her equal independence with her men competitors in the race, and identical advantages as to the rapid extension of her field of observation. The practice, though never carried on by her to such an extent as very commonly asserted, was one to which she did not hesitate to resort now and then in later years, as a mere measure of convenience—a measure the world will only tolerate in the Rosalinds and Violas of the stage. The career of George Sand was, like her nature, entirely exceptional, and any attempt to judge it in any other light lands us in hopeless moral contradictions. She had extraordinary incentives to prompt her to extraordinary actions, which may be condemned or excused, but which there could be no greater mistake than to impute to ordinary vulgar motives. It must also be remembered that fifty years ago, the female art student had no recognised existence. She was shut out from that modicum of freedom and of practical advantages it were arbitrary to deny, and which may now be enjoyed by any earnest art aspirant in almost any great city. However unjustifiable the proceeding resorted to for a time by George Sand and Rosa Bonheur may be held to be, it cannot possibly be said they had no motive for it but a fantastic one.
Writing to her mother from Nohant, whither she had returned in April for a length of time as agreed, Madame Dudevant speaks out characteristically in defence of her love of independence:—
