ber of the Academy of San Fernando, Madrid, 1816. This institution possesses a drawing by her of the "Virgin with the Christ-Child" and a portrait in oil of a person of the epoch of Charles III.
Bashkirtseff, Marie. Born in Russia of a noble family. 1860-84. This remarkable young woman is interesting in various phases of her life, but here it is as an artist that she is to be considered. Her journal, she tells us, is absolutely truthful, and it is but courteous to take the story of her artistic career from that. She had lessons in drawing, as many children do, but she gives no indication of a special love for art until she visits Florence when fourteen years old, and her love of pictures and statues is awakened. She spent hours in galleries, never sitting down, without fatigue, in spite of her delicacy. She says: "That is because the things one loves do not tire one. So long as there are pictures and, better still, statues to be seen, I am made of iron." After questioning whether she dare say it, she confides to her readers: "I don't like the Madonna della Sedia of Raphael. The countenance of the Virgin is pale, the color is not natural, the expression is that of a waiting-maid rather than of a Madonna. Ah, but there is a Magdalen of Titian that enchanted me. Only — there must always be an only—her wrists are too thick and her hands are too plump—beautiful hands they would be on a woman of fifty. There are things of Rubens and Vandyck that are ravishing. The ’Mensonge’ of Salvator Rosa is very natural. I do not speak as a connoisseur; what most resembles nature pleases me most. Is it not the aim of painting to copy nature? I
