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WOMAN IN ART draped; the finger on the lips symbolizes. The poppies in her lap indicate sleep; the key in the left hand has fastened the door of the tomb.

What's in a name? The question flashed to mind when looking at two heads from Miss Longman's studio. Both represent girlhood. Both are fascinating. One is of vivacious, sprightly character, head alert, eyes looking beyond you at something as fascinating to her as her face is to you; her whole face is a smile, every muscle expresses joyousness, the parted lips cause a bewitching dimple and disclose the pretty, even teeth. In her short waving hair is a sprig of holly. O, but she's jolly! The other maiden has a sweet face, and thoughtful, the eyes downcast; were one or two words spoken, the eyelids would lift and let fall a tear, or the lips would part with a questioning smile. Her hair is slightly rolled from the face, the heavy braid forming a crown that maidenhood may glory in, surmounting a face that can be in sympathy with joy or sorrow.

One is called "Elizabeth," the other "Peggy." Which is which?

Through the years of Evelyn Longman's career, her works are like milestones marking her way. But as the artist cannot keep the work, the prizes, medals and honors are becoming the markers.

Another marble from the workshop of this artist is a most exquisite portrayal of the nude. In the Heckscher Museum, Huntington, Long Island, is a children's fountain carved from the purest Carrara marble. Three young children are watching a bronze frog spouting water from the brim of the basin; the spontaneous expression of wonder and delight in those bewitching baby faces is fascinating to watch, and wonderful as a work of art. The texture of that seeming flesh, with dimples and creases, responds to the unconscious pressure of their fingers on one another as they look, spellbound.

A gold medal was the reward to the artist for that fountain when exhibited in 1922; also for the Naugatuck War Memorial.

One of the most pure nudes in modern art Miss Longman has simplified as "Nature." It expresses purity of thought, of sweetness and the dignity of repose, all are there. The position is grace itself. Were it vitalized, strength, dignity and decision would be dominant. The master's chisel has said it.

This nearly life-size figure was awarded the Shaw Memorial prize in 1918, by the Academy of Design, New York; also it captured the W. M. R. French prize at the Art Institute of Chicago, 1919, and the Widener gold medal from the Philadelphia Academy of Fine Arts, 1921. 214