THE NINETEENTH CENTURY.
EMMA STEBBINS.--Favorable Circumstances of her early Life to the Study
of Art.--Specimens of her Skill shown in private Circles.--Receives
Instruction from Henry Inman.--Correctness of her Portraits.--“A
Book of Prayer.”--Revives Taste for Illuminations.--Her crayon
Portraits.--Copies of Paintings.--Cultivates many Branches of
Art.--Becomes a Sculptor.--Abode in Rome.--Instruction received from
Gibson and Akers.--Late Work from her Chisel.--“The Miner.”--HARRIET
HOSMER.--Dwelling of the Sculptor Gibson in Rome.--His Studio
and Work-room.--“La Signorina.”--The American Sculptress.--Her
Childhood.--Physical Training.--School-life.--Anecdotes.--Studies
at Home.--At St. Louis.--Her Independence.--Trip on the
Mississippi.--“Hesper.”--Departure for Rome.--Mr. Gibson’s
Decision.--Extract from Miss Hosmer’s Letter.--Original
Designs.--Reverse of Fortune.--Alarm.--Resolution.--Industry, Economy,
and Success.--Late Works.--Visit of the Prince of Wales.
EMMA STEBBINS.
Few lady artists of this or any country have been surrounded with
circumstances more favorable to the development of genius. Her
childhood was passed among those who possessed culture and refined
taste, and she was familiar with the elegant adornments of life. She
learned early to embody the delicate creations of her fancy in song
or pictures, as well as to imitate what pleased her. Her family and
nearest circle of friends were ready--as is not always the case--to
appreciate and encourage her efforts. But, though she had no early
difficulties to struggle with, the steep and rugged path to eminent
success could not be smoothed by the hand of affection, and she has
gone through all the lessoning and exercise of powers demanded for
the achievement of greatness, as well from those favored of fortune as
those to whom the capricious goddess has proved a step-dame.
Miss Stebbins is a native of the city of New York, where, till within
a few years, she employed the rare skill she had acquired in different
branches of art for the gratification of her friends or for charitable
purposes. Several artists noticed in the beautiful specimens which
were shown in various circles as her work the evidence of more than
ordinary talent. Among these was Henry Inman, the distinguished
painter. He invited the young girl to visit his studio, and offered
to give her instruction in oil-painting. She had never before taken
lessons, and was pleased with the prospect of study. She improved
under the directions of her teacher, and to this aid some of her
friends attributed the masterly correctness and grace displayed in her
portraits, and for which afterward her crayon sketches were so much
admired.
One of Miss Stebbins’s early works was a volume to which she gave the
title, “A Book of Prayer.” It contains some beautiful specimens of her
poetry, but is chiefly remarkable for its exquisite illuminations.
It was one of the first among the efforts to revive that style of
illustration; and the originality, grace, and beauty of the designs,
with the delicate and elaborate finish of the execution, made it quite
a curiosity of art. Some other books were illuminated by Miss Stebbins
in the same manner.
The love of art in the child of genius “grows by what it feeds on,”
and claims an undivided devotion to its pursuits. Perhaps no kind of
knowledge is so fascinating when its fruits are tasted. Miss Stebbins
found no charm in the social pleasures at her command which could draw
her attention from painting. She finally resolved on an exclusive
consecration of her talents to art, making it the sole business of her
life. She determined to go to Rome.
Several of her crayon portraits, executed in Rome, received the highest
encomiums from acknowledged judges in that city. A copy she made of the
“St. John” of Du Bœuf, and one from a painting in the gallery of the
Louvre, representing a “Girl Dictating a Love-letter,” were noted among
her oil-paintings. Her “Boy and Bird’s Nest” was done in the style of
Murillo. Her pastel-painting of “Two Dogs” has been highly praised.
Almost every branch of the imitative art has been at different periods
cultivated by Miss Stebbins, and her success proves the scope and
versatility of her talent. Besides painting in oil and water colors,
she has practiced drawing on wood and carving wood, modeling in clay,
and working in marble. It is probably in the difficult art of sculpture
that she will leave to America the works by which she will be most
widely known.
She profited, like Miss Hosmer, by the counsels and supervision of
Gibson, and the careful instruction of Akers. A work from her chisel,
in the spring of 1859, commanded the highest suffrages. Mr. Heckscher,
a large proprietor of coal-mines in the United States, had requested
Miss Stebbins to execute for him two typical statues--one of Industry,
the other of Commerce. The figure of Industry is completed, and has
been represented by the artist, with graceful taste, as a miner. A
critic says:
“The figure is that of an athletic, admirably-proportioned youth,
who bears upon his right shoulder the pick, and in the front of his
picturesque slouched hat the miner’s lamp. The weight of the body is
thrown easily and naturally upon the right leg, and the left hand rests
with the carelessness of manly strength upon a block of marble, drilled
and hewn in the manner of a mass of coal. The symmetrical vigor of
the figure, admirable as it is, is not more admirable than the lofty,
ingenuous beauty of the classic head and face, poised in an attitude
equally unforced and striking, upon the graceful, well-rounded throat.
The drapery of the full shirt, open at the neck and close-gathered
about the waist, is managed with particular skill; and while the whole
figure reminds one strikingly of one of those magnificent Gothic kings
whose images stand in the vestibule of the _Museo Borbonico_, at
Naples, the spirit and air of it are purely modern and American. It is,
in truth, one of the most felicitous combinations of every-day national
truth with the enduring and cosmopolite truth of art ever seen, and it
is a work which does equal credit to the sex and the country of the
artist.”
Miss Stebbins has taken up her residence permanently in Rome, amid
those surroundings and associations sought by artists of all nations as
most favorable to their progress. She has been for some time engaged in
modeling in clay several groups which, though as yet unfinished, have
been criticised favorably by connoisseurs and friends.
HARRIET HOSMER.
In the Via Fontanella at Rome--a street close upon the beautiful
Piazza del Popolo, and running at a right angle from the Babuino to
the Corso, a few steps out of the Babuino on the left--is a large,
rough, worm-eaten door, which has evidently seen good service, and
from the appearance of which no casual and uninitiated passer-by would
suspect the treasures of art it conceals and protects. A small piece
of whip-cord, with a knot as handle, issues from a perforated hole,
by means of which--a small bell being set in motion--access is gained
to the studio of England’s greatest living master of sculpture, John
Gibson.
