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diff --git a/41939.txt b/41939.txt deleted file mode 100644 index e2cf099..0000000 --- a/41939.txt +++ /dev/null @@ -1,1555 +0,0 @@ -The Project Gutenberg eBook, Rosa Bonheur, by Fr. (François) Crastre, -Translated by Frederic Taber Cooper - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: Rosa Bonheur - Masterpieces in Colour Series - - -Author: Fr. (François) Crastre - - - -Release Date: January 28, 2013 [eBook #41939] - -Language: English - -Character set encoding: ISO-646-US (US-ASCII) - - -***START OF THE PROJECT GUTENBERG EBOOK ROSA BONHEUR*** - - -E-text prepared by sp1nd, Matthew Wheaton, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive (http://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 41939-h.htm or 41939-h.zip: - (http://www.gutenberg.org/files/41939/41939-h/41939-h.htm) - or - (http://www.gutenberg.org/files/41939/41939-h.zip) - - - Images of the original pages are available through - Internet Archive. See - http://archive.org/details/rosabonheur00cras - - - - - -Masterpieces in Colour -Edited by M. Henry Roujon - -ROSA BONHEUR -(1822-1899) - - * * * * * - - _IN THE SAME SERIES_ - - - REYNOLDS - VELASQUEZ - GREUZE - TURNER - BOTTICELLI - ROMNEY - REMBRANDT - BELLINI - FRA ANGELICO - ROSSETTI - RAPHAEL - LEIGHTON - HOLMAN HUNT - TITIAN - MILLAIS - LUINI - FRANZ HALS - CARLO DOLCI - GAINSBOROUGH - TINTORETTO - VAN DYCK - DA VINCI - WHISTLER - RUBENS - BOUCHER - HOLBEIN - BURNE-JONES - LE BRUN - CHARDIN - MILLET - RAEBURN - SARGENT - CONSTABLE - MEMLING - FRAGONARD - DUERER - LAWRENCE - HOGARTH - WATTEAU - MURILLO - WATTS - INGRES - COROT - DELACROIX - FRA LIPPO LIPPI - PUVIS DE CHAVANNES - MEISSONIER - GEROME - VERONESE - VAN EYCK - FROMENTIN - MANTEGNA - PERUGINO - HENNER - - * * * * * - - [Illustration: PLATE I.--THE LION MEDITATING - - (Rosa Bonheur Museum) - - According to artists, the lion is the most difficult of all - animals to paint, on account of the prodigious mobility of his - physiognomy. Rosa Bonheur was able, thanks to her inimitable - art, to catch and reproduce the fugitive facial expressions of - the kingly beast,--expressions that the artist succeeded in - securing during a visit to a certain menagerie, and which she - managed to record with a most surprising vigour and fidelity.] - - -ROSA BONHEUR - -by - -FR. CRASTRE - -Translated from the French by Frederic Taber Cooper - -Illustrated with Eight Reproductions in Colour - - - - - - - -Frederick A. Stokes Company -New York--Publishers - -Copyright, 1913, by -Frederick A. Stokes Company - -[Illustration: August, 1913] - -The.Plimpton.Press -Norwood.Mass.U.S.A - - - - -CONTENTS - - - Page - - Childhood and Youth 11 - - The First Successes 22 - - The Years of Glory 45 - - - - - LIST OF ILLUSTRATIONS - - - Plate - - I. The Lion Meditating Frontispiece - Rosa Bonheur Museum - - II. The Ass 14 - Rosa Bonheur Studio, at By - - III. The Horse Fair 24 - National Gallery, London - - IV. Ploughing in the Nivernais 34 - Luxembourg Museum, Paris - - V. Ossian's Dream 40 - Rosa Bonheur Studio, Peyrol Collection - - VI. The Duel 50 - Collection of Messrs. Lefevre, London - - VII. Tigers 60 - Rosa Bonheur Studio, at By - - VIII. Trampling the Grain 70 - Rosa Bonheur Studio, at By - - - - -CHILDHOOD AND YOUTH - - -In 1821, a young painter of brilliant promise was living in Bordeaux. -His name was Raymond Bonheur. But the fairies who presided at his -birth omitted to endow him with riches, in addition to talent. The -hardships of existence compelled him to relinquish his dreams of glory -and to pursue the irksome task of earning his daily bread. The artist -became a drawing master and went the rounds of private lessons. Among -his pupils he made the acquaintance of a young girl, Mlle. Sophie -Marquis, as penniless as himself, but attractive and gentle, full of -courage, and displaying exceptional ability in music. A similarity of -tastes and opinions drew these two artistic natures toward each other. -They fell in love, and the marriage service united their destinies. - -The young couple started upon married life with no other fortune than -their mutual attachment and equal courage. He continued to teach -drawing and she gave lessons in music. But before long she was forced -to put an end to these lessons in order to devote herself to new -duties. Indeed, it was less than a year after their marriage, namely -on the 16th of March, 1822, that a little girl was born into the -world: this little girl was Rosalie Bonheur, better known under the -name of Rosa Bonheur. - -It is not surprising in such an artistic environment, that the child's -taste should have undergone a sort of obscure, yet undoubted -impregnation. From the time that she began to understand, she heard -art and nothing else discussed around her; her first uncertain steps -were taken in her father's studio, and her first playthings were a -brush and a palette laden with colours. - - [Illustration: PLATE II.--THE ASS - - (Rosa Bonheur Studio, at By) - - Rosa Bonheur was inimitable in the art of seizing the expression - on the face of an animal. Here, for instance, is a study of an - ass which makes quite a charming picture. Note the admirable - rendering of the animal's attitude, which is half obstinacy and - half resignation, while the worn-out body weighs so heavily on - the shrunken legs!] - -Rosalie could hardly walk before she was drawing and painting -everywhere. Later on, she gave a spirited account of this: - -"I was not yet four years old when I conceived a veritable passion for -drawing, and I bespattered the white walls as high as I could reach -with my shapeless daubs: another great source of amusement was to cut -objects out of paper. They were always the same, however: I would -begin by making long paper ribbons, then with my scissors, I would cut -out, in the first place, a shepherd, and after him a dog, and next a -cow, and next a ship, and next a tree, invariably in the same order. I -have spent many a long day at this pastime." - -The Bonheurs had, at this time, formed a close friendship with a -family by the name of Silvela, but the latter left Bordeaux in 1828 in -order to assume the direction of an institute for boys in Paris. The -separation did not break off their intercourse. They corresponded -frequently and in every letter the Silvelas urged Raymond Bonheur to -come and join them in Paris where, they said, he would find an easier -and more remunerative way of employing his talent. These repeated -appeals strongly tempted the man, but a journey to Paris, at this -epoch, was not an easy matter. Besides, his family had increased to -the extent of two more children: Auguste Bonheur, born in 1824, and -Isidore Bonheur, born in 1827. At last, after much hesitation, he made -up his mind to set forth alone to try his luck, prepared to return -home if he did not succeed. - -He went directly to the Silvelas' in the capacity of instructor of -drawing; the families of some of the pupils took an interest in him -and obtained him opportunities. Geoffroy Saint-Hilaire, the great -naturalist, entrusted him with the execution of a large number of -plates for a natural history. If not a fortune, this was at least an -assured living. Accordingly, Bonheur decided to transfer his entire -household to Paris. - -They joined him in 1829 and were installed in