are much esteemed. Her work is
life-like, artistic, and strong in drawing, color, and composition. After
finishing her study under masters she took up miniature painting by
herself, studying the works of old miniaturists.

Recently she writes me: "I have departed from the ordinary portrait
miniature, and am now painting what I call picture miniatures. For
instance, I am now at work on the portrait of Miss D. C., who is in
old-fashioned dress, low bodice, and long leg-of-mutton sleeves. She is
represented as running in the open, with sky and tree background. She has
a butterfly net over her shoulder, which floats out on the wind; she is
looking up and smiling; her hair and her sash are blown out. It is to be
called, 'I'd be a Butterfly.' The dress is the yellow of the common
butterfly. It is a large miniature. I hope to send it, with others, to
the St. Louis Exposition."

Her miniatures are numerous and in private hands. A very interesting one
belongs to the Bishop of Ripon and is a portrait of Mrs. Carpenter, his
mother.

<b>MUNTZ, LAURA A.</b>

[_No reply to circular_.]

<b>MURRAY, ELIZABETH.</b> Member of the Institute of Painters in
Water-Colors, London, and of the American Society of Water-Color
Painters, New York. Her pictures are of genre subjects, many of them
being of Oriental figures. Among these are "Music in Morocco," "A
Moorish Saint," "The Greek Betrothed," etc. Other subjects are "The Gipsy
Queen," "Dalmatian Peasant," "The Old Story in Spain," etc.

<b>NATHAN, SIGNORA LILIAH ASCOLI.</b> Rome.

[_No reply to circular_.]

<b>NEGRO, TERESA.</b> Born in Turin, where she resides. She has made a
study of antique pottery and has been successful in its imitation. Her
vases and amphorae have been frequently exhibited and are praised by
connoisseurs and critics. At the Italian National Exposition, 1880, she
exhibited a terra-cotta reproduction of a classic design, painted in
oils; also a wooden dish which resembled an antique ceramic.

<b>NELLI, PLAUTILLA.</b> There is a curious fact connected with two women
artists of Florence in the middle of the sixteenth century. In that city
of pageants--where Ghirlandajo saw, in the streets, in churches, and on
various ceremonial occasions, the beautiful women with whom he still
makes us acquainted--these ladies, daughters of noble Florentine
families, were nuns.

No Shakespearean dissector has, to my knowledge, affirmed that Hamlet's
advice t