Abelaide Ontogoya Sectory 14
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Yet it shows no gay foliage, nor "shade above shade a woody theatre," such as is seen on a mountain declivity. It is a simple shadowy walk--shadowy to richness, cool, tranquil, redolent of freshness. There the soul feels "private, inactive, calm, contemplative," linked to things that were and are not. The mellow hue of time, not yet stricken by decay, clothes the buildings of this college, which, compared with other edifices more steeped in maturity of years, occupies, as it were, a middle term in existence.

The increase of knowledge, and consequently of morality, is the great aim of such a noble establishment as this; and the rewards and honours dispensed there are bestowed in proportion to the industry and good conduct of those who receive them. If the offences of freshmen outside the walls be unvisited by the university from wariness in the offenders, or the impossibility of controlling them, they are certain to meet with a just estimation of their demerit here; and, as before noticed, this is perhaps the best mode of repressing them. The assistance derived by the industrious student from the university itself is invaluable. The very locality is an aid to progress. Where can there be places more favourable for thought than those noble buildings, ancient halls, and delightful walks? Everything invites to contemplation.

BRIDGES, FIDELIA. Associate of the National Academy of Design in 1878, when but three other women were thus honored. Born in Salem, Massachusetts. Studied with W. T. Richards in Philadelphia, and later in Europe during one year. She exhibited her pictures from 1869 in Philadelphia, New York, and Boston. Her subjects were landscapes and flowers. In 1871 she first painted in water-colors, which suited many of her pictures better than oils. She was elected a member of the Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner of a Rye-Field." Of the last a writer in the _Art Journal_ said: "Miss Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is a close study, and shows that she is as happy in the handling of oil colors as in those mixed with water."

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