Her studies were varied and profound; ancient history, classic and modern languages, heraldry, and archæology received her devoted attention. The feudal and chivalric traditions of the Middle Ages were explored with eagerness by her, and she reproduced and utilized the knowledge thus acquired. During her residence in Besançon, she executed some oil-paintings which were much praised; but she seemed to feel that canvas was not the material which would most fully express her ideas. She had then received no instruction in modeling. One day, in her walk, she paused before the shop of one of the workmen who carve images of virgins and saints for village churches. Impelled irresistibly, she entered and made inquiries as to the method of work, learning thus the secrets of modeling in clay or wax, and of carving wood or gold. It then appeared that her vocation was decidedly for the plastic art. She had the faculty of coloring with skill, and might have been a great painter, had she not resolved to be a sculptor. Her taste led her to adopt the mediæval manner, and she took Benevenuto Cellini for her prototype, occupying herself with art in both its monumental and, decorative character. At the death of her father, the family--consisting of the widow, two sons and three daughters--was in some distress. Felicie determined to devote her talents to their support. Some of her friends objected that such employment was unbecoming one who belonged to a noble family. “Unbecoming!” said she, drawing herself up with a noble pride; “_Sachez qu’un artiste tel que moi est gentilhomme._” The first work she exhibited was a group from Scott’s novel, “The Abbot.” Encouraged by its brilliant success, she produced a basso-relievo, consisting of six figures--Christina of Sweden and Monaldeschi in the fatal gallery of Fontainebleau. This work was in the Exposition des Beaux Arts, and it received from Charles X. in person the gold medal awarded by the jury. The dramatic energy of the group, the expression of the figures, and the beauty of the minor details won universal admiration, and it was hailed as offering the brightest promise of future excellence. The triumphant artist was then a girl in the bloom of early youth; and, flattered and delighted at the appreciation she met with, it is not to be wondered at that her resolution to adhere to the career she had chosen was steadfast and immovable.