"Many of the rooms were more like scenes of enchantment pencilled by a poet's fancy, than anything perhaps before displayed in a domestic habitation. Escritoires of ebony, inlaid with mother-of-pearl, and rich caskets for antique gems, exquisitely enamelled and adorned with onyx, opals, rubies, and emeralds; cabinets of ivory, curiously wrought; mosaic tables, set with jasper, blood-stone, and lapis-lazuli, their feet carved into the claws of lions and eagles; screens of old raised Oriental Japan; massive musical clocks, richly chased with ormulu and tortoise-shell; ottomans superbly damasked; Persian and other carpets, with corresponding hearth-rugs bordered with ancient family crests and armorial ensigns in the centre, and rich hangings of English tapestry. The carved chimney-pieces were adorned with the choicest bronzes and models in wax and terra-cotta. The tables were covered with Sèvres, blue Mandarin, Nankin, and Dresden china, and the cabinets were surmounted with crystal cups, adorned with the York and Lancaster roses, which might have graced the splendid banquets of the proud Wolsey." In the midst of all this fatiguing luxury, Maria Cosway lost her health and passed several years travelling in Europe. Returning to London, she was again prostrated by the death of her only daughter. She then went to Lodi, near Milan, where she founded a college for the education of girls. She spent much time in Lodi, and after the death of her husband established herself there permanently. A goodly circle of friends gathered about her, and she found occupation and solace for her griefs in the oversight of her college. She continued her painting and the exhibition of her pictures at the Royal Academy. She made illustrations for the works of Virgil, Homer, Spenser, and other poets, and painted portraits of interesting and distinguished persons, among whom were Mme. Le Brun and Mme. Récamier. The life and work of Maria Cosway afford a striking contradiction of the theory that wealth and luxury induce idleness and dull the powers of their possessors. Hers is but one of the many cases in which a woman's a woman "for a' that." At an art sale in London in 1901, an engraving by V. Green after Mrs. Cosway's portrait of herself, first state, brought $1,300, and a second one $200 less. <b>COUDERT, AMALIA KÜSSNER.</b> Born in Terre Haute, Indiana. This distinguished miniaturist writes me that she "never studied." Like Topsy, she must have "growed." By whatever method they are produced or by whatever means the artist in her has been evolved, her pictures would seem to prove that study of a most intelligent order has done its part in her development. She has executed miniature portraits of the Czar and Czarina of Russia, the Grand Duchess Vladimir, King Edward VII., the late Cecil Rhodes, many English ladies of rank, and a great number of the beautiful and fashionable women of America.