ing about her. If at the
theatre she saw a play that appealed to her, she made a picture symbolic
of the play, and constantly startled her friends by her original ideas
and the pronounced artistic temperament, which was very early the one
controlling power in her life. Mr. Carl Gutherz thus speaks of her good
fortune in studying with M. Merson.

"As the Master and Student became more and more acquainted, and the great
artist found in the student those kindred qualities which subsequently
made her work so refined and beautiful,... he took the utmost care in
developing her drawing--the fidelity of line and of expression, and the
ever-pervading purity in her work. The sympathy with all good was
reflected in the student, as it was ever present with the master, and
only those who are acquainted with M. Merson can appreciate how fortunate
it was for Art that the young artist was under a master of his character
and temperament."

One of her pictures, called "La Chrysantheme," represents a nude figure
of a young girl, seated on the ground, leaning against a large basket of
chrysanthemums, from which she is plucking blossoms. The figure is
beautiful, and shows the deep study the artist had made, although still
so young.

The following estimate of her work is made by one competent to speak of
such matters: "In this epoch of feverish uncertainty, of heated
discussions and rivalries in art matters, the quiet, calm figure of Sadie
Waters has a peculiar interest and charm generated by her tranquil and
persistent pursuit of an ideal--an ideal she attained in her later
works, an ideal of the highest mental order, mystical and human, and so
far removed from the tendencies of our time that one might truthfully
say, it stands alone. Her talents were manifold. She was endowed with the
best of artistic qualities. She cultivated them diligently, and slowly
acquired the handicraft and skill which enabled her to express herself
without restriction. In her miniatures she learned to be careful,
precise, and delicate; in her work from nature she was human; and in her
studies of illuminating she gained a perfect understanding of ornamental
painting and forms; and the subtle ambiance of the beautiful old churches
and convents where she worked and pored over the ancient missals, and
softly talked with the princely robed Monsignori, no doubt did much to
develop her love for the Beautiful Story, the delicate myth of
Christianity--and all this, all