The threshold crossed, the visitor finds himself at once in the midst
of this artist’s numerous works. In a large barn-like shed, with a
floor of earth, on pedestals of various materials, shapes, and sizes,
stand the beautiful Cupid and Butterfly, the wounded Amazon, Paris and
Proserpine gathering flowers, the charming groups of Psyche borne by
the Zephyrs, of Hylas and the Water Nymphs, and the noble basso-relievo
of Phaeton and the Hours leading forth the horses of the Sun, with,
perhaps, a bust or figure in progress by the workman whose duty it is
to keep the studio and attend to the numerous visitors. Facing the door
of entry just described is its counterpart, opening into a fairy-like
square plot of garden, filled with orange and lemon trees and roses,
and, in the spring, fragrant with violets blue and white, Cape jasmine,
and lilies of the valley; while, in a shady recess, and fern-grown nook
trickles a perpetual fountain of crystal-clear water. The sun floods
this tiny garden with his golden light, flecking the trellised walks
with broken shadows, and wooing his way, royal and irresistible lover
as he is, to the humbler floral divinities of the place, sheltered
beneath their own green leaves, or in the superb shade of the acanthus.
Lovely is the effect of this rich glow of sunlight as one stands in the
shade of the studio, perfumed with the sweet blossoms of the South;
lovely the aspect both of nature and of art, into the presence of
which we are so suddenly and unexpectedly ushered from the ugly, dirty
street without. Having gazed our fill here, we step into the garden,
and, turning to the right, if we be favored visitors, friends, or the
friends of friends, we are next ushered into the sanctum of the master
himself, whom we shall probably find engaged in modeling, and from whom
we shall certainly receive a kind and genial welcome, granting always
that we have some claim for our intrusion upon his privacy.
This room, long and narrow, is boarded, and has some pretensions to
comfort; but throughout the whole range of studios the absence of care
and attention will strike the eye, more especially as it is the present
fashion in Rome to render the studios both of painter and sculptor as
comfortable and habitable as possible. From Mr. Gibson’s own room we
are taken into another rough shed, where the process of transformation
from plaster to marble is carried on, and where frequent visitors can
not fail to discover the vast difference which exists in skill and
natural aptitude among the numerous workmen employed.
As the different processes of sculpture are but little known, it may
not be out of place here to throw some light upon them. The artist
himself models the figure, bust, or group, whatever it may be, in clay,
spending all his skill, time, and labor on this first stage. When
complete--and many months, sometimes even years of unwearied study
are given to the task--a plaster cast is taken from the clay figure,
from which cast the workmen put the subject into marble, the artist
superintending it, and reserving to himself the more delicate task
of finishing. Thorwaldsen, speaking of these processes, says, “that
the clay model may be called creation, the plaster cast death, and the
marble resurrection.” Certain it is that the clay model and the marble
statue, when each has received the finishing stroke, are more closely
allied, more nearly identical, one with the other, than either is with
the plaster cast. So alive are sculptors to the fact of the injury done
to their works by being seen in plaster casts, that they bestow great
pains in working them over by hand to restore something of the fineness
and sharpness which the process of modeling has destroyed. So impressed
with this is Powers, the American sculptor, that, with the ingenuity
and inventive skill of his country, he has succeeded in making a
plaster hard almost as marble, and which bears with equal impunity the
file, chisel, and polisher.
There are in Rome workmen devoted to the production of certain
portions of the figure, draped or undraped; for instance, one man is
distinguished for his ability in working the hair, and confines himself
to this specialty; while another is famous for his method of rendering
the quality of flesh, and a third is unequaled in drapery. Very rarely
does it happen that the artist is lucky enough to find all these
qualities combined in one man, but it does occasionally happen; and Mr.
Gibson is himself fortunate in the possession of a workman whose skill
and manipulative power, in all departments, are of the highest order.
A Roman by birth, the handsome and highly organized Camillo, with his
slight figure, and delicate, almost effeminate hands, is a master of
the mallet and chisel, and, from the head to the foot, renders and
interprets his model with artistic power and feeling. The man loves
his work, and the work repays his love, as when does it not, from the
sublime labors of genius to the humblest vocation of street or alley?
To return from our digression; leaving the workroom, we cross one side
of the small garden, and by just such another rough door as the two
we have already passed through in the first studio, we enter another
capacious, barn-like apartment, the centre of which is occupied by the
colored Venus, so dear to Mr. Gibson’s heart that, though executed to
order, year after year passes on, and he can not make up his mind to
part with it. Ranged around the walls of this capacious studio are
casts of the Hunter, one of the earliest and most vigorous of Mr.
Gibson’s works; of the Queen, of the colossal group in the House of
Lords, and sundry others. Having inspected these at our leisure, and
viewed the Venus from the most approved point, probably under the eye
of the master, who never tires of expatiating on the great knowledge
of the ancients in coloring their statues, a curtain across the
left-hand corner of the studio is lifted, and the attendant inquires
if “la signorina” will receive visitors. The permission given, we
ascend a steep flight of stairs, and find ourselves in a small upper
studio, face to face with a compact little figure, five feet two in
height, in cap and blouse, whose short, sunny brown curls, broad brow,
frank and resolute expression of countenance, give one at the first
glance the impression of a handsome boy. It is the first glance only,
however, which misleads one. The trim waist and well-developed bust
belong unmistakably to a woman, and the deep, earnest eyes, firm-set
mouth, and modest dignity of deportment show that woman to be one of no
ordinary character and ability.
Thus, reader, we Have brought you face to face with the subject of this
sketch, Harriet Hosmer, the American sculptress.
Born at Watertown, Mass., in the year 1831, Harriet Hosmer is the
only surviving daughter of a physician, who, having lost wife and
child by consumption, and fearing a like fate for the survivor, gave
her horse, dog, gun, and boat, and insisted upon an out-doors life as
indispensable to health. A fearless horsewoman, a good shot, an adept
in rowing, swimming, diving, and skating, Harriet Hosmer is a signal
instance of what judicious physical training will effect in conquering
even hereditary taint of constitution. Willingly as the active,
energetic child acquiesced in her father’s wishes, she contrived, at
the same time, to gratify and develop her own peculiar tastes; and
many a time and oft, when the worthy doctor may have flattered himself
that his darling was in active exercise, she might have been found in
a certain clay-pit, not very far from the paternal residence, making
early attempts at modeling horses, dogs, sheep, men and women, or any
object which attracted her attention. Both here, and subsequently at
Lenox, she made good use of her time by studying natural history, and
of her gun by securing specimens for herself of the wild creatures of
the woods, feathered and furred; dissecting some, and with her own
hands preparing and stuffing others. The walls of the room devoted to
her special use in “the old house at home,” are covered with birds,
bats, butterflies and beetles, snakes and toads, while sundry bottles
of spirits contain subjects carefully dissected and prepared by herself.
Ingenuity and taste were shown in the use to which the young girl
applied the eggs and feathers of the nests and birds she had pilfered.
One inkstand, a very early production, evinces mechanical genius and
artistic taste. Taking the head, throat, wings, and side feathers of a
bluebird, she blew the contents from a hen’s egg, and set it on end,
forming the breast of the bird by the oval surface of the egg, while
through the open beak and extended neck entrance was gained to the
cavity of the egg containing the ink.
