stian Temperance
Unions, the leading spirits[450] in this grand movement in
Minneapolis, St. Paul, Winona and St. Cloud. Their names will be
usually found as delegates to the annual meetings of all the
State Unions. The small army of noble girls who have helped to
make the Good Templars' lodges attractive and worthy resorts for
their brothers and friends, have done an inestimable work in
elevating the moral tone of the community all over the State.
They have also done their full share in petitioning congress for
a sixteenth amendment, in which they have received most untiring
help from the young men of the lodges. In 1884 Miss Frances
Willard again visited the State, advocating the ballot as well as
the Bible as an aid to temperance work. Her eloquent voice here
as elsewhere woke many to serious thought on the danger of this
national vice to the safety and stability of our republican
institutions. It was through Miss Willard's influence, no doubt,
that the friends of temperance established a department of
franchise for the State, and made Mrs. E. L. Crockett its
superintendent.

The women of Minnesota seem thus far to have no special calling
to the legal profession. Mrs. Martha Angle Dorsett is the only
woman as yet admitted to the bar. She was graduated from the law
school at Des Moines, and admitted to practice before the Supreme
Court of Iowa in June, 1876. She was refused admission at first
in Minnesota, whereupon she appealed to the legislature, which in
1877 enacted a law securing the right to women by a vote of 63 to
30 in the House, and 26 to 6 in the Senate.

In some of the larger cities and towns the literary, musical and
dramatic taste of our women[451] is evidenced by societies and
clubs for mutual improvement. Many are attending classes for the
study of natural history, classic literature, social science,
etc. There is an art club in Minneapolis, composed wholly of
artists, both ladies and gentlemen, which meets every week, the
members making sketches from life. Miss Julie C. Gauthier had on
exhibition at the New Orleans Exposition, a full-length portrait,
true to life, of a colored man, "Pony," a veteran wood-sawer of
St. Paul, which received very complimentary notices from art
critics of that city, as well as from the pre