It would be tedious to enumerate the works of this indefatigable artist. The finished specimens of twenty-five years of labor are shut up in private galleries, the models remaining in her studio. Her last and most imposing work is the monument in Santa Croce, erected to the memory of Louise Favreau by her parents. Madame de Krafft published a description of this in the _Revue Britannique_ for March, 1857. Three monuments, in different styles, may be seen in the Lindsay chapel. In her studio are several busts of great beauty, strongly relieved by her method of placing an architectural back-ground. One is the bust of the Marquis de Bretignières, the founder of the reformatory school colony of Mettray. Besides devoting herself to the actual expression of her ideas, Madame de Fauveau has, all her life, studied to improve the mere mechanical portion of her art. She endeavored to revive certain secrets known to the ancients, which have been abandoned and forgotten, to the detriment of modern sculpture. To cast a statue entire, instead of in portions, and with so much precision as to require no farther touch of the chisel--to preserve inviolate, as it were, the idea, while it is subject to the difficult process of clothing it with form, has been her life-long endeavor. In bronze, by means of wax, she succeeded, after repeated failures, with incredible perseverance. A figure of St. Michael in one of her works was thus cast seven times. The least obstacle, were it only the breadth of a pin’s point in one of the air-vents which are necessary to draw the seething metal into every part of the mould, is enough to destroy the work. At last her head workman brought her St. Michael complete; all the energy and delicacy of the original design being preserved, and none of the pristine freshness lost in the translation from wax to bronze. Mademoiselle de Fauveau works almost incessantly, scarcely allowing herself any relaxation. Her principal associates are a few of the higher church dignitaries, and two or three distinguished Italian or foreign families. Retirement is agreeable to her, and her political opinions have drawn around her a line of demarkation. She has paid two visits to Rome: one when the Duc de Bordeaux was there. He paid her much attention, as did the two great princes of art, Cornelius and Tenerani, at that time in Rome. Thus situated, beloved by many, admired and appreciated by all, this clever artist and noble woman leads an honored life, which seems a realized dream of work, progress, and success.