in the following year affected her greatly, and she did not exhibit again until 1853, when "The Horse Fair," _Le Marché aux Chevaux_, appeared. Through engravings and photographs this work made the name of Rosa Bonheur famous throughout the world. She visited Spain and Scotland, and painted pictures of both those countries. Her permanent residence was an estate at By in the forest of Fontainebleau, which she purchased in 1855. There ten years later she was personally invested by the Emperor of the French with the Cross of the Legion of Honour, an honour confirmed in later years by President Carnot. A still higher compliment was paid her in 1870-1871, when her studio and residence were spared from any intrusion, by the special order of Prince Frederick Charles. For many years she regularly attended horse fairs both in France--such as she has here depicted--and abroad, adopting as a rule men's costume in order to carry out her studies and purchases without attracting attention. Mr. Frith relates how when he and Sir John Millais went to lunch with her in 1858, they were met at the station by a carriage, the coachman appearing to be a French Abbé. "The driver wore a black broad-brimmed hat and black cloak, long white hair with a cheery rosy face. It was Rosa Bonheur, who lives at her château with a lady companion, and others in the form of boars, lions, and deer, who serve as models." Gambart, who was of the party, "repeated to her some words of praise given by Landseer to a picture of hers, then exhibiting in London. Her eyes filled with tears as she listened." "When one sees this young artist," wrote a journalist in 1852, "small of stature and of delicate appearance, standing by a huge canvas, he would be tempted to think that her powers had not attained the full height of their ambition; but when he comes to make note of the straight, resolute lines of the artist's features, her full square forehead, her thick hair, cut as short as that of a man, and her dark, quick flashing eyes, he ceases to fear. He then realises that it is not reckless audacity which impels her forward in her work, but a greatness of soul and a consciousness of her strength." "Few artistic careers," says her brother-in-law, "have been more active, more brilliant, or more characterised by simple and quiet dignity, or perhaps, on the whole, more happy. Having known during her youngest days the terrible inconvenience of poverty, Rosa Bonheur raised herself, by her talent alone, to a position of independence and fortune. She was privileged to enjoy at the same time the charms of fame and the sweets of obscurity." She never abandoned the retired habits of life she loved, and she was