No one could look round this apartment, occupied by the child and
young girl, without at once recognizing the force and individuality of
character which have since distinguished her.
Full of fun and frolic, numerous anecdotes are told of practical jokes
perpetrated to such an excess that Dr. Hosmer was satisfied with the
progress toward health and strength his child had made; and having
endeavored, without success, to place her under tuition in daily and
weekly schools near home, he determined to commit her to the care
of Mrs. Sedgwick, of Lenox, Massachusetts. Thither the young lady,
having been expelled from one school, and given over as incorrigible
at another, was accordingly sent, with strict injunctions that health
should still be a paramount consideration, and that the new pupil
should have liberty to ride and walk, shoot and swim to her heart’s
content. In wiser or kinder hands the young girl could not have been
placed. Here, too, she met with Mrs. Fanny Kemble, whose influence
tended to strengthen and develop her already decided tastes and
predilections. To Mrs. Kemble we have heard the young artist gratefully
attribute the encouragement which decided her to follow sculpture as a
profession, and to devote herself and her life to the pursuit of art.
Miss Hosmer’s school-fellows remember many pranks and exploits that
showed her daring spirit and love of frolic. One of these was capturing
a hawk’s nest from the top of a very high forest-tree, to which she
climbed at the risk of her life. Her room was decorated, as at home,
with grotesque preserved specimens, among which was a variety of
reptiles, usually the horror of young ladies.
An anonymous squib upon Boston and Bostonians was about this time
attributed to Miss Hosmer. A practical joke upon a physician of Boston
had been the immediate cause of her being sent to Lenox. Her health
having given her father some uneasiness, the gentleman in question, a
physician in large practice, was called in to attend her. The rather
uncertain visits of this physician proved a source of great annoyance
and some real inconvenience to his patient, inasmuch as they interfered
with her rides and drives, shooting, and boating excursions. Having
borne with the inconvenience some time, she requested the gentleman,
as a great favor, to name an hour for his call, that she might make
her arrangements accordingly. The physician agreed, but punctuality is
not always at the command of professional men. Matters were as bad as
ever. Sometimes the twelve o’clock appointment did not come off till
three in the afternoon. One day, in particular, Dr. -------- was some
hours after the time. A playful quarrel took place between physician
and patient; and, as he rose to take his leave, and offered another
appointment, Miss Hosmer insisted upon his giving his word to keep it.
“If I am alive,” said he, “I will be here,” naming some time on a
certain day.
“Then, if you are not here,” was the reply, “I am to conclude that you
are dead.”
Thus they parted. The day and hour arrived, but no doctor made his
appearance. That evening Miss Hosmer rode into Boston, and next morning
the papers announced the decease of Dr. ------. Half Boston and its
neighborhood rushed to the physician’s house to leave cards and
messages of condolence for the family, and to inquire into the cause of
the sudden and lamentable event.
In 1850, being then nineteen, Harriet Hosmer left Lenox. Mrs.
Sedgwick’s judicious treatment, and the motive and encouragement
supplied by Mrs. Kemble, had given the right impetus to that activity
of mind and body which needed only guiding and directing into
legitimate channels. She returned to her father’s house, at Watertown,
to pursue her art-studies, and to fit herself for the career she
had resolved upon following. There was at this time a cousin of
Miss Hosmer’s studying with her father, between whom and herself
existed a hearty _camaraderie_. Together the two spent many hours in
dissecting legs and arms, and in making acquaintance with the human
frame, Dr. Hosmer having erected a small building at the bottom of
his garden to facilitate these studies. Those were days of close
study and application. Lessons in drawing and modeling--for which our
young student had to repair to Boston, a distance of seven or eight
miles--and anatomical studies with her cousin, were alternated with
the inevitable rides and boating on which her father wisely insisted.
The River Charles runs immediately before the house, and on this river
Harriet Hosmer had a boat-house, containing a safe, broad boat, and
a fragile, poetical-looking gondola, with silvered prow, the delight
of her heart, and the terror of her less experienced and unswimming
friends. The life of the young girl was at this period full of earnest
purpose and noble ambition, and the untiring energy and perseverance
which distinguish her now in so remarkable a degree were at this time
evidenced and developed.
Having modeled one or two copies from the antique, she next tried her
hand on a portrait-bust, and then cut Canova’s bust of Napoleon in
marble, working it entirely with her own hands that she might make
herself mistress of the process. Her father, seeing her devoted to her
studies, seconded them in every possible way, and proposed to send her
to his friend, Dr. M‘Dowell, Professor of Anatomy in the St. Louis
College, that she might go through a course of regular instruction,
and be thus thoroughly grounded for the branch of art she had chosen.
The young artist was but too glad to close with the offer; and, in the
autumn of 1850, we find her at St. Louis, residing in the family of her
favorite schoolmate from Lenox, winning the hearts of all its members
by her frank, joyous nature, and steady application, and securing, in
the head of it, what she heartily and energetically calls “the best
friend I ever had.”
Her independence of manner and character, joined to the fact of her
entering the college as a student, could not fail to bring down
animadversion, and many were the tales fabricated and circulated anent
the young New Englander, who was said to carry pistols in her belt, and
to be prepared to take the life of any one who interfered with her. It
was, perhaps, no disadvantage, under the circumstances, to be protected
by such a character. The college stood some way from the inhabited
part of the town, and in early morning and late evening, going to and
fro with the other students, it is not impossible that she owed the
perfect impunity with which she set conventionality at defiance to the
character for courage, and skill in the use of fire-arms which attended
her.
Dr. M‘Dowell, charmed with the talent and earnestness of his pupil,
afforded her every facility in his power, giving her the freedom of the
college at all times, and occasionally bestowing upon her a private
lecture when she attended to see him preparing dissections for the
public ones. Pleasant and encouraging it is to find men of ability
and eminence so willing to help a woman when she is willing to help
herself. The career of this young artist hitherto has been marked by
the warm and generous encouragement of first-rate men, from Professor
M‘Dowell to John Gibson, and pleasant it is to find the affectionate
and grateful appreciation of such kindness, converting the temporary
tie of master and pupil into the permanent one of tried and valued
friendship. “I remember Professor M‘Dowell,” writes Miss Hosmer, “with
great affection and gratitude, as being a most thorough and patient
teacher, as well as at all times a good, kind friend.”
Through the winter and spring of 1851, in fact, during the whole
term, Harriet Hosmer prosecuted her studies with unremitting zeal
and attention, and at the close was presented with a “diploma,” or
certificate, testifying to her anatomical efficiency. During her stay
at St. Louis, and as a testimony of her gratitude and regard, Miss
Hosmer cut, from a bust of Professor M‘Dowell by Clevenger, a medallion
in marble, life size, which is now in the museum of the College. It is
perhaps worthy of note that Clevenger and Powers both studied anatomy
under this professor.
