ROSA BONHEUR 279 a girl well grown. Her father's means were not sufficient to give Rosa or his other children an education such as he could wish ; but an expedient suggested itself in his perplexity over this latest experiment in providing for his eldest daughter : he proposed to the principal of a young ladies' school where he taught drawing, that his services should be accepted in payment of Rosa's education. The offer was accepted, and in the regular course of study Rosa became a mem- ber of her father's drawing-class. It was not long before she surpassed all her school-fellows in that department,, and found herself for the first time in her life in possession of the key to that happiness which consists in knowing what we can do, and feeling the strength within us to do it. Some of the biographers of Rosa's life speak of unhappy days at this school: the richer girls made sport of the dress of the drawing-master's daughter, and of her independent, awkward ways. Her progress in drawing, too, was counterbalanced by her slowness in her other studies ; in fact her new accomplishment was such a delight to her, that in her devotion to it she became less and less interested in her books ; and as for dress — that it should be clean and suited both to her means and to the work she was doing, was all that concerned her, then or since ! At the end of her first year in school, Rosa obtained her father's permission to give up her other studies and to enter his studio as pupil and assistant. From that time, though as yet she had not found the reason of her vocation, yet her true life had begun. She worked diligently under the direction of a master she loved, and her father, in his turn, delighted at the discovery of a talent so long hid, redoubled his efforts to advance his pupil and to make up for lost time. Rosa worked for some months at copying in the Louvre, but though she worked with such diligence and skill as to win the praise of the director, she came, after a time, to feel that the mere copying of the works of other men, however great, was not the goal she was striving after ; so one day she took a sudden determination, left the Louvre, packed up her painting materials, and started off for one of the rural suburbs of Paris, where she sat herself down to sketch from nature. Her love of animals, hitherto an aimless pleasure, now took on a new phase as she saw her beloved cows and sheep in their place in nature giving life and animation to the landscape. In the winter season, when work out-of-doors was no longer pleasant or prof itable, Rosa made what use she could of the few opportunities Paris had to offer for the study of animals. She spent what time she could spare from work at the horse-market; she visited the slaughter-houses, and the suburban fairs where cattle and horses, sheep and pigs compete for prizes, and in these places she filled her portfolios with sketches. In 1840 she sent her first picture to the Salon, and as it was accepted and well received, she continued to send her work every year; but, up to 1849, ner pictures were small, and- had little more interest than belongs to simple studies from nature ; 1849 was a memorable year to her, as it was to France. In this year her father died of cholera, just as he had been appointed director of the School of Design for Young Girls. Rosa was appointed to succeed him with the
