wonderfully beautiful Fuziyama would almost compel an artist to paint
landscapes.

Mrs. Perry says that her pictures of French and Japanese types are, in
fact, portraits as truly as are those she is asked to paint.

Her picture of a "Japanese Lacemaker" belongs to Mr. Quincy A. Shaw. It
has been much admired in the exhibitions in which it has been seen.

In the Water-Color Exhibition of the Boston Art Club, 1903, Mrs. Perry's
portrait of Miss S. attracted much attention. The delicate flesh tones,
the excellent modelling of the features, and what may be called the whole
atmosphere of the picture combine in producing an effective and pleasing
example of portraiture.

<b>PERUGINI, CATERINA E.</b> An Italian painter living in London, where she
frequently exhibits her excellent pictures. Among them are "A Siesta,"
"Dolce far Niente," "Multiplication," and portraits of Guy Cohn, son of
Sir Guy Campbell, Bart., and of Peggy and Kitty Hammond, two charming
children.

At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."

<b>PERUGINI, MRS. KATE DICKENS.</b> Younger daughter of Charles Dickens and
wife of Charles Edward Perugini. This artist has exhibited at the Royal
Academy and at other exhibitions since 1877. Her pictures are of genre
subjects, such as the "Dolls' Dressmaker," "Little-Red-Cap," "Old
Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring
Flowers."

[_No reply to circular_.]

<b>PETERS, ANNA.</b> Medals at Vienna, 1873; London, 1874; Munich, 1876;
Amsterdam and Antwerp, 1877. Born at Mannheim, 1843. Pupil of her father,
Pieter Francis Peters, in Stuttgart. Miss Peters travelled over Europe
and was commissioned to decorate apartments in the royal castles at
Stuttgart and Friedrichshafen.

Her picture of "Roses and Grapes" is in the National Gallery, London; and
one of "Autumn Flowers" in the Museum at Stuttgart.

<b>PILLINI, MARGHERITA.</b> An Italian painter living in Paris. Her most
successful exhibitions have been those at Rome, in 1883, when her
"Silk-cocoon Carder of Quimper" and "Charity" appeared; and at Turin, in
1884, when "The Three Ages," "The Poor Blind Man," and a portrait of the
Prince of Naples were shown, all exquisite in sentiment and excellent in
execution. The "Silk-cocoon Carder of Quimper" has been thus noticed by
De Rengis: "If I am not mistaken, Signora Margherita Pillini has also
taken this road, full of modernity, but not free from gr