the Rue Saint-Antoine. - -Little Rosa, who was then seven years old, was no sooner settled in -Paris, than she was placed together with her brothers in a boys' -school which happened to be located in the same house where the -Bonheurs lived. - -Being brought up with young boys of her own age, she acquired those -boyish manners that she retained throughout life, and to which she -owes, without the slightest doubt, that virile mark which was destined -to characterize her painting. She used to go with her comrades, during -recess, to play in the Place Royale. "I was the ring-leader in all -the games and I did not hesitate, when necessary, to use my fists." - -The revolution of 1830 ensued and Rosa witnessed it develop beneath -the windows of her father's dwelling. These were evil hours and the -Bonheur family suffered in consequence. Lessons became rarer and the -pinch of poverty was felt within the household, which was forced to -migrate again to No. 30 Rue des Tournelles, a large seventeenth -century mansion, solemn and gloomy, of which Rosa must have retained -the worst possible memories had it not chanced that it was here she -acquired a little comrade, Mlle. Micas, who was destined to become, -subsequently, her best friend. - -The years which followed were equally unfortunate for Raymond Bonheur: -Paris had hardly recovered from the shock of the Revolution, when in -1832 the cholera made its appearance. There was no further question of -lessons, for everyone thought solely of his own safety; the rich fled -from the city, the others remained closely housed in order to avoid -the fatal contagion. To escape the scourge, Raymond Bonheur once more -changed his dwelling and established himself in the Rue du Helder. -Variable and impulsive by nature, the painter delighted in change. He -was barely installed in the Rue du Helder when he left the new abode -in order to move to Menilmontant in the centre of a hotbed of -Saint-Simonism, the doctrines of which he had enthusiastically -espoused. In 1833, we find him installed on the Quai des Ecoles. This -year a great misfortune befell the family: Mme. Bonheur died and the -painter found himself alone and burdened with the responsibility of -feeding, tending, and bringing up four children, one of whom, Isabelle -Bonheur, born in 1830, was only three years old. - -It was at this time that Raymond Bonheur became anxious to have Rosa, -who was now eleven years of age, acquire some vocation. Inasmuch as -she had shown the most violent aversion to study in every school she -had attended, her father fancied that perhaps business would be more -to her taste. Accordingly he apprenticed her to a dressmaker. But the -young girl showed no more inclination for sewing than for arithmetic -and grammar. At the end of two weeks it became necessary to give up -the experiment. - -Raymond Bonheur, who was absent all day long giving lessons, was -absolutely bent upon finding some occupation for Rosa. He made one -last attempt to send her to school; so he placed her with Mme. Gibert -in the Rue de Reuilly. Rosa with her boyish manners and her -incorrigible turbulence brought revolution into the peaceful precincts -of the pension. She engaged her new comrades in games of mimic -warfare, combats, cavalry charges across the flower-beds of the garden -which was reduced to ruins before the end of the second day. The -principal in consternation returned the irrepressible amazon to her -father. - -The latter, in very natural despair, allowed Rosa to stay at home, in -the Rue des Tournelles, where he was newly established and where he -had fitted up a studio. He even allowed the young girl free entry to -the studio and gave her permission to sketch. She asked for nothing -better. While her father scoured the city on his round of lessons, she -would shut herself into the studio and work with desperate energy, -taking in turn every object hanging on the walls for her models. - -One day on returning home, at the end of his day's work, Raymond -Bonheur discovered on the easel a little canvas representing a bunch -of cherries, a well drawn canvas and excellently painted from nature. -This was Rosa Bonheur's first painting; it bore witness to a genuine -artistic temperament. Her father was delighted, but he hid his -pleasure. - -"That is not so bad," he allowed to Rosa. "Work seriously, and you may -become an artist." - -This word of encouragement set the young girl's heart to pulsing with -emotion. Then it needed only application and courage? She felt within -her an energy that nothing could rebuff and an ambition that nothing -could quench. - -Rosa Bonheur had found her path. - - - - -THE FIRST SUCCESSES - - -Not long after this, a serious and determined young girl might be seen -in the halls of the Louvre, copying with desperate energy the works of -the great masters. She wore an eccentric costume, consisting of a sort -of dolman with military frogs. It was young Rosa Bonheur serving her -apprenticeship to art. The students and copyists who regularly -frequented the museum, not knowing her name, had christened her "the -little hussard." But the jests and criticisms flung out by passing -strangers in regard to her work, far from discouraging her, only -drove her to still more obstinate and persistent study. The hours -which she did not consecrate to the Louvre, she spent in her father's -studio, multiplying her sketches and anatomical studies. Even at this -period she had already grasped instinctively the truth formulated by -Ingres, that "honesty in art depends upon line-work." Few painters -have so far insisted upon this honesty, this conscientiousness, -without which the most gifted artist remains incomplete. Whatever -gifts he may be endowed with by nature, talent cannot be improvised; -it is the fruit of independent and sustained toil. Later on, when she -in her turn became a teacher, Rosa Bonheur was able to proclaim the -necessity of line-work with all the more authority because it had -always been the fundamental basis, the very scaffolding of all her -works. "It is the true grammar of art," she would affirm, "and the -time thus spent cannot fail to be profitable in the future." - - [Illustration: PLATE III.--THE HORSE FAIR - - (National Gallery, London) - - This painting is considered by some critics to be Rosa Bonheur's - masterpiece. There is no other painting of hers in which she - attained the same degree of power, or the same degree of truth - in individual expression. What naturalness, and what vigour in - this drove of prancing horses, and what movement of those - haunches straining under the effort of the muscles!] - -During this period of study, she was living in the Rue de la -Bienfaisance; her father's mania for changing his residence dragged -her successively to the Rue du Roule, and then to the Rue Rumford, in -the level stretch of the Monceau quarter, where Raymond Bonheur, who -had just remarried, installed his new household. - -At that time the Rue Rumford was practically in the open country. On -all sides there were farms abundantly stocked with cows, sheep, pigs, -and poultry. This was an unforeseen piece of good fortune for young -Rosa, and she felt her passionate love for animals reawaken. Equipped -with her pencils, she installed herself at a farm at Villiers, near to -the park of Neuilly, and there she would spend the