Miss Whitney's sculptures are in many public places. A heroic size statue of Samuel Adams is in Boston and Washington, in bronze and marble; Harriet Martineau is at Wellesley College, in marble; the "Lotos-Eaters" is in Newton and Cambridge, in marble; "Lady Godiva," a life-size statue in marble, is in a private collection in Milton; a statue of Leif Eriksen, in bronze, is in Boston and Milwaukee; a bust of Professor Pickering, in marble, is in the Observatory, Cambridge; a statue, "Roma," is in Albany, Wellesley, St. Louis, and Newton, in both marble and bronze; Charles Sumner, in bronze of heroic size, is in Cambridge; a bust of President Walker, bronze, is also in Cambridge; President Stearns, a bust in marble, is in Amherst; a bust of Mrs. Alice Freeman Palmer is in Cambridge; a bust of Professor Palmer is on a bronze medal; the Calla Fountain, in bronze, is in Franklin Park; and many other busts, medals, etc., in marble, bronze, and plaster, are in private collections. <b>WILSON, MELVA BEATRICE.</b> Prize of one hundred dollars a year for three successive years at Cincinnati Art Museum. Honorable mention, Paris Salon, 1897. Born in Cincinnati, 1875. Pupil of Cincinnati Art Museum, under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent Norrottny. By special invitation this sculptor has been an exhibitor at the National Sculpture Society, New York. Her principal works are: "The Minute Man," in Corcoran Art Gallery, Washington, D. C.; "The Volunteer," which was given by the State of New York as a military prize to a Vermont Regiment; an equestrian statue of John F. Doyle, Jr.; "Bull and Bear" and the "Polo Player" in bronze, owned by Tiffany & Co.; "Retribution" in a private collection in New York. Miss Wilson has been accorded the largest commission given any woman sculptor for the decoration of the buildings of the St. Louis Exposition. She is to design eight spandrils for Machinery Hall, each one being twenty-eight by fifteen feet in size, with figures larger than life. The design represents the wheelwright and boiler-making trades. Reclining nude figures, of colossal size, bend toward the keystone of the arch, each holding a tool of a machinist. Interlaced cog-wheels form the background. <b>WIRTH, ANNA MARIE.</b> Member of the Munich Art Association. Born in St. Petersburg, 1846. Studied in Vienna under Straschiripka--commonly known as Johann Canon--and in Paris, although her year's work in the latter city seems to have left no trace upon her manner of painting. The genre pictures, in which she excels, clearly show the influence of the old Dutch school. A writer in "Moderne Kunst" says, in general, that she shows us real human beings under the "précieuses ridicules," the languishing gallants and the pedant, and often succeeds in individualizing all these with the sharpness of a Chodowiecki, though at times she is merely good-natured, and therefore weak.