ter of the skies." After praising her poetry Dryden wrote:
"Her pencil drew whatever her soul designed,
And oft the happy draught surpassed the image of her mind."
Of her portrait of James II. he says:
"For, not content to express his outward part,
Her hand called out the image of his heart;
His warlike mind— his soul devoid of fear—
His high designing thoughts were figured there."
Having repeated these panegyrics, it is but just to add that two opinions existed concerning the merit of Mistress Killigrew's art and of Dryden's ode, which another critic called "a harmonious hyperbole, composed of the Fall of Adam—Arethusa—Vestal Virgins—Dian—Cupid—Noah's Ark—the Pleiades—the fall of Jehoshaphat— and the last Assizes."
Anthony Wood, however, says: "There is nothing spoken of her which she was not equal to, if not superior, and if there had not been more true history in her praises than compliment, her father never would have suffered them to pass the press."
Kindt, Adele. This painter of history and of genre subjects won her first prize at Ghent when less than twenty-two, and received medals at Douai, Cambrai, Ghent, and Brussels before she was thirty-two. Was made a member of the Brussels, Ghent, and Lisbon Academies. Born in Brussels, 1805. Pupil of Sophie Fremiet and of Navez. Her picture of the "Last Moments of Egmont" is in the Ghent Museum; among her other