entire day, -striving to catch and record the different attitudes of her favourite -models. For the sake of greater accuracy, she made a study of the -anatomy of animals, and even did some work in dissection. Not content -with this, she applied herself to sculpture, and made models of the -animals in clay or wax before drawing them. This is how she came to -acquire her clever talent for sculpture which would have sufficed to -establish a reputation if she had not become the admirable painter -that we know her to have been. - -Her special path was now determined: she would be a painter of -animals. She understood them, she knew them, and loved them. But it -did not satisfy her to study them out-of-doors; she wanted them in her -own home. She persuaded her father to admit a sheep into the -apartment; then, little by little, the menagerie was increased by a -goat, a dog, a squirrel, some caged birds, and a number of quails that -roamed at liberty about her room. - -At last, in 1841, after years of devoted toil, Rosa ventured to offer -to the Salon a little painting representing _Two Rabbits_ and a -drawing depicting some _Dogs and Sheep_. Both the drawing and the -painting were accepted. It was an occasion of great rejoicing both -for Rosa Bonheur and for her father. The young artist was at this time -only nineteen years of age. - -From this time forward, she sent pictures to the Salon annually. -During the first years her exhibits passed unnoticed; but little by -little her sincerity and the vigour of her talent made an impression -upon the critics. The latter were soon forced to admire the intense -relief of her method of painting, living animals transcribed in full -action, and their different physiognomies rendered with admirable -fidelity and art. But what labour it cost to arrive at this degree of -perfection! Every morning, the young artist made the rounds of -slaughter-houses, markets, the Museum, anywhere and everywhere that -she might see and study animals. And this was destined to continue -throughout her entire life. - -In 1842 she sent three paintings to the Salon: namely, an _Evening -Effect in a Pasture_, a _Cow lying in a Pasture_, and a _Horse for -Sale_; and in addition to these, a terra-cotta, the _Shorn Sheep_, -which received the approval of the critics. And no less praise was -bestowed upon her paintings, which showed a talent for landscape fully -equal to her mastery of animal portraiture. - -Her success was progressive. Her pictures in the Salon of 1843 sold to -advantage and Rosa Bonheur was able to travel. She brought home from -her trip five works that found a place in the Salon of 1845. The -following year her exhibits produced a sensation. Anatole de la Forge -devoted an enthusiastic article to her, and the jury awarded her a -third-class medal. - -"In 1845," Rosa Bonheur herself relates, "the recipients had to go in -person to obtain their medals at the director's office. I went, armed -with all the courage of my twenty-three years. The director of -fine-arts complimented me and presented the medal in the name of the -king. Imagine his stupefaction when I replied: 'I beg of you, -Monsieur, to thank the king on my behalf, and be so kind as to add -that I shall try to do better another time.'" - -Rosa Bonheur kept her word: her whole life was a long and sustained -effort to "do better." After the Salon of 1846, where she was -represented by five remarkable exhibits, she paid a visit to Auvergne, -where she was able to study a breed of cattle very different from any -that she had hitherto seen and painted: superb animals of massive -build, with compact bodies, short and powerful legs, and wide-spread -nostrils. The sheep and horses also had a characteristic physiognomy -that was strongly marked and noted with scrupulous care, and enabled -her to reappear in the Salon of 1847 with new types that gathered -crowds around her canvases, to stare in wonderment at these animals -which were so obviously different from those which academic convention -was in the habit of showing them. - -The general public admired, and so did the critics. It was only the -jury that remained hostile towards this independent and personal -manner of painting, which ignored the established procedure of the -schools and based itself wholly upon inspiration and sincerity; -accordingly, they always took pains to place her pictures in obscure -corners or at inaccessible heights. The public, however, which always -finds its way to what it likes, took pains on its part to discover and -enjoy them. - -In 1848 Rosa Bonheur had her revenge. The recently proclaimed -Republic, wishing to show its generosity towards artists, decreed that -all works offered that year to the Salon should without exception be -received. As to the awards, they were to be determined by a jury from -which the official and administrative element was to be henceforth -banished. The judges were Leon Cogniet, Ingres, Delacroix, Horace -Vernet, Decamps, Robert-Fleury, Ary Scheffer, Meissonier, Corot, Paul -Delaroche, Jules Dupre, Isabey, Drolling, Flandrin, and Roqueplan. - -Rosa Bonheur exhibited six paintings and two pieces of sculpture. The -paintings comprised: _Oxen and Bulls_ (Cantal Breed), _Sheep in a -Pasture_, _Salers Oxen Grazing_, a _Running Dog_ (Vendee breed), _The -Miller Walking_, _An Ox_. The two bronzes represented a _Bull_ and a -_Sheep_. - -Her success was complete. Judged by her peers, in the absence of -academic prejudice, she obtained a medal of the first class. - -This year an event took place in her domestic life. As a result of -recent remarriage, her father had a son, Germain Bonheur. The house -had become too small for the now enlarged family; besides, the crying -of the child, and the constant coming and going necessitated by the -care that it required seriously interfered with Rosa's work. -Accordingly she left her home in the Rue Rumford and took a studio in -the Rue de l'Ouest. She was accompanied by Mlle. Micas, the old-time -friend of her childhood, whom she had rediscovered, and who from this -time forth attached herself to Rosa with a devotion surpassing -that of a sister, and almost like that of a mother. She also was an -artist and took a studio adjoining that of her friend; several times -she collaborated on Rosa's canvases, when the latter was over-burdened -with work. After Rosa had sketched her landscape and blocked in her -animals, Mlle. Micas would carry the work forward, and Rosa, coming -after her, would add the finishing touch of her vigorous and -unfaltering brush. But to Rosa Bonheur Mlle. Micas meant far more as a -friend than as a collaborator. With a devoted and touching tenderness -she watched over the material welfare of the great artist, who was by -nature quite indifferent to the material things of life. It was the -good and faithful Nathalie who supervised Rosa's meals and repaired -her garments. She was also a good counsellor, and on many different -occasions Rosa Bonheur paid tribute to the intelligence and devotion -of her friend. - - [Illustration: PLATE IV.