<b>BENATO-BELTRAMI, ELISABETTA.</b> Painter and sculptor of the nineteenth century, living in Padua since 1858. Her talent, which showed itself early, was first developed by an unknown painter named Soldan, and later at the Royal Academy in Venice. She made copies of Guido, Sassoferrato and Veronese, the Laokoon group, and the Hercules of Canova, and executed a much-admired bas-relief called "Love and Innocence." Among her original paintings are an "Atala and Chactas," "Petrarch's First Meeting with Laura," a "Descent from the Cross" for the church at Tribano, a "St. Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures are noble in conception and firm in execution. <b>BENITO Y TEJADA, BENITA.</b> Born in Bilboa, where she first studied drawing; later she went to Madrid, where she entered the Escuela superior. In the Exposition of 1876 at Madrid "The Guardian" was shown, and in 1881 a large canvas representing "The First Step." <b>BERNHARDT, SARAH.</b> In 1869 this famous actress watched Mathieu-Meusnier making a bust. She made her criticisms and they were always just. The sculptor told her that she had the eye of an artist and should use her talent in sculpture. Not long after she brought to him a medallion portrait of her aunt. So good was it that Mathieu-Meusnier seriously encouraged her to persevere in her art. She was fascinated by the thought of what might be possible for her, took a studio, and sent to the Salon in 1875 a bust, which attracted much attention. In 1876 she exhibited "After the Tempest," the subject taken from the story of a poor woman who, having buried two sons, saw the body of her last boy washed ashore after a storm. This work was marvellously effective, and a great future as a sculptress was foretold for the "divine Sara." At the Salon of 1878 she exhibited two portrait busts in bronze. This remarkable woman is a painter also, and exhibited a picture called "La jeune Fille et la Mort." One critic wrote of it: "Sarah's picture shows very considerable feeling for color and more thought than the vast majority of modern paintings. The envious and evil speakers, who always want to say nasty things, pretend to trace in the picture very frequent touches of Alfred Stevens, who has been Sarah's master in painting, as Mathieu-Meusnier was in sculpture. However that may be, Sarah has posed her figures admirably and her coloring is excellent. It is worthy of notice that, being as yet a comparative beginner, she has not attempted to give any expression to the features of the young girl over whose shoulder Death is peeping."