The “diploma” achieved, our young aspirant was bent upon seeing New
Orleans before returning to her New England home. It was a season
of the year not favorable for such travel, and, from some cause or
another, she failed in inducing any of her friends to accompany her. To
will and to do are synonymous with some; and so, Harriet Hosmer having
set her mind upon an excursion down the Mississippi to the Crescent
City, embarked herself one fine morning on board a steamer bound for
New Orleans. The river was shallow, the navigation difficult; many a
boat did our adventurous traveler pass high and dry; but fortune, as
usual, was with her, and she reached her destination in safety. The
weather was intensely warm, but, nothing daunted, our young friend
saw all that was to be seen, returning at night to sleep on board the
steamer as it lay in its place by the levee, and, at the expiration
of a week, returning with it to St. Louis. Arrived there, instead of
rejoining her friends, she took boat for the Falls of St. Anthony,
on the Upper Mississippi, stopping, on the way, at Dubuque, to visit
a lead mine, into which she descended by means of a bucket, and came
very near an accident which must inevitably have resulted fatally; a
catastrophe which, as no one knew where she was, would probably have
remained a secret forever. At the Falls of St. Anthony, she went among
the Indians, much to their surprise and amusement, and brought away
with her a pipe, presented by the chief, in token of amity. She also
achieved the ascent of a mountain never before undertaken by a female;
and so delighted were the spectators with her courage and agility,
that they insisted upon knowing her name, that the mountain might
thenceforth be called after her. In a subsequent visit to St. Louis,
Miss Hosmer found that her rustic admirers had been as good as their
word, and “Hosmer’s Height” remains an evidence of “the little lady’s”
ambition and courage.
On her return to St. Louis, where her prolonged absence had created no
little uneasiness, she remained but a short time, and, bidding farewell
to her kind friends, retraced her steps homeward.
This was in the autumn of 1851. No sooner had Harriet Hosmer reached
home than she set to work to model an ideal bust of Hesper, continuing
her anatomical studies with her cousin, and employing her intervals of
leisure and rest in reading, riding, and boating. Now followed a period
of earnest work, cheered and inspired by those visions of success,
of purpose fulfilled, of high aims realized, which haunt the young
and enthusiastic aspirant, and throw a halo round the youthful days
of genius, lending a color to the whole career. As Lowell wisely and
poetically says,
“Great dreams preclude low ends.”
Better to aspire and fail than not aspire at all; better to know the
dream, and the fever, and the awakening, if it must be, than to pass
from the cradle to the grave on the level plane of content with things
as they are. There may be aspiration without genius; there can not be
genius without aspiration; and where genius is backed by industry and
perseverance, the aspiration of one period will meet its realization in
another.
To go to Rome--to make herself acquainted with all its treasures of
art, ancient and modern--to study and work as the masters of both
periods had studied and worked before her--this was now our youthful
artist’s ambition; and all the while she labored, heart and soul, at
Hesper, the first creation of her genius, watching its growth beneath
her hand, as a young mother watches, step by step, the progress of
her first-born; kneading in with the plastic clay all those thousand
hopes and fears which, turn by turn, charm and agitate all who aspire.
At length, the clay model finished, a block of marble was sought
and found, and brought home to the shed in the garden, hitherto
appropriated to dissecting purposes, but now fitted up as a studio.
Here, with her own small hands, the youthful maiden, short of stature
and delicate in make, any thing but robust in health, with chisel and
mallet blocked out the bust, and subsequently, with rasp and file,
finished it to the last degree of manipulative perfection. Months and
months it took, and hours and days of quiet toil and patience; but
those wings of genius, perseverance and industry, were hers, and love
lent zest to the work. It was late summer in 1852 before Hesper was
fully completed.
A critic in the New York Tribune thus wrote of this work:
“It has the face of a lovely maiden, gently falling asleep with
the sound of distant music. Her hair is gracefully arranged, and
intertwined with capsules of the poppy. A star shines on her forehead,
and under her breast lies the crescent moon. The hush of evening
breathes from the serene countenance and the heavily-drooping
eyelids.... The swell of the cheeks and the bust is like pure, young,
healthy flesh, and the muscles of the beautiful mouth are so delicately
cut, it seems like a thing that breathes.
“The poetic conception of the subject is the creation of her own mind,
and the embodiment of it is all done by her own hands--even the hard,
rough, mechanical portions of the work. She employed a man to chop
off some large bits of marble; but, as he was unaccustomed to assist
sculptors, she did not venture to have him cut within several inches of
the surface she intended to work.”
“Now,” said she to her father, “I am ready to go to Rome.”
“And you shall go, my child, this very autumn,” was the reply.
Anxious as Dr. Hosmer was to facilitate in every way the career
his daughter had chosen, there was yet another reason for going to
Italy before winter set in. Study and nervous anxiety had made their
impression upon a naturally delicate constitution, and a short, dry
cough alarmed the worthy doctor for his child’s health.
October of 1852 saw father and daughter on their way to Europe, the St.
Louis diploma and daguerreotypes of Hesper being carefully stowed away
in the safest corner of the portmanteau as evidences of what the young
artist had already achieved, when, arrived at Rome, she should seek the
instruction of one of two masters, whose fame, world-wide, alone could
satisfy our aspirant’s ambition. So eager was her desire to reach Rome
that a week only was given to England; and then, joining some friends
in Paris, the whole party proceeded to Rome, arriving in the Eternal
City on the evening of November 12, 1852.
Within two days the daguerreotypes were placed in the hands of Mr.
Gibson as he sat at breakfast in the Café Greco, a famous place of
resort for artists.
Now be it known, as a caution to women not to enter lightly upon any
career, to throw it up as lightly upon the first difficulty which
arises, that a prejudice existed in Rome against lady artists, from
the pretensions with which some had repaired thither, and upon which
they had succeeded in gaining access to some of the best studios and
instruction from their masters, to throw those valuable opportunities
aside at the first obstacle that arose. Mr. Gibson had himself, it
was said, been thus victimized and annoyed, and it was represented to
Miss Hosmer as doubtful in the extreme if he would either look at the
daguerreotypes or listen to the proposal of her becoming his pupil.
However, the daguerreotypes were placed before him; and, taking them
into his hands--one presenting a full, and the other a profile view of
the bust--he sat some moments in silence, looking intently at them.
Encouraged by this, the young sculptor who had undertaken to present
them proceeded to explain Miss Hosmer’s intentions and wishes, what she
had already done, and what she hoped to do. Still Mr. Gibson remained
silent. Finally, closing the cases,
“Send the young lady to me,” said he, “and whatever I know, and can
teach her, she shall learn.”
