My very heart of hearts has been made to rejoice in the work of two of earth's noblest women--Harriet Hosmer and Rosa Bonheur. Twice have I visited the Academy of Design and there have I sat in silent, reverential awe, with eyes intent upon the marble face of Harriet Hosmer's Beatrice Cenci. I have no power to express my hope, my joy, my renewed faith in womanhood. In the accomplishment of that grand work of the sculptor's chisel, making that cold marble breathe and pulsate, Harriet Hosmer has done more to ennoble and elevate woman than she possibly could have done by mere words, it matters not how Godlike; though I would not ignore true words, for it is these which rouse to action the latent powers of the Harriet Hosmers.... Even the rude and uncultivated seem awed into silence when they come into the presence of that sleeping, but speaking purity. Rosa Bonheur is the first woman who has dared venture into the field of animal painting, and her work not only surpasses anything ever done by a woman, but is a bold and successful step beyond all other artists. Mark another significant fact: The three greatest productions of art during the past three years are by women--Elizabeth Barrett Browning's Aurora Leigh, Rosa Bonheur's Horse Fair and Harriet Hosmer's Beatrice Cenci--and these triumphs are in three of its most difficult and exalted departments. In April she took Mrs. Stanton's four boys from Seneca Falls to New York, and cared for them while the family were removing to that city. In May she attended the New York Anniversary and the New England convention in Boston, and on the Fourth of July the celebration at Framingham, and during this time gave many addresses on anti-slavery. When in Boston she had a delightful visit with the Garrisons, and called on Mrs. Phillips with Mrs. Garrison, one of the few persons admitted to the invalid's seclusion.