MRS. DUBOIS.
Mrs. Cornelius Dubois, now residing in New York, and devoted to the charitable institution of the Nursery and Child’s Hospital, has shown much talent for sculpture and cameo-cutting. Mrs. Lee describes her as having discovered, accidentally, about 1842, a taste for modeling, in the following manner: “Her father had his bust taken. Before the casting, he asked his daughter her opinion of it as a likeness. She pointed out some defects which the artist corrected in her presence, upon which she exclaimed, ‘I could do that!’ and requested the sculptor to give her some clay, from which she modeled, with but little labor, a bust of her husband, and was eminently successful in the likeness. She then decided to take lessons, but illness having interfered with her plans, she abandoned the intention, and worked on by herself, with merely the instruction from the sculptor to keep her clay moist until her work was completed.
“When she recovered her health sufficiently, she continued to mould, and, among other works, produced the likenesses of two of her little children, the group of Cupid and Psyche, a copy; and a novice, an original piece. She also carved a head of the Madonna in marble; a laborious and exciting work, which injured her health to such a degree that her physician interdicted her devotion to the arts.
“She then went to Italy, where she desired the first artist in cameos to give her lessons. When he saw some that she had cut, he told her that he could teach her nothing; she had only to study the antiques.
“Her works in cameos are ‘St. Agnes and her Lamb,’ ‘Alcibiades,’ ‘Guido’s Angel,’ ‘Raphael’s Hope,’ and the ‘Apollo.’ She took over thirty likenesses in cameo, requiring only an hour’s sitting, after which they were completed.
“Notwithstanding the care of a large family, the superintendence of the education of her daughters, and the sad drawback of ill health, her energy has never failed her. She has always extended a helping hand and a smile of encouragement to young artists, one of whom was in Brown’s studio; another is the sculptor of the ‘Shipwrecked Mother,’ who alludes to her kindness in his short autobiography.
“But, while ascending the ladder to fame, her progress was arrested by ill health, and she now lives only to feel, as she says, how little she has done compared to what she might do could she devote herself to the art. Anxious to impart to others this great gift, and to stimulate her countrywomen to the development of any latent talent they may possess, she formed a class of young ladies, and most disinterestedly devoted a certain portion of her time to their instruction for several months.
“While all who know her admire the artist for her talents, her unceasing energy, and philanthropic exertions, they behold in her the good wife, mother, and friend, and the elegant and accomplished woman, presiding over the social circle. Her heart remains true to the gentle influences of nature, while her genius is ever responsive to immortal Art.”