y. Among these are her
views of Venice and other South Italian sketches, which are also the
subjects of some of her etchings.

<b>BELLE, MLLE. ANDREE.</b> Member of the Societe Nationale des Beaux Arts.
Born in Paris. Pupil of Cazin. Paints in oils and pastels, landscapes
especially, of which she exhibited seventeen in June, 1902. The larger
part of these were landscape portraits, so to speak, as they were done on
the spots represented with faithfulness to detail. The subjects were
pleasing, and the various hours of day, with characteristic lighting,
unusually well rendered.

At the Salon des Beaux Arts, 1902, this artist exhibited a large pastel,
"A Halt at St. Mammes" and a "Souvenir of Bormes," showing the tomb of
Cazin. In 1903 she exhibited a pastel called "Calvary," now in the Museum
at Amiens, which has been praised for its harmony of color and the
manner in which the rainbow is represented. Her pictures of "Twilight"
and "Sunset" are unusually successful.

<b>BENATO-BELTRAMI, ELISABETTA.</b> Painter and sculptor of the nineteenth
century, living in Padua since 1858. Her talent, which showed itself
early, was first developed by an unknown painter named Soldan, and later
at the Royal Academy in Venice. She made copies of Guido, Sassoferrato
and Veronese, the Laokoon group, and the Hercules of Canova, and executed
a much-admired bas-relief called "Love and Innocence." Among her original
paintings are an "Atala and Chactas," "Petrarch's First Meeting with
Laura," a "Descent from the Cross" for the church at Tribano, a "St.
Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures
are noble in conception and firm in execution.

<b>BENITO Y TEJADA, BENITA.</b> Born in Bilboa, where she first studied
drawing; later she went to Madrid, where she entered the Escuela
superior. In the Exposition of 1876 at Madrid "The Guardian" was shown,
and in 1881 a large canvas representing "The First Step."

<b>BERNHARDT, SARAH.</b> In 1869 this famous actress watched
Mathieu-Meusnier making a bust. She made her criticisms and they were
always just. The sculptor told her that she had the eye of an artist and
should use her talent in sculpture. Not long after she brought to him a
medallion portrait of her aunt. So good was it that Mathieu-Meusnier
seriously encouraged her to persevere in her art. She was fascinated by
the thought of what might be possible for her, took a studio, and sent
to the Salon