of
pastels. She was successful as a portrait painter and as a teacher,
having some members of the royal family as pupils, who so esteemed her
that they became her friends. She is known as Madame Vincent, having
married the son of her first master in painting.

Her portrait of the sculptor Gois gained a prize at the Academy, and in
1781 she was made a member of that institution. We know the subjects of
some large, ambitious works by Madame Vincent, on which she relied for
her future fame, but unhappily they were destroyed in the time of the
French Revolution, and she never again had the courage to attempt to
replace them. One of these represented the "Reception of a Member to the
Order of St. Lazare," the Grand Master being the brother of the King, who
had appointed Madame Vincent Painter to the Court. Another of these works
was a portrait of the artist before her easel, surrounded by her pupils,
among whom was the Duchesse d'Angouleme and other noble ladies.

As Madame Vincent and her husband were staunch royalists, they suffered
serious losses during the Revolution; the loss of her pictures was
irreparable. She was so disheartened by the destruction of the result of
the labors of years that she never again took up her brush with her
old-time ambition and devotion.

She died in 1803, at the age of fifty-four, having received many honors
as an artist, while she was beloved by her friends and esteemed by all as
a woman of noble character.

<b>LAING, MRS. J. G.</b> Principal studies made in Glasgow under Mr. F. H.
Newbery; also in Paris under Jean-Paul Laurens and Aman-Jean.

This artist is especially occupied with portraits of children and their
mothers. She has, however, exhibited works of another sort. Her "Sweet
Repose" and "Masquerading" were sold from the exhibitions in London and
Glasgow, where they were shown. "Bruges Lace-Makers" was exhibited in
Munich in 1903.

The Ladies' Club of Glasgow is enterprising and its exhibitions are
interesting, but Mrs. Laing is not a member of any club, and sends her
pictures by invitation to exhibitions on the Continent as well as in
Great Britain, and sometimes has a private exhibition in Glasgow.

Her study at Aman-Jean's and Colarossi's gave a certain daintiness and
grace to her work, which is more Parisian than British in style. There is
great freedom in her brush and a delicacy well suited to the painting of
children's portraits; her children and their mothers real