--PLOUGHING IN THE NIVERNAIS - - (Luxembourg Museum) - - This painting shows the artist in the full possession of her - vigorous and unfaltering talent. The Luxembourg is to-day proud - of the possession of such a masterpiece. It testifies to Rosa - Bonheur's equal eminence as an animal painter and a painter of - landscapes.] - -The resplendent successes of recent Salons had in no wise diminished -Rosa Bonheur's ardent passion for study. In contrast to many another -artist, who think that there is nothing more to learn, as soon as they -become known, she persevered without respite in her painful drudgery -of research and documentation. - -Every day she covered the distance from the Rue de l'Ouest to the -slaughter-houses in order to catch some hitherto unknown aspect of -animal life, and to note the quivering of the wretched beast that -scents the blood and foresees its approaching death. - -There was much that was disagreeable for a young woman in this daily -promiscuous contact with butchers, heavy, tactless brutes, who -frequently insulted her with their vulgar and suggestive jokes. She -pretended not to understand, but nothing short of her unconquerable -passion for study would have sustained her courage. - -Together with the success of recognition came the success of -prosperity. Rosa began to sell her paintings profitably. A certain -shirt-manufacturer, M. Bourges, who was also an art collector, -acquired a goodly number of her works; and after him came M. Tedesco, -the celebrated picture dealer, who was a keen admirer of her talent. -In 1849, the far reaching renown of her _Ploughing in the Nivernais_ -brought her the honour of making a sale to the State, which acquired -the celebrated painting for the Museum of the Luxembourg, where it -still remains. - -The subject of the picture is well known: in a pleasant stretch of -rolling country, bounded by a wooded slope, two teams of oxen are -dragging their heavy ploughs and turning up a field in which we see -the furrows that have already been laid open. The whole interest -centres in the team in the foreground. The six oxen which compose it, -ponderous and slow, convey a striking impression of tranquil force: -and from the different attitudes of the six, we perceive a progression -in the degree of effort put forth to drag the plough. The first two -move with a heavy nonchalance that bears witness to the slight -contribution that they make to the task; the next two, being nearer -the plough, are doing more real work; their straining limbs sink -deeper into the earth and their lowered heads indicate the greater -tension of their muscles. As to the last two, they are sustaining the -heaviest part of the toil, as is apparent from the way in which their -muscles visibly stand out, and from the contraction of their limbs -gathered under them in the effort to drag free the weight of the -ploughshare buried in the soil. It is only those who never have -witnessed the tilling of the soil who could remain unmoved in the -presence of such a work. The oxen are admirable in composition, in -action, in modelling, and in strength. And what is to be said of the -landscape which is bathed in a clear, bright light, flecked here and -there with trails of fleecy cloud? - -It seemed that after such a picture, it would be impossible for -Rosa Bonheur to rise to a greater height of perfection. Nevertheless, -three years later she exhibited her _Horse Fair_, a remarkable -achievement which raised her while still living to the pinnacle of -glory. The _Horse Fair_ is not only the artist's masterpiece, but it -is one of those productions which do the greatest honour to French -painting. Celebrated from the day of its first appearance, this canvas -has steadily gained in the esteem of the world of art and was destined -to bring, even in our own times, the fabulous price attained by -certain paintings by Rembrandt, Raphael, and Holbein. - - [Illustration: PLATE V.--OSSIAN'S DREAM - - (Rosa Bonheur Studio, Peyrol Collection) - - A fantasy by the great artist. During her visit to Scotland her - soul had thrilled at the recital of poetic legends; and this is - one of these dreams that she has rendered in an inspired page, - in which she reveals her mastery of a type of subject which she - undertook only accidentally.] - -In preparation for her _Horse Fair_, Rosa Bonheur betook herself daily -to the spot where the fair was held. But having learned wisdom through -the embarrassment of her experiences at the slaughter-house, she -assumed masculine garments, in order to attract less attention. She -formed the habit of assuming them frequently from that time onward, -especially in her studio. - -In spite of its triumphal success, the _Horse Fair_ did not -immediately find a purchaser and was returned to the artist's studio. -It was acquired later on by Mr. Gambard, the great London picture -dealer, for the sum of 40,000 francs. - -This celebrated canvas has a lengthy history which deserves to be -related. - -In coming to terms with Mr. Gambard, Rosa Bonheur, who was never -avaricious, feared that she had exacted too large a sum in demanding -40,000 francs. Since the purchaser desired to reproduce the picture in -the form of an engraving, and its dimensions were so great as to -hamper considerably the work of the engraver, she offered to make Mr. -Gambard, without extra charge, a reduced replica of the _Horse Fair_, -one-quarter the original size. - -Mr. Gambard, who was making an excellent bargain, accepted with an -eagerness that it is easy to imagine. The reduced copy was delivered -and was immediately purchased by an English art fancier, Mr. Jacob -Bell, for the sum of 25,000 francs. As for the original, it was -exhibited in the Pall Mall gallery, but its vast dimensions -discouraged purchasers. It was at last acquired by an American, Mr. -Wright, at the cost of 30,000 francs, on condition that Mr. Gambard -might retain possession for two or three years longer, in order to -exhibit it in England and the United States. When the moment for -delivery arrived, the American claimed that he was entitled to a share -of the profits resulting from the exhibition of the work. As a -consequence, the picture which was originally purchased by Mr. Gambard -for 40,000 francs, eventually brought him in only 23,000, while the -reduced replica, which cost him nothing, brought him in 25,000 francs. -Considerably later, the American owner having met with reverses, the -_Horse Fair_ was sold at public auction and was knocked down at -$53,000 (265,000 francs) to Mr. Vanderbilt, who presented it to the -Metropolitan Museum of Art. - -As to the reduced copy, the property of Mr. Jacob Bell, the latter -bequeathed it, together with his other paintings, to the National -Gallery, where it now is. The reproduction which we give in the -present volume was made from this smaller copy. - -When Rosa Bonheur learned that this reduced replica was to find a -place in the National Gallery, she exhibited a scrupulousness that -well illustrates her honesty and disinterestedness. Since it was -originally painted merely to serve as a model for the engraver, the -artist had not given it the finish that she was accustomed to give to -her pictures. Accordingly, she set to work for the third time to paint -the _Horse Fair_, and bestowed upon it such conscientious work and -mature talent that in the opinion of some judges this second replica -is superior to the original. When the canvas was finished, she offered -it to the London Gallery. The English authorities were deeply touched -by the scrupulousness of the famous artist, and thanked her cordially, -but explained