and claims the fellowship of the creature, if not of the soul.[155] I assure Mdlle. Bonheur, strange as the words may sound to her, after what she has been told by huntsmen and racers, she has never painted a horse yet. She has only painted trotting bodies of horses" (_Academy Notes, etc._ 1858, p. 32). The original of this famous composition--probably the best-known and most popular animal picture of our epoch--was exhibited in the Salon in 1853. The painter had been engaged on it for a long time, and had made innumerable studies for it. She used to call it "her Parthenon Frieze." It was sold to Mr. Gambart, the picture-dealer, who brought it to England. It made a great sensation in London, and afterwards went on a provincial tour. It then travelled to America where it was sold, and is now in the New York Museum. Rosa Bonheur painted for Gambart two repetitions of it on a smaller scale. One of these, the picture before us, was bought by Mr. Jacob Bell, who bequeathed it to the nation in 1859. It was the first work by a living foreign painter to be admitted to the Gallery. 623. MADONNA AND CHILD ENTHRONED. _Girolamo da Treviso_ (Venetian: 1497-1544). Girolamo, the son and pupil of Piermaria Pennachi, was born at Treviso. He painted at Venice, Genoa, Trent, Faenza, and Bologna, at which latter place several of his frescoes and paintings remain. Between the years 1535 and 1538 he returned to Venice and became intimate with Titian, Sansovino, and Aretino. "In 1542," says Vasari, "he repaired to England, where he was so favoured by certain of his friends, who recommended him to the king (Henry VIII.), that he was at once appointed to the service of that monarch. Presenting himself to the English sovereign accordingly, Girolamo was employed, not as painter, but as engineer, and having given proofs of his ability in various edifices, copied from such as he had seen in Tuscany and other parts of Italy, the king admired them greatly. Nay, furthermore, his majesty rewarded the master with large gifts, and ordained him a stipend of four hundred crowns a year, giving him at the same time opportunity and permission to erect an honourable abode for himself, the cost of which was borne by the king." Girolamo had, however, to erect also some bastions at Boulogne, and there "he was struck by a cannon-ball, which came with such violence that it cut him in two as he sat on his horse. And so were his life and all the honours of this world extinguished together, all his greatness departing in a moment." His works are now scarce. No. 218 in this gallery may be the copy made by Girolamo from Peruzzi's drawing, No. 167.