n rich and glowing hues, but the impression she gives is
much the same in both cases, a generally restful effect, though the faces
in her pictures are full of life and emotion. Her choice of subjects and
her manner of treatment almost inevitably introduce some archaic quality
in her work. This habit and the fact that she cares more for color than
for drawing are the usual criticisms of her pictures.

Her "St. Agnes" is an interesting rendering of a well-worn subject.
"Adelil the Proud," exhibited at the Paris Exposition of 1889, tells the
story of the Duke of Frydensburg, who was in love with Adelil, the king's
daughter. The king put him to death, and the attendants of Adelil made of
his heart a viand which they presented to her. When she learned what this
singular substance was--that caused her to tremble violently--she asked
for wine, and carrying the cup to her lips with a tragic gesture, in
memory of her lover, she died of a broken heart. It is such legends as
these that Mme. Slott-Moeller revives, and by which she is widely known.

<b>MORISOT OR MORIZOT, BERTHE.</b> Married name Manet. Born at Bourges,
1840, died in Paris, 1895. A pupil of Guichard and Oudinot. After her
marriage to Eugene Manet she came under the influence of his famous
brother, Edouard. This artist signed her pictures with her maiden name,
being too modest to use that which she felt belonged only to Edouard
Manet, in the world of art.

A great interest was, however, aroused in the private galleries, where
the works of the early impressionists were seen, by the pictures of
Berthe Morisot. Camille Mauclair, an enthusiastic admirer of this school
of art, says: "Berthe Morizot will remain the most fascinating figure of
Impressionism--the one who has stated most precisely the femininity of
this luminous and iridescent art."

A great-granddaughter of Fragonard, she seems to have inherited his
talent; Corot and Renoir forcibly appealed to her. These elements,
modified by her personal attitude, imparted a strong individuality to her
works, which divided honors with her personal charms.

According to the general verdict, she was equally successful in oils and
water-colors. Her favorite subjects--although she painted others--were
sea-coast views, flowers, orchards, and gardens and young girls in every
variety of costume.

After the death of Edouard Manet, she devoted herself to building up an
appreciation of his work in the public mind. So intelli