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 Béarn_, _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."