The first thing that strikes one here is the evidence of the artist’s indefatigable industry. Here are casts and bassi-relievi from the antique, but no goddesses, nymphs, or cupids; it is Christian art of the mediæval period. Saints and angels cover the walls; in the centre is a large crucifix of carved wood, beautifully executed, and full of vigor and expression; near it is a Santa Reparata, designed in terra-cotta. Mademoiselle de Fauveau has been peculiarly successful in her adaptation of terra-cotta to artistic purposes. A large alto-relievo represents two freed spirits flying heavenward, dropping their earthly chains. A lovely St. Dorothea looks upward, and holds up her hands for a basket of flowers and fruit which a descending angel is bringing from Paradise. Bold and rapid movement is expressed in the flying figure. In the background is an architectural design of a church, and an inscription describing how it sprang, as it were, from the martyr’s blood. There is a Judith addressing the Israelites from an open gallery, with the head of Holofernes on a spear beside her. In the aspect of the resolute woman of Bethulia there is an undefinable resemblance to the artist. The expression, indeed, is congenial to her character, in which there is the concentration of purpose which gives force, and the ardor that gives decision to the will. There are also works of a lighter character; the carved frame-work of a mirror, with an exquisite allegorical design--a fop and a coquette, in elaborate costume, are bending inward toward the glass, so intent on self-admiration as to be unconscious that a demon below has caught their feet in a line or snare from which they will not be able to extricate themselves without falling. Most of Mademoiselle de Fauveau’s works have superabundant richness of ornament and allegorical device. Her designs for gold and silver ornaments are unrivaled for elegance and imaginative picturesqueness. She made for Count Zichy a Hungarian costume, the collar, belt, sword, and spurs being of the most finished workmanship. A silver bell, ornamented with twenty figures, for the Empress of Russia, represents a mediæval household, in the costumes of the period, and their peculiar avocations, assembling at the call of three stewards, whose figures form the handle. Round the ball is blazoned, in Gothic characters, “_De bon vouloir servir le maître_.”