She apparently prefers to paint single figures of women and young girls, but her works include a variety of subjects. She also practises etching, pen-and-ink drawing, as well as crayon and water-color sketching. The light touch in some of her genre pictures is admirable, and in contrast, the portrait of her father--- the court preacher--displays a masculine firmness in its handling, and is a very striking picture. In 1895 she exhibited at the Munich Secession the portrait of a woman, delicate but spirited, and a group which was said to set aside every convention in the happiest manner. <b>KROENER, MAGDA.</b> The pictures of flowers which this artist paints prove her to be a devoted lover of nature. She exhibited at Düsseldorf, in 1893, a captivating study of red poppies and another of flowering vetch, which were bought by the German Emperor. The following year she exhibited two landscapes, one of which was so much better than the other that it was suggested that she might have been assisted by her husband, the animal painter, Christian Kroener. One of her most delightful pictures, "A Quiet Corner," represents a retired nook in a garden, overgrown with foliage and flowers, so well painted that one feels that they must be fragrant. <b>LEPSIUS, SABINA.</b> Daughter of Gustav Graf and wife of the portrait painter, Lepsius. She was a pupil of Gussow, then of the Julian Academy in Paris, and later studied in Rome. Her pictures have an unusual refinement; like some other German women artists, she aims at giving a subtle impression of character and personality in her treatment of externals, and her work has been said to affect one like music. The portrait of her little daughter, painted in a manner which suggests Van Dyck, is one of the works which entitle her to consideration. <b>LEYSTER, JUDITH.</b> A native of Haarlem on Zandam, the date of her birth being unknown. She died in 1660. In 1636 she married the well-known artist, Jan Molemaer. She did her work at a most interesting period in Dutch painting. Her earliest picture is dated 1629; she was chosen to the Guild of St. Luke at Haarlem in 1633. Recent investigations make it probable that certain pictures which have for generations been attributed to Frans Hals were the work of Judith Leyster. In 1893 a most interesting lawsuit, which occurred in London and was reported in the _Times_, concerned a picture known as "The Fiddlers," which had been sold as a work of Frans Hals for £4,500. The purchasers found that this claim was not well founded, and sought to recover their money.