that they felt themselves bound by the terms of the -Jacob Bell bequest, and consequently could not take advantage of her -generous offer. The work, nevertheless, remained in England, having -been purchased by a Mr. MacConnel for 2,500 francs. - -After her immense success at the Salon of 1854, Rosa Bonheur gave up -her studio in the Rue de l'Ouest, and installed herself in the Rue -d'Assas, in a studio which she had had built expressly to suit her -needs. - - - - -THE YEARS OF GLORY - - -The new studio in the Rue d'Assas was very far from being a -commonplace studio. It was situated in the rear of a large court, and -occupied the entire rear building. It was an immense room, with a -broad, high window, through which a superb flood of daylight streamed -in; and from floor to ceiling the walls were lined with studies, -drawings, sketches, rough essays in colour, that the great artist had -brought back from her travels. So far, nothing the least out of the -ordinary. But what gave the establishment its picturesque and curious -character was the court-yard, transformed by Rosa Bonheur into a -veritable farm. Under shelters arranged along the walls a variety of -animals roamed at will: goats, heifers of pure Berri breed, a ram, an -otter, a monkey, a pack of dogs, and her favourite mare, Margot. -Mingled with the divers cries of this heterogeneous menagerie, were -the bewildering twitterings of an assortment of birds, the clucking of -hens, the sonorous quack-quack of ducks, and dominating all the rest, -the strident screams of numerous parrakeets. - -And all this was only one part of her menagerie; the rest was -domiciled at her country place at Chevilly, where she also had another -studio. Even in the country Rosa Bonheur had no chance to rest. She -had now become celebrated, and the patrons of art fought among -themselves for her productions. The two art firms of Tedesco in Paris -and Gambard in London deluged her with orders; and, in spite of her -courage, she could hardly keep pace with them. - -Her reputation had overleaped frontiers; she was as celebrated abroad -as she was in France. The city of Ghent, to which she had loaned the -_Horse Fair_ for its exposition, demonstrated its gratitude by sending -her an official delegation headed by the burgomaster himself, to -present her with a jewel of much value. - -Her talent was no longer open to question; everyone agreed in -recognizing it. The critics saw in her far more than a conscientious -and gifted artist; they regarded her as the inspired interpreter of -rural life. "The work of Rosa Bonheur," wrote Anatole de la Forge in -1855, "might be entitled the _Hymn to Labour_. Here she shows us the -tillage of the soil; there, the sowing; further on, the reaping of the -hay, and then that of the grain; elsewhere the vintage; always and -everywhere, the labour of the field. Man, under her inspired touch, -appears only as a docile instrument, placed here by the hand of God -in order to extract from the bowels of the earth the eternal riches -that it contains. Also, in depicting him as associated with the toil -of animals, she shows him to us only under a useful and noble aspect; -now at the head of his oxen, bringing home the wagons heavily laden -with the fruit of the harvest; or again, with his hand gripping the -plough, cleaving the soil to render it more productive." And Mazure, -writing at the same period, declared: "Next to the old Dutch painters, -and better than the early landscape artists in France, we have in our -own day some very clever painters of cattle. They are Messieurs -Brascassat, Coignard, Palizzi, and Troyon, and more especially a -woman, Mlle. Rosa Bonheur, who carries this order of talent to the -point of genius. Several of them must be praised for the art with -which they work their animals into the setting of the landscape; but -if we consider the painting of the animals themselves, regardless of -the landscape, and if what we are seeking is a monograph on the -labour of the fields, nothing can compare with the artist whose name -stands last in the above list." - - [Illustration: PLATE VI.--THE DUEL - - (Collection of Messrs. Lefevre, London) - - This picture is one of the last that Rosa Bonheur painted. It is - celebrated in England because of the reputation of the two - horses who are engaged in this passionate duel, on which the - artist has expended all the resources of her marvellous talent.] - -Equally enthusiastic over her paintings was Mr. Gambard, who -supplemented his enthusiasm with a very warm personal friendship for -the great artist. He had several times invited her to visit England; -in 1854 Rosa Bonheur made up her mind to take the journey, accompanied -by Mlle. Micas. It proved to be a triumphal journey. After a sojourn -at the Rectory at Wexham, with Mr. Gambard as host,--a sojourn marked -by official invitations and delicate attentions,--Rosa Bonheur made a -long excursion into Scotland, accompanied by friends across the -Channel. - -This cattle-raising land stirred her to a passionate interest. In the -fields through which her route lay cattle came into view from time to -time; and hereupon the artist would have the carriage halted, and take -notes upon her drawing tablets. Each herd that was encountered meant -a new halt and new sketches. The great fair at Falkirk, to which herds -were brought from every corner of Scotland, afforded her a unique -opportunity for observations and studies. From morning until evening -she plied her pencil feverishly, accumulating material for future -paintings. At this same fair she purchased a young bull and five -superb oxen, to help complete her menagerie. From this journey she -brought back a number of pictures of remarkable vigour and beauty. -They include a _Morning in the Highlands_, _Denizens of the -Highlands_, _Changing Pasture_, _After a Storm in the Highlands_, -etc., etc. - -Rosa Bonheur returned to her studio in the Rue d'Assas and immediately -prepared her exhibits for the Universal Exposition of 1855. She was -represented there by a _Hay Harvest in Auvergne_, which brought her -the grand medal of honour. - -From this time forward Rosa Bonheur ceased to exhibit at the Salons. -She believed, and not without reason, that her reputation had nothing -more to gain by these annual offerings, which interrupted her more -productive work. She had given herself freely to the public; -henceforth she sought only to satisfy the demands of the patrons of -art, who, in daily increasing numbers, besieged her with their orders. -She worked chiefly for the English, who had given her so warm a -welcome, and who, perhaps, had a better sense than the French have, of -the beauty of the life of the soil. The Frenchman, good judge that he -is in matters of art, duly admires a beautiful work, regardless of its -subject; he is able to appreciate the composition of an agricultural -scene, but, being little inclined by nature to the work of the fields, -he will rarely feel a desire to adorn the walls of his apartment with -a _Harvest Scene_ or _Grazing Cattle_; he assumes that it is the -business of the museums to acquire pictures of this order. The -Englishman is quite different. As a landed proprietor deeply attached -to his ancestral acres, he appreciates paintings of rural life, less -as an artist than professionally, as a gentleman-farmer