uze and Prud'hon. At all events, the
present evidence seems to support the claim that the world is indebted to
Judith Leyster for these admirable pictures.

<b>MACH, HILDEGARDE VON.</b> This painter studied in Dresden and Munich,
and under the influence of Anton Pepinos she developed her best
characteristics, her fine sense of form and of color. She admirably
illustrates the modern tendency in art toward individual expression--a
tendency which permits the following of original methods, and affords an
outlet for energy and strength of temperament.

Fraeulein Mach has made a name in both portrait and genre painting. Her
"Waldesgrauen" represents two naked children in an attitude of alarm as
the forest grows dark around them; it gives a vivid impression of the
mysterious charm and the possible dangers which the deep woods present
to the childish mind.

<b>MAYER, MARIE FRANCOISE CONSTANCE.</b> As early as 1806 this artist
received a gold medal from the Paris Salon, awarded to her picture of
"Venus and Love Asleep." Born 1775, died 1821. She studied under Suvee,
Greuze, and Prud'hon. There are various accounts of the life of Mlle.
Mayer. That of M. Charles Guenllette is the authority followed here. It
is probable that Mlle. Mayer came under the influence of Prud'hon as
early as 1802, possibly before that time.

Prud'hon, a sensitive man, absorbed in his art, had married at twenty a
woman who had no sympathy with his ideals, and when she realized that he
had no ambition, and was likely to be always poor, her temper got the
better of any affection she had ever felt for him. Prud'hon, in
humiliation and despair, lived in a solitude almost complete.

It was with difficulty that Mlle. Mayer persuaded this master to receive
her as a pupil; but this being gained, both these painters had studios in
the Sorbonne from 1809 to 1821. At the latter date all artists were
obliged to vacate the Sorbonne ateliers to make room for some new
department of instruction. Mlle. Mayer had been for some time in a
depressed condition, and her friends had been anxious about her. Whether
leaving the Sorbonne had a tendency to increase her melancholy is not
known, but her suicide came as a great surprise and shock to all who knew
her, especially to Prud'hon, who survived her less than two years.

Prud'hon painted several portraits of Mlle. Mayer, the best-known being
now in the Louvre. It represents an engaging personality, in which
vivacit