A visitor describes the studio of this world-renowned artist. At the southern end of the Rue d’Assas--a retired street, half made up of extensive gardens, the tops of trees alone visible above the high stone walls--just where, meeting the Rue de Vaugirard, it widens into an irregular little square, surrounded by sleepy-looking, old-fashioned houses, and looked down upon by the shining gray roofs and belfry of an ancient Carmelite convent--is a green garden-door, surmounted by the number “32.” A ring will be answered by the barkings of one or two dogs; and when the door is opened by the sober-suited serving-man, the visitor finds himself in a garden full of embowering trees. The house, a long, cozy, irregular building, standing at right angles with the street, is covered with vines, honeysuckles, and clematis. A part of the garden is laid out in flower-beds; but the larger portion--fenced off with a green paling, graveled, and containing several sheds--is given up to the animals kept by the artist as her models. There may be seen a horse, a donkey, four or five goats, sheep of different breeds, ducks, cochinchinas, and other denizens of the barn-yard, all living together in perfect amity and good-will. On fine days the artist may be found seated on a rustic chair inside the paling, busily sketching one of these animals, a wide-awake or sun-bonnet on her head. If the visitor comes on a Friday afternoon, the time set apart for Rosa’s receptions, he is ushered through glass doors into a hall, where the walls are covered with paintings, orange-trees and oleanders standing in green tubs in the corners, and the floor (since the artist crossed the Channel!) covered with English oil-cloth. From this hall a few stairs, covered with thick gray drugget, lead to the atelier, on Fridays turned into the reception-room.