who knows all -the breeds of cattle and sheep and to whom Rosa Bonheur's paintings -were at this epoch veritable documents, quite as much as they were -works of art. - -In 1860, she gave up her studio in the Rue d'Assas, as well as the one -at Chevilly, in order to install herself at By, in the chateau of By -which she had purchased for 50,000 francs and in which she had a vast -studio constructed. Hither she transferred her imposing menagerie -which had grown year by year through new acquisitions. It included -sheep, gazelles, stags, does, kids, an eagle, various other birds, -horses, goats, watch dogs, hunting dogs, greyhounds, wild boars, -lions, a yak (an animal known by the name of the grunting ox of -Tartary), monkeys, parrakeets, marmosets, squirrels, ferrets, turtles, -green lizards, Iceland ponies, moufflons, lizards, wild American -mustangs, bulls, cows, etc. - -Rosa Bonheur worked with desperate energy in the midst of her models -and delighted in portraying them in a setting of some one of those -picturesque and impressive vistas of the forest of Fontainebleau, -adjacent to her own residence. She was unremittingly productive; yet -France hardly heard her name mentioned save as an echo of her triumphs -abroad. England has gone wild over her paintings; and America was not -slow in following suit. - -But the echo was so loud, especially after the Universal Exposition at -London in 1862, that the government three years later made her -Chevalier of the Legion of Honour. Rosa Bonheur has given her own -account of the event: - -"In 1865," she writes, "I was busily engaged one afternoon over my -pictures (I had the _Stags at Long-Rocher_ on my easel), when I heard -the cracking of a postillion's whip and the rumble of a carriage. My -little maid Felicite entered the studio in great excitement: - -"'Mademoiselle, mademoiselle! Her Majesty the Empress!' - -"I had barely time to slip on a linen skirt and exchange my long blue -blouse for a velvet jacket. - -"'I have here,' the empress told me, 'a little gift which I have -brought you on behalf of the Emperor. He has authorized me to take -advantage of the last day of my regency to announce your appointment -to the Legion of Honour.' - -"And in conferring the title, she kissed the newly made Chevalier and -pinned the cross upon my velvet jacket. A few days later I received an -invitation to take breakfast at Fontainebleau where the Imperial Court -was installed. On the appointed day, they sent to fetch me in gala -equipage. On arriving, I mistook the door and was about to lose my -way, when M. Mocquard came to my rescue and offered his arm to escort -me. At breakfast, I was placed beside the Emperor and throughout the -whole repast he talked to me regarding the intelligence of animals. -The Empress afterwards took me for an excursion on the lake in a -gondola. The Prince Imperial, who had previously called upon me at By, -accompanied us. This visit to the Court greatly interested me, but I -think that I must have been a disappointment to Princess Metternich -who amused herself with watching my every movement, expecting no doubt -to see me commit some breach of etiquette." - -In acknowledgment of the distinguished honour she had received from -the Emperor, Rosa Bonheur felt that she was in duty bound to be -represented at the Universal Exposition of 1867. Accordingly, she sent -no less than ten remarkable works: _Donkey Drivers of Aragon_, _Ponies -From the Isle of Skye_, _Sheep on the Seashore_, _A Ship_, _Oxen and -Cows_, _Kids Resting_, _A Shepherd in Bearn_, _The Razzia_, etc. - -All that she obtained was a medal of the second class. The judges owed -her a grudge because of her long neglect of twelve years. There could -be no question of disputing her talent, but they resented her having -employed it solely for the benefit of England. The critics showed her -the same coldness, courteous but unmistakable. In some of the -articles, she was referred to as _Miss_ Rosa Bonheur. Some little -injustice was intermingled with this show of hostility; Troyon was -exalted at her expense; and her animals were criticized as being -"purplish and cottony." Furthermore, they reproached her with the fact -that all the pictures exhibited were owned by Englishmen, with the -single exception of the _Sheep on the Seashore_, which was the -property of the Empress. - -It is necessary here to open a parenthesis and refer to a period in -the life of the great artist which should not be passed over in -silence: the period of her art school. For this purpose we must turn -back to the year 1849. At that time Raymond Bonheur who, as we know, -gave drawing lessons, was directing a school of design for young -girls, situated in the Rue Dupuytren. One year after his appointment -as director, Raymond Bonheur died and the direction of the school -was instructed to Rosa, who enlisted the aid of her sister, also a -painter of some talent, who was subsequently married to M. Peyrol. - - [Illustration: PLATE VII.--TIGERS - - (Rosa Bonheur Studio, at By) - - Rosa Bonheur spent entire days in the Jardin des Plantes, or in - menageries in order to catch the attitudes and the mobile - physiognomies of the beasts of prey. Accordingly no other artist - has attained such perfect truth, as is shown in the tigers here - portrayed.] - -Rosa Bonheur fulfilled her duties with much devotion and intelligence. -She herself had too high a regard for line-work to fail to bring to -her task as teacher all of her ardent faith as an artist. She divided -the scheme of instruction into two series, one of the _great studies_ -of animals and the other of _little studies_. Rosa Bonheur was not -always an agreeable teacher; she made a show of authority, not to say -severity. She would not excuse laziness or negligence, and when a -pupil showed her a drawing that was obviously done in a hurry she -would grow indignant: - -"Go back to your mother," she would say, "and mend your stockings or -do embroidery work." - -But this pedagogical rigour was promptly offset by a return of her -natural kindliness, a jesting word, a pleasantry, an affectionate -term intended to prevent the discouragement of a pupil who often was -guilty of nothing worse than thoughtlessness. - -Under her firm and able guidance, the school achieved success. Many of -her graduate pupils attained an honourable career in painting, and if -no name worthy of being remembered is included among the whole number, -the reason is that genius cannot be manufactured and that it was not -within the power of Rosa Bonheur to give to her young pupils something -of herself. - -In 1860, the great artist, being overburdened with work and unable to -carry on simultaneously the instruction and practice of her art, -resigned her position as director. The school passed into the hands of -Mlle. Maraudon de Monthycle, who won distinction as a director, but -did not succeed in making the name of Rosa Bonheur forgotten. - -The time of her retirement as professor of the school of design -coincides with that of her installation at By. After having in a -measure obeyed the paternal tradition of repeated removals, she was -this time definitely established. It was destined to be her last -residence; and it certainly was an attractive place, that great -chateau of By, with its broad windows and its original style, which -called to mind