In less than a week Harriet Hosmer was fairly installed in Mr. Gibson’s
studio, in the up-stairs room already described. Ere long a truly
paternal and filial affection sprung up between the master and the
pupil, a source of great happiness to themselves, and of pleasure and
amusement to all who know and value them, from the curious likeness,
yet unlikeness, which existed from the first in Miss Hosmer to Mr.
Gibson, and which daily intercourse has not tended to lessen.
In one of her letters she says:
“The dearest wish of my heart is gratified in that I am acknowledged by
Gibson as a pupil. He has been resident in Rome thirty-four years, and
leads the van. I am greatly in luck. He has just finished the model of
the statue of the queen, and, as his room is vacant, he permits me to
use it, and I am now in his own studio. I have also a little room for
work which was formerly occupied by Canova, and perhaps inspiration may
be drawn from the walls.”
The first winter in Rome was passed in modeling from the antique, Mr.
Gibson desiring to assure himself of the correctness of Miss Hosmer’s
eye, and the soundness of her knowledge; Hesper evincing the possession
of the imaginative and creative power. From the first, Mr. Gibson
expressed himself more than satisfied with her power of imitating the
roundness and softness of flesh, saying, upon one occasion, that he had
never seen it surpassed and not often equaled.
Her first attempt at original design in Rome was a bust of Daphne,
quickly succeeded by another of the Medusa--the beautiful Medusa--and a
lovely thing it is, faultless in form, and intense in its expression of
horror and agony, without trenching on the physically painful.
We have already spoken of the warm friend Miss Hosmer made for herself
during her winter at St. Louis, in the head of the family at whose
house she was a guest. This gentleman, as a God-speed to the young
artist on her journey to Rome, sent her, on the eve of departure,
an order to a large amount for the first figure she should model,
leaving her entirely free to select her own time and subject. A statue
of Œnone was the result, which is now in the house of Mr. Crow, at
St. Louis, and which gave such satisfaction to its possessor and his
fellow-townsmen, that an order was forwarded to Miss Hosmer for a
statue for the Public Library at St. Louis, on the same liberal terms.
Beatrice Cenci, which has won so many golden opinions from critics and
connoisseurs, was sent to St. Louis in fulfillment of this order.
The summers in Rome are, as every one knows, trying to the natives,
and full of danger to foreigners. Dr. Hosmer, having seen his daughter
finally settled, returned to America, leaving her with strict
injunctions to seek some salubrious spot in the neighboring mountains
for the summer, if indeed she did not go into Switzerland or England.
Rome, however, was the centre of attraction; and, after the first
season, which was spent at Sorrento, on the Bay of Naples, Miss Hosmer
could not be prevailed upon to go out of sight and reach of its lordly
dome and noble treasures of art. The third summer came, and, listening
to the advice of her friends, and in obedience to the express wish of
her father, she made arrangements for a visit to England. The day was
settled, the trunks were packed; she was on the eve of departure, when
a letter from America arrived, informing her of heavy losses sustained
by her father, which must necessitate retrenchment in every possible
way, a surrender of her career in Rome, and an immediate return home.
The news came upon her like a thunderbolt. Stunned and bewildered,
she knew not at the moment what to do. An only child, and hitherto
indulged in every whim and caprice, the position was indeed startling
and perplexing. The surrender of her art-career was the only thing
which she felt to be impossible; whatever else might come, that could
not, should not be. And now came into play that true independence of
character which hitherto had shown itself mostly in wild freaks and
tricks. Instead of falling back upon those friends whose means she
knew would be at her disposal in this emergency, she dispatched a
messenger for the young sculptor who had shown the daguerreotypes to
Mr. Gibson, and who, himself dependent upon his professional exertions,
was, she decided, the fittest person to consult with as to her own
future career. He obeyed the hasty summons, and found the joyous,
laughing countenance he had always known, pale and changed, as it
were, suddenly, from that of a young girl to a woman full of cares and
anxieties. He could scarcely credit the intelligence; but the letter
was explicit; the summons home peremptory. “Go, I will not,” was her
only coherent resolution; so the two laid their heads together. Miss
Hosmer was the owner of a handsome horse and an expensive English
saddle; these were doomed at once. The summer in Rome itself, during
which season living there costs next to nothing, was determined upon;
and during those summer months Miss Hosmer should model something
so attractive that it should insure a speedy order, and, exercising
strict economy, start thenceforth on an independent artist-career, such
as many of those around her with less talent and training, managed
to carry on with success. No sooner said than done; the trunks were
unpacked; the friends she had been about to accompany departed without
her; her father’s reverses were simply and straightforwardly announced,
and she entered at once on the line of industry and economy she and her
friend had struck out.
It is said that friendship between a young man and a young woman is
scarcely possible, and perhaps, under ordinary circumstances, where
the woman has no engrossing interests of her own, no definite aim and
pursuit in life, it may be so. Here, however, was a case of genuine and
helpful friendship, honorable alike to the heads and hearts of both.
Under the experienced direction of her friend, Miss Hosmer conducted
her affairs with prudence and economy, and, at the same time, with due
regard to health. The summer passed away, and neither fever nor any
other form of mischief attacked our young friend. She worked hard, and
modeled a statue of Puck, so full of spirit, originality, and fun, that
it was no sooner finished than orders to put it into marble came in. It
was repeated again and again, and, during the succeeding winter, three
copies were ordered for England alone--one for the Duke of Hamilton.
Thus fairly started on her own ground, Miss Hosmer met with that
success which talent, combined with industry and energy, never fails to
command.
The winter in which the Cenci was being put into marble she was engaged
in modeling a monument to the memory of a beautiful young Catholic
lady, destined for a niche in the church of San Andréo delle Fratte,
in the Vià Mercede, close upon the Piazza di Spagna. A portrait
full-length figure of the young girl, life size, reclines upon a low
couch. The attitude is easy and natural, and the tranquil sleep of
death is admirably rendered in contradistinction to the warm sleep of
life in the Cenci.
Miss Hosmer was engaged during the winter of 1858 in modeling a
fountain, for which she has taken the story of Hylas descending
for water, when, according to mythology, he is seized upon by the
water-nymphs and drowned. Hylas forms the crown of the pyramid, while
the nymphs twined around its base, with extended arms, seek to drag
him down into the water below, where dolphins are spouting jets which
interlace each other. A double basin, the upper one supported by swans,
receives the cascade.
During the spring of 1859 Miss Hosmer worked upon her statue of
Zenobia, bespoken in America. The young Prince of Wales visited her
studio to see this unfinished work, which he greatly admired. He
purchased a “Puck,” by her hand, to add to his collection. Miss Hosmer
executed, as a side-piece to this, a “Will-o’-the-Wisp,” said even to
be superior.
