The depth of her researches into chemical science exceeds that of Lord Salisbury, who is her most intimate personal friend in England, and at whose Elizabethan country seat she invariably visits when in her native country, most of her time while under his roof being spent with him in his laboratory. But it is particularly as an artist, both with brush and chisel, that she excels, and while as a painter she ranks with some of the leading professional masters of the present day, as a sculptor she surpasses anything achieved or even attempted as yet by a woman. The subject which naturally stimulates her most to artistic effort is the portraiture of her fondly-loved husband. His memory, although he has been dead eleven years, is so fresh in her mind, her eye is so capable of recalling his image, and her hand is so well trained to follow her impressions, and to reproduce what she can visualize, that no sculptor could vie with her in reproducing his splendid form and manly features. She once gave a commission to the celebrated German sculptor Uphues for a colossal statue of "Unser Fritz," and calling at the artists' studio, whilst he was at work on his clay model, she pointed out to him some points in which he had not caught the right expression. Verbal explanations not adequately conveying her meaning, she asked permission to use the roughing chisel, set to work, and in half an hour with a touch here and a touch there, modified the features to such a degree that the sculptor was astounded at the striking improvement. The model has since been transferred to marble, and is universally considered to be the best portrait extant of Emperor Frederick.