ABSTRACT
Happily, none of the events of 1870 either drove her from Fontainebleau or even caused her to interrupt her work. Fontainebleau, during the siege of Pans, cannot have been a convenient residence, but the Crown Prince of Prussia, following classical precedent, "bade spare" tbe artist's house and estate, and paid her a visit, whicb, though he was accompanied by Uhlans, ahe stoutly refused to receive. Here, at least, the invader was repulsed. The story goes that he was invited to see the pictures in the studio, but was refused admission to the presence of the lady herself. So, both in war and peace, Rosa Bonheur continued to paint, and always in such a mann er as to command the applause and attention of tI1e artistic public. One of her later achievements was a large landscape, "Haymaking in Auvergne," which was sent to the Paris International Exhibition of 1885. She was, however, as we have said, par excellence an animal painter, and one of the very best. Having discovered ber particular gift, she cultivated it witb great industry and zeal, and she adopted a masculine costume in order that she might more convenientlyattend horse' fairs, which she visited regularly in search of subjects. She even kept a species of menagerie of her own, and her "Lion at Horne," exhibited in London in 1882,
