<b>CARPENTIER, MLLE. MADELEINE.</b> Honorable mention, 1890; third-class medal, 1896. Born in Paris, 1865. Pupil of Bonnefoy and of Jules Lefebvre at the Julian Academy. Since 1885 this artist has exhibited many portraits as well as flower and fruit pieces, these last in water-colors. In 1896 her pictures were the "Communicants" and the "Candles," a pastel, purchased by the city of Paris; "Among Friends" is in the Museum of Bordeaux. At the Salon of the Artistes Français, 1902, Mlle. Carpentier exhibited a picture called "Reflection," and in 1903 a portrait of Mme. L. T. and the "Little Goose-Herders." <b>CARRIERA, ROSALBA</b>, better known as Rosalba. Born in Venice 1675-1757--and had an eventful life. Her artistic talent was first manifested in lace-weaving, which as a child she preferred before any games or amusements. She studied painting under several masters, technique under Antonio Balestra, pastel-painting with Antonio Nazari and Diamantini, and miniature painting, in which she was especially distinguished, was taught her by her brother-in-law, Antonio Pellegrini, whom she later accompanied to Paris and London and assisted in the decorative works he executed there. Rosalba's fame in Venice was such that she was invited to the courts of France and Austria, where she painted many portraits. She was honored by election to the Academies of Rome, Bologna, and Paris. This artist especially excelled in portraits of pretty women, while her portraits of men were well considered. Among the most important were those of the Emperor Charles, the kings of France and Denmark, and many other distinguished persons, both men and women. The Grand Duke of Tuscany asked for her own portrait for his gallery. She represented herself with one of her sisters. Her face is noble and most expressive, but, like many of her pictures, while the head is spirited and characteristic, the rest of the figure and the accessories are weak. A second portrait of herself--in crayons--is in the Dresden Gallery, and is very attractive. While in England Rosalba painted many portraits in crayon and pastel, in which art she was not surpassed by any artist of her day. Her diary of two years in Paris was published in Venice. It is curious and interesting, as it sets forth the customs of society, and especially those of artists of the period. Returning to Venice, Rosalba suffered great depression and was haunted by a foreboding of calamity. She lived very quietly. In his "Storia della Pittura Veneziana," Zanetti writes of her at this time: "Much of interest may be written of this celebrated and highly gifted woman, whose spirit, in the midst of her triumphs and the brightest visions of happiness, was weighed down by the anticipation of a heavy calamity. On one occasion she painted a portrait of herself, the brow wreathed with leaves which symbolized death. She explained this as an image of the sadness in which her life would end."