certain dwellings in Holland. And what a delightful -setting it had in the shape of the forest of Fontainebleau, so varied -in aspect, so rich in picturesque corners, so alluring with the beauty -of its dense woodlands, and the poetry of its open glades! - -Rosa Bonheur was always passionately enamoured of nature, of the -entire work of creation. She adored animals neither more nor less than -she loved beautiful trees and broad horizons; she went into ecstacies -before the splendour of the rising sun which day by day brings a -renewed thrill of life to all things and creatures; and it was equally -one of her joys to watch the diffused light spreading softly through a -misty haze over the slumbering earth. - -Rosa Bonheur had no sooner withdrawn to the solitude of By than she -sought, as we have already seen, to become forgotten, in order to -devote herself exclusively to the innumerable tasks which incessant -orders from England and America demanded of her. She planned for -herself a laborious and tranquil existence, rendered all the -pleasanter through the devoted and watchful affection of her old -friend, Mlle. Nathalie Micas, who lived with her. We have seen that -she came out of her voluntary obscurity in 1867 to the extent of -sending a few pictures to the Universal Exposition. From this date -onward she ceased to exhibit, and no other canvas bearing her -signature was seen in public until the Salon of 1899, which was the -year of her death. - -Relieved of all outside interruption, Rosa Bonheur worked with -indefatigable energy. Yet she could hardly keep pace with the demands -of her purchasers, who were constantly increasing in number and -constantly more urgent. Her paintings had acquired a vogue abroad and -brought their weight in gold. Certain pictures brought speculative -prices in America even before they were finished and while they were -still on the easel at By. At this period, it may be added, everything -which came from the artist's brush possessed an incomparable and -masterly finish. Never a suggestion of weakness in design even in her -most hastily executed canvases. I must at once add that hasty canvases -are extremely rare in the life work of Rosa Bonheur; she had too high -a sense of duty to her art and too great a respect for her own name to -slight any necessary work on a canvas. Certain pictures appear to have -been done rapidly solely because the artist possessed among her -portfolios fragmentary studies made from nature and drawn with -scrupulous care, and all that she needed to do was to transfer them to -her canvas. - -From the host of works that the artist put forth at this period, we -may cite: 1865, _Changing Pasture_, _A Family of Roebuck_; 1867, _Kids -Resting_; 1868, _Shetland Ponies_; 1869, _Sheep in Brittany_; 1870, -_The Cartload of Stones_. - -The war of 1870 brought consternation to her patriotic soul. She -suffered cruelly from the ills which had befallen her country. -Generous by nature and a French woman to her inmost fibre, she did her -utmost to relieve the suffering that she saw around her as a result of -the Prussian invasion. She spoke words of comfort to the peasants and -aided them with donations, distributing bags of grain that were sent -to her by her friend Gambard, at this time consul at Odessa. - -One day a Prussian officer of high rank presented himself at her home -in the name of Prince Karl-Frederick. The latter, who was a confirmed -admirer of the artist, whom he had met in former years, sent her an -order of safe-conduct which would place her and her belongings beyond -the danger of any annoyance. Rosa Bonheur ran her eye over the paper -and in the presence of the officer tore it into tiny pieces. Nobly -and simply the great artist refused to accept any favours, feeling, in -view of the existing painful circumstances, that it would be a -shameful thing for her to do. A French woman before all else, she -submitted in advance to all the abuses and exigencies of the -conquerors. On another occasion, a German prince came to By, to pay -his respects. She refused to receive him. We should add that the -Prussians, whose excesses and brutalities were so frequent during that -campaign, had the wisdom not to meddle with Rosa Bonheur. - -After the treaty of peace was signed, she set herself eagerly to work -once more. "I was occupied at that time," she wrote, "in studying the -big cats; I made sketches at the Jardin des Plantes, in the circuses, -in the menageries, anywhere and everywhere that I could find lions and -panthers." - -This is the epoch from which dates that admirable series of wild -beasts in which Rosa Bonheur manifests a power of expression and -virility of execution that she never before had occasion to display, -and that seem absolutely incredible as coming from the brush of a -woman. No other painter has rendered with greater truth and force the -undulous and elastic movements of the panther or the tiger; Barye -himself, in his admirable bronzes, has never endowed his lions with -greater life or more majestic grandeur than Rosa Bonheur has done. The -latter, with her astounding memory and with an eye as profound and -luminous as a photographic lens, caught and retained the most fugitive -expressions on the mobile physiognomy of the great cats. She noted -them down with rapid and unfaltering pencil; the painting of the -picture after this was a mere matter of execution. Is there any finer -presentment of the tranquil beauty of a lion in repose than _The Lion -Meditating_? Beneath the royal mane, his features have a haughty -placidity and his eyes a serene intentness that are admirably -rendered. _The Lion Roaring_ is possibly even more beautiful, because -of the difficulty which the artist had to overcome in catching the -peculiarly rapid and mobile expression which accompanies the act of -roaring. Under the effort of his tense muscles, the mane rises, -bristling, around the powerful neck and above the straining head. -There is nothing cruel in the physiognomy of this lion: his roaring is -not the cry of the beast of prey scenting his victim, but the call of -the desert king, saluting the rising orb of day or the descending -night. The artist has admirably expressed this difference in a -foreshortening of the head which Correggio or Veronese might have -envied her. - - [Illustration: PLATE VIII.