t Department medal, Chicago, 1893; bronze medal,
Buffalo, 1901. Member of the Society of American Artists, American
Water-Color Society, New York Water-Color Club. Born in New York City.
Studied two years under William M. Chase and six months at Julian
Academy, Paris.

Miss Emmet exhibited at the National Academy of Design, in 1881, a
"Portrait of a Boy"; in 1882, a "Portrait of Alexander Stevens" and
"Waiting for the Doctor"; in 1883, "Red Rose Land" and "La Mesciana"; her
picture called "September" belongs to the Boston Art Club. The greater
number of her works are in private collections.

<b>ESCALLIER, MME. ELEONORE.</b> Medal at Salon, 1868. A pupil of Ziegler.
A painter of still-life whose pictures of flowers and birds were much
admired. "Chrysanthemums," exhibited in 1869, was purchased by the
Government. "Peaches and Grapes," 1872, is in the Museum at Dijon; and in
1875 she executed decorative panels for the Palais de la Legion
d'Honneur.

<b>ESCH, MATHILDE.</b> Born at Kletten, Bohemia, 1820. Pupil of
Waldmueller in Vienna. She also studied a long time in Duesseldorf and
several years in Paris, finally settling in Vienna. She painted charming
scenes from German and Hungarian life, as well as flowers and still-life.
Most of her works are in private galleries.

<b>ESINGER, ADELE.</b> Born in Salzburg, 1846. In 1874 she became a student
at the Art School in Stuttgart, where she worked under the special
direction of Funk, and later entered the Art School at Carlsruhe, where
she was a pupil of Gude. She also received instruction from Hansch. Her
pictures are remarkable for their poetic feeling; especially is this true
of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party."

<b>EYCK, MARGARETHA VAN.</b> In Bruges, in the early decades of the
fifteenth century, the Van Eycks were inventing new methods in the
preparation of colors. Their discoveries in this regard assured them an
undying fame, second only to that of their marvellous pictures.

Here, in the quaint old city--a large part of which we still describe as
mediaeval--in an atmosphere totally unlike that of Italy, beside her
devout brothers, Hubert and Jan, was Margaretha. When we examine the
minute detail and delicate finish of the pictures of Jan van Eyck, we see
a reason why the sister should have been a miniaturist, and do not wonder
that with such an example before her she should have excelled in this
art. The fame of her m