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.