--TRAMPLING THE GRAIN - - (Rosa Bonheur Studio, at By) - - This work, which was her last, is one of the most beautiful of - all that Rosa Bonheur painted because of the intensity of the - movement which sweeps the horses in a superb headlong rush, over - the heaped-up grain which they trample under foot. This splendid - canvas remains unfinished, death having overtaken the noble - artist before the final touches had been added.] - -In all the animals that she painted,--and she painted nearly all the -animals there are,--Rosa Bonheur succeeded in reproducing their -separate characteristic expressions, "the amount of soul which nature -has bestowed upon them." M. Roger Miles, the excellent art critic, -from whom we have frequently borrowed in the course of this biography, -expresses it in the following admirable manner: - -"Through the infinite study that she made of animals, Rosa -Bonheur reached the conviction that their expression must be the -interpretation of a soul, and since she understood the types and the -species that her brush reproduced, she was able, through an instinct -of extraordinary precision, to endow them, one and all, with precisely -the glance and the psychic intensity that belongs to them. She takes -the animals in the environment in which they live, in the setting with -which their form harmonizes, in short, in the conditions that have -played an essential part in their evolution, and she records with -inflexible sincerity what nature places beneath her eyes and what her -patient study has permitted her to understand. It is more especially -for this reason, among many others, that the work of Rosa Bonheur -deserves to live, and that the eminent artist stands to-day as one of -the most finished animal painters with which the history of our -national art is honoured." - -In the peaceful and laborious atmosphere of By, the years slipped -happily away. But before long a cloud came to darken this serenity. -The health of her tenderly loved friend, Mlle. Micas, began to -decline; the doctor ordered a southern climate. Rosa Bonheur did not -hesitate; she had a villa built at Nice, and every year, during the -winter, the artist accompanied her beloved invalid to the land of -sunshine. These annual changes of climate and the care with which Rosa -Bonheur surrounded her friend certainly delayed the fatal issue. But -the disease had taken too deep a hold. Mlle. Micas passed away on the -24th of June, 1889. "This loss broke my heart," wrote the artist. "It -was a long time before I could find in my work any relief from my -bitter pain. I think of her every day and I bless the memory of that -soul which was so closely in touch with my own." - -From that day onward, Rosa Bonheur became a prey to melancholy, and -her thoughts turned ceaselessly to the tender friend whom she had -lost forever. None the less, she continued to work with dogged energy, -quite as much to deaden her pain as to satisfy the ever increasing -orders. - -A great joy, however, came to her in the midst of her sorrow. -President Carnot, imitating the Emperor, came in person to bring her -the Cross of Officer of the Legion of Honour. She was keenly -appreciative of such a mark of high courtesy, which was at the same -time a well deserved recompense for an entire life consecrated to art. -Rosa Bonheur possessed a number of decorations, notably the Cross of -San Carlos of Mexico which was given her by the Empress Charlotte, the -Cross of Commander of the Order of Isabella the Catholic, the Belgian -Cross of Leopold, the Cross of Saint James of Portugal, etc. The noble -artist accepted these distinctions gratefully, but was in no way vain -of them, for no woman was ever more simple or more modest than she. - -At about this epoch, she devoted herself for a time to pastel work, -and in 1897 exhibited four examples of ample dimensions and -representing various animals. The whole city of Paris flocked to this -exhibition and unanimously proclaimed her talent as a pastel painter. - -It was also about this time that she gained a new friend whose -devotion, although it did not make her forget her beloved Nathalie -Micas, at least in a measure softened the bitterness of her loss. A -young American, Miss Anna Klumpke, who was an enthusiastic admirer of -Rosa Bonheur, and who herself had some talent for painting, presented -herself one day at By and begged the favour of an interview with the -artist. The latter received her with her wonted graciousness. The -conversation turned upon art. The young girl emboldened, by her -hostess's kindness, ventured to ask if she might come to take a few -lessons, and at the same time showed a few sketches. Rosa Bonheur -examined them and discovered not merely promise, but what was better, -an unmistakable talent. She not only acquiesced to Miss Klumpke's -desire; she did even better, she offered the hospitality of her own -home. Miss Klumpke's visit, which was to have been for only a short -time, became permanent; a substantial friendship was formed between -the two women; it was Miss Anna Klumpke who closed the eyes of Rosa -Bonheur and who was her sole testamentary legatee. She has piously -preserved the memory of her benefactress and she has converted the -Chateau of By, which she still occupies, into a museum filled with -relics of the great artist. She has also published an admirable volume -upon the life and work of her eminent friend, that forms a veritable -monument of affectionate admiration. - -Rosa Bonheur was not slow in reverting again to painting and produced -her famous picture: _The Duel_, the celebrity of which was almost as -great as that of the _Horse Fair_ and _Ploughing in the Nivernais_. -The duel in question is between two stallions, and what adds to the -interest of the scene is that it is historic and perfectly familiar to -all the sporting men of England. It was a struggle in which an Arabian -thoroughbred, Godolphin-Arabian, overpowered Hobgoblin, another -thoroughbred of English breed. The mettle of these horses, fired by -the heat of battle, is interpreted in a masterly fashion. - -No less perfect is the canvas representing _The Threshing of the -Grain_, which it took Rosa Bonheur twenty years to bring to -completion. Over a field in which the sheaves of grain have been -strewn, eleven horses, drawn life-size, are driven at full gallop, -trampling the golden tassels under their powerful hoofs. The artist -has rarely attained the height of perfection to which this picture -bears witness. - -But at last we come to the close of her career. Rosa Bonheur was -seventy-seven years of age, but in the enjoyment of robust health; her -talent still retained its unvarying power and her hand was still -firm. Her age was not betrayed in any of her works, which had the -appearance of having been painted in the flood-tide of youth. Such is -the impression of critics before her painting, _A Cow and Bull in -Auvergne, Cantal Breed_, which, contrary to her habit, she sent to the -Salon. The praise was unanimous; they even talked of awarding her the -medal of honour which she refused in a letter of great beauty and -dignity. It seemed at that time that the artist would enjoy her robust -old age for a long time to come, when a congestion of the lungs -prostrated her suddenly and the end came in a few days. She died on -the 25th of May, 1899. - -The concert of regrets which greeted her death was touching in its -unanimity. Without a dissenting note, without reserve, the entire -press paid tribute to the dignity of her life, the nobility of her -character, the greatness of her talent. According to her desire, she -was interred in the cemetery of Pere-Lachaise; and the cortege which -followed her coffin was made up of every eminent figure known to the -Parisian world of art and letters. Strangers came in throngs, -especially from England. And this innumerable cortege that followed -her bier testified more eloquently than any panegyric to the goodness -of this admirable artist who had been able to lead a long and glorious -career without creating a single enemy. - - - -***END OF THE PROJECT GUTENBERG EBOOK ROSA BONHEUR*** - - -******* This file should be named 41939.txt or 41939.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/1/9/3/41939 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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