Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/473

358 persistent pursuit of an ideal—an ideal she attained in her later works, an ideal of the highest mental order, mystical and human, and so far removed from the tendencies of our time that one might truthfully say, it stands alone. Her talents were manifold. She was endowed with the best of artistic qualities. She cultivated them diligently, and slowly acquired the handicraft and skill which enabled her to express herself without restriction. In her miniatures she learned to be careful, precise, and delicate; in her work from nature she was human; and in her studies of illuminating she gained a perfect understanding of ornamental painting and forms; and the subtle ambiance of the beautiful old churches and convents where she worked and pored over the ancient missals, and softly talked with the princely robed Monsignori, no doubt did much to develop her love for the Beautiful Story, the delicate myth of Christianity—and all this, all these rare qualities and honest efforts we find in her last picture, The Virgin. "The beauty and preciseness of this composition, the divine feeling not without a touch of motherly sentiment, its delicacy so rare and so pure, the distinction of its coloring, are all past expression, and give it a place unique in the nineteenth century."—Paul W, Bartlett, Paris, 1903. Wegmann, Bertha. Honorable mention, Paris Salon, 1880; third-class medal, 1882; Thorwaldsen medal at Copenhagen; small gold medal, Berlin, 1894. Born at Soglio, Switzerland, 1847. Studied in Copenhagen, Munich, Paris, and Florence.