"The Roman Lady reading." This Roman lady might be the mother of the Gracchi, so stately and of so grand a style is she. But she is a modern, for she reads from a book. She might be Vittoria Colonna, the loved of Michel Angelo, so grave, so dignified is her aspect. The whole figure is reading. A vital intelligence seems to pass from the eyes to the book. Nothing tender in this woman, who, if a Roman, takes life after the "high Roman fashion." The beauty and perfect representation of the hands should be noticed here, as well as in the "Rosalie" and "Beatrice." "Triumphal Song of Miriam on the Destruction of Pharaoh and his Hosts in the Red Sea." This is a three-quarter length figure. She stands singing, with one hand holding the timbrel, the other thrown aloft, the whole form up-borne by the swelling triumphal song. I hardly know what it is in this picture which takes one back so far into the world's early days. The figure is neither antique nor modern; the face is not entirely of the Hebrew type, but the tossing exultation seems so truly to carry off the wild thrill of joy when a people is released from bondage, that it is almost unnecessary to put the words into her mouth,--"Sing ye to the Lord, for He hath triumphed gloriously; the horse and his rider hath He thrown into the sea." This figure is dramatically imaginative. In looking at it, one feels called on to sing triumphal songs with Miriam, and not to stand idly looking. The magnetism of the artist at the moment of conception powerfully seizes on the beholder. "The Valentine" is described by William Ware[A] as follows.