NAMES OF WOMEN ARTISTS
A.
PAGE
Abarca, Donna Maria de, 86
Agnes, Abbess of Quedlinberg, 29
Airola, Angelica Veronica, 82
Aizelin, Madame, 239
Alboni, Rosa, 225
Alfieri, Carlotta Melania, 225
Alloin, Mademoiselle, 240
Amalasuntha, 28
Amherst, Lady, 186
Anaxandra, 26
Andross, Miss, 170
Angelica, 86
Anguisciola, Anna Maria, 48
“ Europa, 51
“ Helena, 48
“ Lucia, 51
“ Minerva, 48
“ Sofonisba, 49
Anna Amalia, of Brunswick, 136
Anna, Princess of Orange, 167
Anzon, Madame, 203, 237
Ardinghelli, Maria Angela, 225
Ardoino, Anna Maria, 79
Aristarite, 26
Armani, Vincenza, 45
Aromatari, Dorothea, 55
Aumont, Augustine, 239
Ava, 28
Aveiro, Duchess of, 86
B.
Badger, Mrs., 316
Ballain, Nanine, 236
Basseporte, Madeleine Françoise, 202
Beale, Mary, 123
Beauclerk, Lady Diana, 187
Beaurepas, Madame de, 190
Beckson, Miss, 190
Beer, Maria Eugenia de, 86
Beinaschi, Angela, 78
Bejar, Duchess of, 86
Bell, Miss, 190
Benavides, Maria Cueva, 87
Bennings, Liewina, 57
Benoit, Madame, 203
Benwell, Mary, 188
Bernasconi, Laura, 80
Bertaud, Marie Rosalie, 204
Blackwell, Elizabeth, 190
Blanchot, Geneviève, 201
Block, Joanna Koerten, 126
Boccherini, Anna, 224
Bohren, Mademoiselle, 138
Boizot, Louise Adelaide, 204
Bonheur, Julietta, 275
“ Rosa, 261
Borghini, Maria, 79
Bösenbacher, Mary Anna, 240
Breughel, Anna, 97
Brizio, Plautilla, 80
Broeck, Barbara Van den, 58
Brossard, Marie Geneviève, 202
Brun, Eugénie, 237
Brusasorci, Cecilia, 55
Bruyère, Madame, 203
Bruyn, Anna de, 97
Burini, Barbara, 225
Butlar, Madame von, 237
C.
Caballero, Angela Perez, 89
Caccia, Francesca, 82
“ Ursula, 82
Caffa, Maria la, 83
Calavrese, Maria, 42
Callirhoe, 24
Calypso, 26
Cantofoli, Ginevra, 72
Cantoni, Caterina, 55
Capet, Madame, 203
Carasquilla, Isabella, 88
Carlisle, Anna, 122
“ Countess of, 122
Carpenter, Mrs., 244
Carriera, Rosalba, 226
Casalina, Lucia, 82, 225
Cassana, Maria Vittoria, 82
Caxton, Florence, 244
Chalon, Christina, 167
Chapin, Mrs., 288
Charlotte of Austria, 136
Charlotte Matilda, Queen of Wurtemberg, 186
Charpentier, Madame, 203
“ Constance Marie, 236
Chéron, Élisabeth Sophie, 90
Cherubini, Caterina, 224
Cheves, Charlotte, 344
Cirene, 26
Cleyn, Penelope, 122
“ Magdalen, 122
“ Sarah, 122
Coello, Isabella Sanchez, 86
Cole, Sarah, 295
Collot, Mademoiselle, 201
Cooper, Ellen, 344
Copomazza, Luisa, 78
Corbeaux, Fanny, 243
Coriolani, Maria Teresa, 73
Cosway, Maria, 191
Coulet, Anne Philibert, 204
Crabbe, Anna, 121
Creti, Ersilia, 73
Criscuolo, Maria Angela, 55
D.
Damer, Anne Seymour, 170
Damini, Damina, 81
Danti, Teodora, 43
Dards, Mrs., 189
Dassel, Herminie, 312
Davin, Madame, 201, 236
Delany, Mrs., 186
Denning, Charlotte, 287
Deverzy, Adrienne Marie, 237
Dietrich, Maria Dorothea, 141
“ Rosina, 143
Dietsch Sisters, 141
Dolce, Agnes, 73
“ Maria, 73
Dolora, Anna Victoria, 225
Domenici, Maria, 81, 83
Dorsch, Susannah Maria, 138
Drax, Miss, 190
Drölling, Louise Adéone, 237
Dubois, Mrs. Cornelius, 297
Duchemin, Catherine, 90
Ducluzeau, Madame, 239
Du Pré, Julia, 342
Duquesnoy, Mademoiselle, 202
Durand, Flavia, 65
E.
Eimart, Maria Clara, 114
Elie, Madame, 236
Elizabeth of Austria, 226
Elizabeth Christina of Brunswick, 136
Elizabeth Ernestine Antonia, of Saxe-Meiningen, 136
Elizabeth, Princess, 186
“ Princess of Parma, 226
Ellenrieder, Maria, 241
Eyck, Margaretta von, 34
F.
Fanshawe, Catharine Mary, 190
Farnese, Isabella, 89
Fauveau, Felicie de, 247
Festa, Bianca, 224
“ Matilda, 224
Fiesca, Helen, 47
“ Tommasa, 47
Fischer, Anna Catharina, 114
“ Susannah, 114
Fitzgerald, Lady E., 170
“ Lady Henry, 186
Foley, Margaret, 287
Fontaine, Madame, 239
Fontana, Lavinia, 61
Fontana, Veronica, 73
Forestier, Marie Anne Julie, 236
Forgue, Apollonia de, 232
Fratellini, Giovanna, 83
Freeman, Anna Mary, 342
Freiberg, Baroness von, 241
Friedrich, Caroline Frederika, 142
Fuessli (Fuseli), Anna, 142
“ “ Elizabeth, 142
Fürst, Magdalena, 114
G.
Gabassi, Margerita, 82
Gabiou, Jeanne Elizabeth, 237
Galeotti, Anna, 224
Galizia, Fede, 60
Garri, Colomba, 225
Garzoni, Giovanna, 82
Gauthier, Elizabeth, 201
Gentilesca, Sofonisba, 55
Gentileschi, Artemisia, 66
Gérard, Madame, 202
“ Marguerite, 201
“ Susannah, 57
Ghisi, Diana, 43
Gibson, Susannah Penelope, 121
Gilarte, Magdalena, 87
Ginnassi, Caterina, 65
Giovannini, Bianca, 225
Glauber, Diana, 115
Godefroy, Eléonore, 237
“ Madame, 201
Godewyck, Margaretta, 98
Gois, Madame, 202
Goldbeck, Madame, 342
Goodrich, Mrs., 287
Gove, Miss, 316
Grace, Mrs., 189
Granbury, Miss, 316
Grandi, Paolina, 81
Grassi, Niccola, 80
Gray, Miss, 190
Greatorex, Mrs., 316
Grebber, Maria, 97
Greuze, Anna Gabrielle, 202
Greville, Lady Louisa de, 186
Guadalupe, Maria de, 86
Guillemard, Sophie, 237
H.
