lowship for one year only, but "within three
years from entrance on the fellowship she must present to the
faculty a thesis embodying the results of the research carried on
during the period of tenure."

Wellesley is proud of her Alice Freeman Palmer Fellows. Of the
eleven who have held the Fellowship between 1904 and 1915, four
are Wellesley graduates, Helen Dodd Cook, whose subject was
Philosophy; Isabelle Stone, working in Greek; Gertrude Schopperle,
in Comparative Literature; Laura Alandis Hibbard, in English
Literature. Two are from Radcliffe, and one each from Cornell,
Vassar, the University of Dakota, Ripon, and Goucher. The Fellow
is left free to study abroad, in an American college or university,
or to use the income for independent research. The list of
universities at which these young women have studied is as impressive
as it is long. It includes the American Schools for Classical
Studies at Athens and Rome; the universities of Gottingen, Wurzburg,
Munich, Paris, and Cambridge, England; and Yale, Johns Hopkins,
and the University of Chicago.

This is not the place in which to give a detailed account of the
work of each one of Wellesley's academic departments. Any intelligent
person who turns the pages of the official calendar may easily
discover that the standard of admission and the requirements for
the degree of Bachelor of Arts place Wellesley in the first rank
among American colleges, whether for men or for women. But every
woman's college, besides conforming to the general standard, is
making its own contribution to the higher education of women.
At Wellesley, the methods in certain departments have gained a
deservedly high reputation.

The Department of Art, under Professor Alice V.V. Brown, formerly
of the Slater Museum of Norwich, Connecticut, is doing a work in
the proper interpretation and history of art as unique as it is
valuable. The laboratory method is used, and all students are
required to recognize and indicate the characteristic qualities
and attributes of the great masters and the different schools of
paintings by sketching from photographs of the pictures studied.
These five and ten minute sketches by young girls, the majority of
whom have had no training in drawing, are remarkable for the
vivacity and accuracy with which they reproduce the salient
features of the great paintings. The students are of course given
the latest results of the modern school of art criticism. In