Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/439

328 marble pillar at the top of the stairs leading up to the balcony. The admirable qualities of decoration are well shown by the way it is hung.... Is a fine piece of strong and satisfactory color, but the decorative aspect in no way takes precedence of the portraiture. We think of the man first and the picture afterward."

At the Academy, in 1903, Mrs. Stokes exhibited a portrait of J. Westlake, Esq., K.C.

Storer, Mrs. Maria Longworth. Gold medal at Paris Exposition, 1900. Born in Cincinnati, Ohio. Pupil of the Cincinnati Art School, which ner father, Joseph Longworth, endowed with three hundred thousand dollars. After working four years, making experiments in clay decoration at the Dallas White Ware Pottery, Mrs. Storer, " who had the enthusiasm of the artistic temperament coupled with fixity of purpose and financial resources,… had the courage to open a Pottery which she called Rookwood, the name of her father's place on the hills beyond. This was in 1880."

Nine years later this pottery had become self-supporting, and Mrs, Storer then dissolved her personal association with it, leaving it in charge of Mr. William Watts Taylor, who had collaborated with her during six years.

At the Paris Exposition Mrs. Storer exhibited about twenty pieces of pottery mounted in bronze — all her own work. It was an exquisite exhibition, and I was proud that it was the work of one of my countrywomen.

In 1897 Mr. Storer was appointed United States minister to Belgium, and Mrs. Storer took a Japanese artist, Asano, to Brussels, to instruct her in bronze work. Two