e works of Botticelli. Of
her "Ithuriel" W. S. Sparrow wrote: "It may be thought that this Ithuriel
is too mild--too much like Shakespeare's Oberon--to be in keeping with
the terrific tragedy depicted in the first four books of the 'Paradise
Lost.' Eve, too, lovely as she is, seems to bear no likelihood of
resemblance to Milton's superb mother of mankind. But the picture has a
sweet, serene grace which should make us glad to accept from Mrs. De
Morgan another Eve and another Ithuriel, true children of her own fancy."

The myth of "Boreas and Orithyia," though faulty perhaps in technique, is
good in conception and arrangement.

Mrs. De Morgan has produced some impressive works in sculpture. Among
these are "Medusa," a bronze bust; and a "Mater Dolorosa," in
terra-cotta.

<b>DESCHLY, IRENE.</b> Born in Bucharest, the daughter of a Roumanian
advocate. She gave such promise as an artist that a government stipend
was bestowed on her, which enabled her to study in Paris, where she was a
pupil of Laurens and E. Carriere.

Her work is tinged with the melancholy and intensity of her
nature--perhaps of her race; yet there is something in her grim
conceptions, or rather in her treatment of them, that demands attention
and compels admiration. Even in her "Sweet Dream," which represents the
half-nude figure of a young girl holding a rose in her hand, there is
more sadness than joy, as though she said, "It is only a dream, after
all." "Chanson," exhibited at the Paris Exposition, 1900, displays
something of the same quality.

<b>ERISTOW-KASAK, PRINCESS MARIE.</b> Among the many Russian portraits in
the Paris Exposition, 1900, two, the work of this pupil of Michel de
Zichys, stood out in splendid contrast with the crass realism or the weak
idealism of the greater number. One was a half-length portrait of the
laughing Mme. Paquin; full of life and movement were the pose of the
figure, the fall of the draperies, and the tilt of the expressive fan.
The other was the spirited portrait of Baron von Friedericks, a happy
combination of cavalier and soldier in its manly strength.

When but sixteen years old, the Princess Marie roused the admiration of
the Russian court by her portrait of the Grand Duke Sergius. This led to
her painting portraits of various members of the royal family while she
was still a pupil of De Zichys.

After her marriage she established herself in Paris, where she endeavors
to preserve an incognito as a