Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/300

Rh ’Hiawatha's Wooing,’ represents Minnehaha seated, making a pair of moccasins, and Hiawatha by her side with a world of love and longing in his eyes. In the 'Marriage' they stand side by side with clasped hands. In both the Indian type of feature is carefully preserved, and every detail of dress, etc., is true to nature. The sentiment equals the execution. They are charming bits, poetic, simple, and natural, and no happier illustrations of Longfellow's most original poem were ever made than these by the Indian sculptor." —Revolution, April, 1871.

"This was not a beautiful work—’Cleopatra'—but it was very original and very striking, and it merits particular comment, as its ideal was so radically different from those adopted by Story and Gould in their statues of the Egyptian Queen. . . . The effects of death are represented with such skill as to be absolutely repellent. Apart from all questions of taste, however, the striking qualities of the work are undeniable, and it could only have been produced by a sculptor of very genuine endowments."—Great American Sculptors. Ley, Sophie. Third-class medal at Melbourne; honor diplomas, Karlsruhe. Member of the Kiinstlerbund, Karlsruhe. Born at Bodman am Bodensee, 1859. Pupil of the Art School in Stuttgart, where she received several prizes; and of Gude and Bracht in Karlsruhe.

Some flower pieces by this artist are in the collection of the Grand Duke of Baden; others belong to the Hereditary Grand Duke and to the Queen of Saxony; still others are in various private galleries.

A recently published design for the wall decoration of