Hall, Anne, 299
Hamerani, Beatrice, 80
Hämsen, Catherine, 57
Hartley, Miss, 189
Hawthorne, Mrs., 316
Hay, Mrs. Benham, 244
Hayd, Marianna, 140
Hedwig, Sophie, Princess, 121
Heere, Margaret de, 57
Heinecke, Catharina Elizabeth, 141
Helena, 26
Herault, Antoinette, 90
“ Madelaine, 90
“ Marie Catherine, 201
Herbalin, Madame, 240
Heylan, Anna, 87
Hildegardis, 28
Hildreth, Mrs., 315
Hill, Mrs., 316
Hoadley, Mrs., 189
Hoffmann, Elizabeth, 97
Hogenhuizen, Elizabeth Georgina van, 168
Hollandina, Princess, 115
Hoppner, Mrs., 185
Hortemels, Mary Magdalen, 203
Hosmer, Harriet, 349
Howitt, Miss, 244
Hroswitha, 28
Hueva, Barbara Maria de, 222
Hughes, Mrs. Ball, 287
Hurembout, Susannah, 57
I.
Iberg, Eva von, 57
J.
Jacotot, Madame, 239
Jerichow-Baumann, Madame, 241
Johnson, Mary Ann, 345
Juliani, Caterina, 78
Juvenel, Esther, 113
K.
Kallo, 26
Kauffman, Angelica, 144
Keyzer, Clara de, 57
Killegrew, Anne, 124
Koher, Anna de, 104
Kora, 24
Krafft, Barbara, 241
Kugler, Madame, 203
Küsel, Christina, 114
“ Johanna Sibylla, 114
“ Magdalena, 114
L.
Ladd, Anna, 188
Lafond, Aurore Etienne, 237
Lafontaine, Rosalie de, 237
Lala, 27
Lamartine, Madame de, 239
Lamme, Placida, 114
Lander, Louisa, 326
Lange, Barbara Helena, 114
Langley, Betty, 190
Laodicia, 30
Lawrence, Mary, 190
Laya, 27
Lazzarini, Elisabetta, 81
Le Brun, Elizabeth, 206
Leconte, Marguerite, 203
Ledoux, Philiberte, 236
Lee, Anna, 190
Legaré, Mary Swinton, 301
Legris, Amélie, 239
Lenoir, Madame, 237
Leroulx, Madame, 236
Lescaille, Catharina, 97
Leslie, Ann, 294
Lesueur, Elise, 201
Linwood, Miss, 190
Liscewska, Anna Rosina, 140
Lister, Anna, 122
“ Susannah, 122
Liszeuska, Anna Dorothea, 143
Lodde, Alexia de, 165
Longhi, Barbara, 47
Losa, Isabella, 56
Lucan, Countess of, 187
Lupton, Mrs., 286
M.
Mackintosh, Sarah, 287
Manzolini, Anna, 225
Maratti, Maria, 225
Margaretta, 35
Margravine of Baden-Durlach, 136
Maria Anna, of Austria, 136
Marie d’Orleans, 238
Marmochini, Giovanna, 79
Martin, Miss, 190
Masson, Madelaine, 93
Matteis, Emmanuela, 225
“ Felice, 225
“ Maria Angiola, 225
May, Miss, 315
“ Caroline, 316
Mayer, Constance, 236
Mazzoni, Isabella, 42
Medici, Mary dei, 79
Memorata, Anna, 112
Menendez, Anna, 222
“ Clara, 222
Mengs, Anna Maria, 140
Menn, Dorothea, 138
Merian, Maria Sibylla, 116
Merrifield, Miss, 244
Messieri, Anna Teresia, 225
Metz, Gertrude, 142
Micas, Mademoiselle, 282
Michaud, Madame, 203
Mills, Mrs. Monckton, 244
Mirbel, Comtesse de, 239
Mirnaux, 203
Mogalli, Teresa, 224
Mongez, Angélique, 236
Montferrier, Louise de, 237
Monti, Eleonora, 225
Morata, Fulvia, 112
More, Mary, 122
Moritz, Anna, 168
Morland, Miss, 190
Moser, Mary, 181
Muratori, Teresa, 73
Murray, Elizabeth, 244
“ Mary, 286
Mutrie, Miss, 240
Myin, Cornelia van der, 168
Myn, Agatha van der, 188
N.
Natali, Madalena, 65
Naugis, Geneviève, 203
Neal, Elizabeth, 190
Nelli, Plautilla, 30, 42
Noel, Miss, 190
Nohren, Mademoiselle, 139
Nymegen, Susanna Maria, 168
O.
Oakley, Juliana, 316
O’Connell, Madame, 95
Oever, Alberta ten, 168
Ogle, Miss, 170
O’Hara, Miss, 287
Olympias, 26
Ommegank, Maria Jacoba, 168
Oosterwyck, Maria van, 104
Oostfries, Catharine, 104
Oppendorf Countess von, 141
Ozanne, Jane Frances, 90
“ Mary Ann, 90
P.
Paar, Princess Anna, 141
Pakman, Angelica Agnes, 97, 104
Palladini, Arcangela, 60, 79
Palomino, Francisca, 87
Panzacchi, Maria Helena, 73
Pappafava, Beatrice, 60
Parasole, Hieronima, 80
“ Isabella, 80
Parenti-Duclos, Anna, 224
Pasch, Ulrica Frederika, 165
Passe, Magdalen de, 58
Patin, Carlotta, 81
“ Gabriella, 81
Pazzi, Caterina de’, 55
Peale, Anna C., 288
“ Mrs. Rembrandt, 294
“ Rosalba, 294
“ Sarah M., 291, 293
Pellegrini, Ludovica, 55
Pepyn, Catherine, 95
Perez, Anna, 222
Perrot, Catherine, 90
Peters, Clara, 103
Pflauder, Rosina, 138
Pfründt, Anna Maria, 114
Piccini, Isabella, 79
Pinelli, Antonia, 65
Pisani, Livia, 224
Planteau, Madame, 286
Platt, Mrs., 185
Po, Teresa del, 65, 78
Pompadour, Madame de, 93
Pozzo, Isabella dal, 83
Preisler, Anna Felicitas, 139
“ Barbara Julia, 139
“ Helen, 114
“ Maria Anna, 139
Prestel, Maria Catharine, 189
Preu, Joanna Sabina, 114
Prieto, Maria, 222
“ Maria de Loreto, 88
Provis, Anna Jemima, 189
Q.
