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<b>STUMM, MAUD.</b> Born in Cleveland, Ohio. Pupil of Art Students' League under Kenyon Cox and Siddons Mowbray, and of Oliver Merson in Paris, where her painting was also criticised and approved by Whistler. Her earliest work was flower painting, in which she gained an enviable reputation.

Too simple to suspect the real reason, but with a heart that delighted in obedience, Robert bade her good-night at once, and took another way. As he passed the door of Merson the haberdasher's shop, there stood William MacGregor, the weaver, looking at nothing and doing nothing. We have seen something of him before: he was a remarkable compound of good nature and bad temper.

'Come in, lad, he said, 'an' tak a pinch. I'm waitin' for Merson. As he spoke he took from his pocket his mull, made of the end of a ram's horn, and presented it to Robert, who accepted the pledge of friendship. While he was partaking, MacGregor drew himself with some effort upon the counter, saying in a half-comical, half-admonitory tone, 'Weel, and hoo's the mathematics, Robert?

If at the theatre she saw a play that appealed to her, she made a picture symbolic of the play, and constantly startled her friends by her original ideas and the pronounced artistic temperament, which was very early the one controlling power in her life. Mr. Carl Gutherz thus speaks of her good fortune in studying with M. Merson.

One of the chief women sculptors of the United States is Edith Woodman Burroughs, born at Riverdale-on-the-Hudson, in 1871. She was a pupil at the New York Art Students' League under Augustus Saint-Gaudens, later studying in Paris with Injalbert and Merson. In 1893 she was married to Bryson Burroughs, a New York artist. She has made a specialty of fountain sculpture.

Pupil of Julian and Delécluse Academies in Paris, also of Merson, and of the Art Students' League in New York. Mrs. Cherry is a portrait painter, and in 1903 was much occupied in this art in Chicago and vicinity. Among her sitters were Mr.

In the church of Saint Sulpice Delacroix extinguishes all the feeble art that surrounds him, but his sense of Catholic art is null. In truth, faith is now dormant, and without that no mystical work is possible! At the present moment Signol is dead, but Olivier Merson is left; vacuity all along the line.

I can aye win throu' wi' my work ohn swatten," said Jeames, with a smile in which mingled a half comical sadness. The laird thanked him, and sat down. Cosmo placed himself on a stool beside him. "I hae naething upo' han' the day," Jeames Merson went on, "but a watch o' Jeames Gracie's, up at the Know ane o' yer ain fowk, laird. He tells me it was your gran'father, sir, gied it til his gran'father.

Major Simpson broke off humming "We are the Robbers of the Wood" to say, "Well, if this show comes off to-morrow, leave ought to start again." "I should shay sho," put in Lamswell in his best Robey-cum-Billy Merson manner. "Doesn't interest me much," said I. "I'm such a long way down the list that it will be Christmas before I can hope to go.

At the Salon des Artistes Français, 1902, she exhibited four portraits, and in 1903, "Confidence." <b>MAURY, CORNELIA F.</b> Member of St. Louis Artists' Guild and Society of Western Artists. Born in New Orleans, Louisiana. Pupil of St. Louis School of Fine Arts and of Julian Academy, under Collin and Merson. At the Salon of 1900 her picture, "Mother and Child," was hung on the line.