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only a short time, joining a company being formed by Judge Stallo to push on to a settlement farther inland. This settlement was called Stallo-town, but later changes to Minster or Munster. The Siemer family obtained a farm[[page break]] Elizabeth Siemer married a young man who was also an immigrant from Europe, a Hollander by the name of Frank Decker, and to them a boy [[illustration of a woman with caption: PORTRAIT OF DUVENICK'S MOTHER, PAINTED BY THE ARTIST]] was born; this boy was Frank Dec-ker, later to be known as Frank Du-veneck. A year after the birth of the son the father died. A number of years later Elizabeth Siemer Decker married Squire Duv-eneck of Covingtom and bore other children. Three are now living, John and Charlie Duveneck and Miss Mol-lie, who was the constant companion of their elder brother, Frank. Mr. Duveneck once said his earli-est artistic efforts were in making careful impressions of the neighbor's polished door plates with clay he dug from the banks of the Licking. Later he became interested in art and worked in a Covington factory that made altars. There he modeled and painted figures. These attracted the attention of a number of artists and he finally came under the influence of a man by the name of Lamprect, who was a very fine and intelligent worker. Lamprect was mainly re-sponsible for his going to Munich to study. Mr. Duveneck said his great-est delight then was the occasional portrait that would be exhibited in some downtown window. 1870 found him in Munich studying at the Royal academy and painting at that time some of his most notable works, such as "The Man With the Fez," "The Whistling Boy," "The Old School Teacher," "The Woman With the Fan." In 1873 he returned to Cincinnati, where he painted several portraits, but conditions were not favorable, The Southerners, who had been about the only patrons of the portraitists, had been impoverished by the great civil war. Mr. Duveneck exhibited a few of his pictures here but they attracted little attention. At the instigation of the great Boston artist, William H. Hunt, who knew Duveneck and hi work, this collection was sent on to the Boston Art club, where the were received with great applause and were commented on by all art journals and newspaper of Boston and New York. "The Nation" ended and article in which they compared him to Velasquez. This memorable exhibition-I say memorable, for it was this exhibition and its subsequent influence that made the Panama Pacific jury award Mr. Duveneck "The Special Medal of Honor"--This collection of pictures presented an entirely new art to the American people. Mr. Duveneck's manner of direct painting was not only new here, but also in Munich, where he instituted an entirely new method of approaching hi work. He had long since abandoned the old laborious way then in vogue, of making a careful shaded drawing and then carefully, painstakingly painting over it. There are in the Art Museum two large canvases which he painted for his Munich pupils to illustrate his manner of painting and to show his two distinct styles. So it was this remarkable achievement and his revolutionary influence on American painting, as well as the artistic mer-it of his paintings, sculpture and etchings., that made the artists of