making and
placing of the windows.

Regarding their work in the Chapel of Christ Church, New Haven, Miss
Genevieve Cowles writes me: "These express the Prayer of the Prisoner,
the Prayer of the Soul in Darkness, and the Prayer of Old Age. These are
paintings of states of the soul and of deep emotions. The paintings are
records of human lives and not mere imagination. We study our characters
directly from life."

These artists are now, November, 1903, engaged upon a landscape frieze
for a dining-room in a house at Watch Hill.

Miss Genevieve Cowles writes: "We feel that we are only at the beginning
of our life-work, which is to be chiefly in mural decoration and stained
glass. I desire especially to work for prisons, hospitals, and
asylums--for those whose great need of beauty seems often to be
forgotten."

<b>COWLES, MAUD ALICE.</b> Twin sister of Genevieve Cowles. Bronze medal at
Paris Exposition, 1900, and a medal at Buffalo, 1901. Her studies were
the same as her sister's, and she is a member of the same societies.
Indeed, what has been said above is equally true of the two sisters, as
they usually work on the same windows and decorations, dividing the
designing and execution between them.

<b>COX, LOUISE--MRS. KENYON COX.</b> Third Hallgarten prize, National
Academy of Design; bronze medal, Paris Exposition, 1900; silver medal at
Buffalo, 1901; medal at Charleston, 1902; Shaw Memorial prize, Society of
American Artists, 1903. Member of Society of American Artists, and an
associate of the Academy of Design. Born at San Francisco, 1865. Studies
made at Academy of Design, Art Students' League, under C. Turner, George
de Forest Brush, and Kenyon Cox.

Mrs. Cox paints small decorative pictures and portraits, mostly of
children. The Shaw prize was awarded to a child's portrait, called
"Olive." Among other subjects she has painted an "Annunciation," the
"Fates," and "Angiola," reproduced in this book.

[Illustration: From a Copley Print.

ANGIOLA

LOUISE COX]

A writer in the _Cosmopolitan_ says: "Mrs. Cox is an earnest worker and
her method is interesting. Each picture is the result of many sketches
and the study of many models, representing in a composite way the
perfections of all. For the Virgin in her 'Annunciation' a model was
first posed in the nude, and then another draped, the artist sketching
the figure in the nude, draping it from the second model. The hands are
always separately sketched f