In this sketch, as, indeed, in all Felicie’s works, the symbolical beauty inspires the whole; the ideal gives spirit to the material form, while the form receives its noblest distinction as the fitting vehicle of the idea. After seven months’ imprisonment, Mademoiselle de Fauveau was set at liberty, and returned to Paris and her studio. Very soon afterward, the appearance of the Duchesse de Berri in Vendée set on fire all Royalist imaginations. Madame de la Roche Jacquelein and our fair artist again left Paris, and worked day and night for the cause so dear to their hearts, to reap again disappointment, failure, and misfortune. This episode in Felicie’s life may show how strong was the political bias which gave tone and character to both her private and artistic life. “My opinions are dearer to me than my art,” she said, and her actions proved this. She was one of the forlorn hope that stood up in the breach to save a falling dynasty; and with its ruins were ingulfed her own fortune, her prospects, and such part of her success as depended on the public recognition and acceptance of art in her own country. After the failure of this second attempt of the Legitimists, Mademoiselle de Fauveau was among the persons exiled. She first took refuge in Switzerland; then returned to Paris, in the very teeth of the authorities, broke up her studio and establishment there, and went to Florence, where she fixed her permanent abode with her mother and brother. Considerable expense and outlay are necessary to carry on the art of sculpture, and a removal from a studio in which were accumulated sketches, models, and marbles--most of them not portable--was almost total ruin. The forced sale of furniture; the transfer, at a heavy discount, of funds which had to be reinvested, added serious items to the amount of loss. From the fragments thus thrown aside fortunes were made. At the very time when the little family was enduring bitter privation in Florence, a man realized an almost fabulous sum by selling walking-sticks manufactured from designs made by Mademoiselle de Fauveau in those happy Paris evenings before mentioned. The expense attendant on establishing a new studio in Florence had to be met by the labor of many years. Madame de Fauveau, at this period, was the guardian angel of the family, and thought no sacrifice too great for the encouragement of her daughter’s genius, and the advancement of her views. Her own poetical and imaginative mind aroused and fostered the ideas of the sculptress, while her unflinching resignation and humble faith soothed and solaced her heart.