul's Church," painted on a panel from that old church. Eighteen of her pen drawings illustrative of "Old New York" were at the Centennial Exhibition of 1876.

Susan M. L. Wales was born in Boston, Mass., in 1839, thoroughly educated in the principles and methods of art expression of that "rolling stone" wanderlust that gives knowledge and polish with various contacts in this international laboratory we call Earth.

A born artist, she seems to have found her most pleasurable art expression in depicting large masses of light and shade, working them into suggestive groupings, as when a huge cathedral full of imprisoned shadows becomes softly illumined by a stray sunbeam, and its reflected glory from polished marble; or when a flood of unexpected light from the rose window in the transept drives the shadows to refuge in corners and behind clustered columns. She has worked much magic with the medium of charred wood, accomplished beautiful and tender effects with the "hide and go seek" of mere charcoal. An unlighted suspended lamp over a church aisle shows its beauty against the almost impenetrable shadow that veils the altar piece, making a seeming night by the starlight of tapers on the altar. Her 118