er than the other
that it was suggested that she might have been assisted by her husband,
the animal painter, Christian Kroener.

One of her most delightful pictures, "A Quiet Corner," represents a
retired nook in a garden, overgrown with foliage and flowers, so well
painted that one feels that they must be fragrant.

<b>LEPSIUS, SABINA.</b> Daughter of Gustav Graf and wife of the portrait
painter, Lepsius. She was a pupil of Gussow, then of the Julian Academy
in Paris, and later studied in Rome. Her pictures have an unusual
refinement; like some other German women artists, she aims at giving a
subtle impression of character and personality in her treatment of
externals, and her work has been said to affect one like music.

The portrait of her little daughter, painted in a manner which suggests
Van Dyck, is one of the works which entitle her to consideration.

<b>LEYSTER, JUDITH.</b> A native of Haarlem on Zandam, the date of her
birth being unknown. She died in 1660. In 1636 she married the well-known
artist, Jan Molemaer. She did her work at a most interesting period in
Dutch painting. Her earliest picture is dated 1629; she was chosen to the
Guild of St. Luke at Haarlem in 1633.

Recent investigations make it probable that certain pictures which have
for generations been attributed to Frans Hals were the work of Judith
Leyster. In 1893 a most interesting lawsuit, which occurred in London and
was reported in the _Times_, concerned a picture known as "The Fiddlers,"
which had been sold as a work of Frans Hals for L4,500. The purchasers
found that this claim was not well founded, and sought to recover their
money.

A searching investigation traced the ownership of the work back to a
connoisseur of the time of William III. In 1678 it was sold for a small
sum, and was then called "A Dutch Courtesan Drinking with a Young Man."
The monogram on the picture was called that of Frans Hals, but as
reproduced and explained by C. Hofstede de Groot in the "_Jahrbuch fuer
Koeniglich-preussischen Kunst-Sammlungen_" for 1893, it seems evident that
the signature is J. L. and not F. H.

Similar initials are on the "Flute Player," in the gallery at Stockholm;
the "Seamstress," in The Hague Gallery, and on a picture in the Six
collection at Amsterdam.

It is undeniable that these pictures all show the influence of Hals,
whose pupil Judith Leyster may have been, and whose manner she caught as
Mlle. Mayer caught that of Gre