Quatrepomme, Isabella, 56
Querubini, Caterina, 89
Questier, Catharina, 99
R.
Raimondi, Madame, 43
Rastrum, Margaretta, 115
Ravemann, Madame, 115
Rayner, Louisa, 244
Read, Catherine, 190
Redi, Giovanna, 79
Renieri, Anna, 81
Reyschoot, Anna Maria von, 165
Rialto, Domenia Luisa, 81
Ricchi, Clena, 78
Riedel, Maria Theresa, 143
Rieger, Maria, 114
Rite, Isabel Maria, 223
Robert, Fanny, 237
Robineau, Claire, 237
Robusti, Marietta, 45
Rodiana, Onorata, 36
Roldan, Luisa, 87
Ronde, Lucrece Catherine de la, 201
Rosa, Aniella di, 75
Rose, Susan Penelope, 122
Rosée, Mademoiselle, 126
Ross, Elizabeth, 138
Rossi, Properzia di, 39
Rusca, Caterina, 60, 83
Ruysch, Rachel, 106
Ryberg, Elizabeth, 168
Ryding, C. M., 165
Ryk, Cornelia de, 167
S.
Salmeggia, Chiara, 83
Salviani, Rosalba Maria, 224
Salvioni, Rosalba, 88
Samon, Mrs., 170
Sanchez, Jesualda, 87
Sandrart, Susannah Maria von, 113
Sarmiento, Teresa, 86
Sartori, Felicità, 232
Sattler, Caroline, 202
Saville, Lady Dorothea, 186
Saxe-Meiningen, Princess of, 240
Scaligeri, Agnes, 83
“ Lucia, 83
Scarafaglia, Lucrezia, 72
Schalken, Maria, 98
Scheffer, Caroline, 168
Schild, Charlotte Rebecca, 138
Schott, Crescentia, 138
Schroeter, Caroline von, 242
Schurmann, Anna Maria, 99
Schwartz, Catherine, 57
Schwindel, Rosa Elizabeth, 138
Seghers, Anna, 57
Seidler, Louise Caroline, 241
Siddons, Mrs., 170
Silva, Maria de, 222
Silvestre, Susanna, 203
Simanowitz, Ludovika, 240
Simes, Mary Jane, 293
Simons, Maria Elizabeth, 168
Sirani, Anna Maria, 72
“ Barbara, 72
Sirani, Elisabetta, 68
Siries, Violanta Beatrice, 224
Siscara, Angelica, 225
Skeysers, Clara, 57
Smirke, Miss, 190
Smith, Barbara Leigh, 244
“ Elizabeth, 170
Smyters, Anna, 57, 188
Sonnenschein, Mademoiselle, 240
Sophia, Duchess of Coburg-Saalfeld, 136
Sophia, Princess, 115
Spencer, Countess Lavinia, 186
“ Lily M., 317
Spilberg, Adriana, 98
Spilimberg, Irene di, 44
Spilsbury, Mary, 190
Stebbins, Emma, 346
Steen, Susanna von, 104
Steenwyk, Madame, 97
Steinbach, Sabina von, 30
Stella, Claudine Bonzonnet, 90
Stoop, Mariana van der, 115
Stresor, Henriette, 90
Stuart, Jane, 315
Stuntz, Electrine, 241
St. Urbin, Marie Anne de, 201
Sully, Jane, 287
Surigny, Madame, 203
T.
Tarabotti, Augusta, 60
“ Caterina, 82
Tardieu, Elizabeth Clara, 203
Tassaert, Henriette Felicitas, 139
Temple, Lady, 186
Terburg, Gezina, 98
“ Maria, 98
Tesi, Teresa, 225
Tessala, Anna, 97
Tesselschade-Visscher, Anna, 98
“ Maria, 98
Theudelinda, 28
Thielen, Maria Theresa van, 131
Tibaldi, Maria Felice, 222, 224
“ Teresa, 224
Timarata, 25
Tintoretto, Marietta, 45
Tirlinks, Lewina, 57
Tischbein, Magdalena, 240
Torrens, Eliza, 286
“ Rosalba, 286
Tott, Countess of, 188
Traballesi, Agatha, 43
Treu, Catharina, 141
“ Mary Anna, 139
“ Rosalie, 139
Trevingard, Anna, 190
Triumfi, Camilla, 83
Triva, Flaminia, 60, 65
Troost, Sarah, 167
Truchsetz-Waldburg, Countess von, 141
Tussaud, Madame, 198
U.
Ulefeld, Eleonora Christina, 121
“ Helena Christina, 121
Utrecht, Constantia of, 58, 104
V.
Vajani, Anna Maria, 79, 82
Valdes Leal, Luisa, 88
“ Maria, 88
“ Maria de, 222
Van der Myn, Agatha, 188
Vandyck, Anna, 81
Vanetti, Laura, 225
Vanni, Violanta, 224
Varotari, Chiara, 81
Vasini, Clarice, 225
Velasco, Francisca Palomino y, 87
Venier, Ippolita, 232
Verbruggen, Susanna, 104
Verelst, Maria, 165
Vernet, Fanny, 203
Viani, Maria, 73
Victoria, of Anhalt-Bernburg, 136
Vieira, Catarina, 223
Vigri, Caterina, 35
Vill’ Ambrosa, Countess of, 86
Villers, Madame, 236
Vincent, Adelaide, 204
W.
Wasser, Anna, 129
Watson, Caroline, 189
Weis, Madame, 138
Werbronk, Jacoba, 143
Wermuth, Maria Juliana, 138
Weston, Joanna, 121
“ Mary, 332
Wieslatin, Maria, 114
Wilde, Maria de, 104
Wildorfer, Maria Elizabeth, 142
Wilmot, Mrs., 170
Wilson, Mrs., 295
Withers, the Misses, 344
Withoos, Alida, 103
Wolters, Henrietta, 167
Wontiers, Micheline, 95
Woodman, Mrs., 316
Wright, Mrs., 189
Wulfraat, Margaretta, 98
Z.
Zarcillo, Inez, 88
Ziesenis, Margaretta, 165
Zucchi, Catarina, 224
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Transcriber’s Notes
Errors in punctuation have been fixed.
Page 93: “engraved and excuted” changed to “engraved and executed”
Page 116: “stones, muscles” changed to “stones, mussels”
Page 161: “Robusti Tintoretti” changed to “Robusti Tintoretto”
Page 243: “Bibilical scholarship” changed to “Biblical scholarship”
Page 308: “approach to Ashville” changed to “approach to Asheville”
Page 343: “The Liasons” changed to “the Liaisons”
Page 379: “Ninenteen Volumes” changed to “Nineteen Volumes”