Women artists in all ages and countriesEllet, E. F. (Elizabeth Fries)
History
Women artists in all ages and countries
Ellet, E. F. (Elizabeth Fries)
Women artists
Madame Bonheur died in 1833. The father then placed the three elder
children with an honest woman--La Mère Cathérine--who lived in the
Champs Elysées; Juliette, the youngest, being sent to friends in
Bordeaux. La Mère sent her little charges to the Mutual School of
Chaillot. Rosa, now in her eleventh year, and detesting books and
confinement as heartily as ever, generally contrived to avoid the
school-room, and spent most of her time in the grassy and wooded
spots afforded in the Bois de Boulogne, and other environs of Paris.
Two years passed thus; the children being plainly clad and living on
the humblest fare. Rosa meanwhile, with her passion for independence
and outdoor life, incurred almost daily the angry reprimands of La
Mère Cathérine, who was distressed at her neglect of school for her
rambles. “I never spent an hour of fine weather indoors during the
whole of the time,” she often said. But this sort of gipsy life could
not last. Raymond Bonheur married again, took a house in the Faubourg
du Roule, brought the three children home, and endeavored to put them
in a way to make a position for themselves. The two boys--Auguste and
Isidore--were placed in a respectable school, in which their father
gave three lessons a week by way of payment; and Rosa, who could not be
got to learn any thing out of a book, and seemed to have neither taste
nor talent for any thing but rambling about in the sunshine, was placed
with a seamstress, in order that she might learn to make a living by
her needle.
Nothing could have been more disagreeable to the poor girl than the
monotonous employment to which she was thus condemned. The mere act of
sitting still on a chair was torture to her active temperament; she ran
the needle into her fingers at every stitch, and bending over her hated
task made her head ache, and filled her with inexpressible weariness
and disgust. The husband of the seamstress was a turner, and had his
lathe in an adjoining room. Rosa’s sole consolation was to slip into
this room, and obtain the turner’s permission to help him work the
lathe. If he were absent, she would do her utmost to set the lathe in
motion by herself, more than once doing some damage to the turner’s
tools. But these stolen pleasures were insufficient to compensate her
for the repulsiveness of her new avocation; and whenever her father,
with his pockets full of bonbons, came to see her and learn how she
was getting on, she would throw herself into his arms in a passion
of tears, and beseech him to take her away. Every week her distress
became more and more evident; she lost her appetite and color, and was
apparently falling ill. Her father was much disappointed at the ill
success of his attempt to make of his wild daughter an orderly and
industrious needle-woman; but he was too fond of her to persevere in
an experiment so repugnant to her feelings. He therefore broke off the
arrangement with the seamstress, and took her home.
Public-domain text, read in full here on John Shaqi.
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