in short, she left no means untried by which she could
perfect herself in the specialty she had chosen. Her
devotion to study and to the practice of her art was untiring, and only the most engrossing interest in it and an indomitable perseverance, supplemented and supported by a physically and morally healthful organization, could have sustained the nervous strain of her life from the day when she was first allowed to follow her vocation to the time when she placed herself in the front rank of animal painters.
A most charming picture is drawn of the life of the Bonheur family in the years when Rosa was making her progressive steps. They lived in an humble house in the Rue Rumfort, the father, Auguste, Isidore, and Rosa all working in the same studio. She had many birds and a pet sheep. As the apartment of the Bonheurs was on the sixth floor, this sheep lived on the leads, and from time to time Isidore bore him on his shoulders down all the stairs to the neighboring square, where the animal could browse on the real grass, and afterward be carried back by one of the devoted brothers of his mistress. They were very poor, but they were equally happy. At evening Rosa made small models or illustrations for books or albums, which the dealers readily bought, and by this means she added to the family store for needs or pleasures.
In 1841, when Rosa was nineteen years old, she first experienced the pleasures, doubts, and fears attendant upon a public exhibition of one's work. Two small pictures, called "Goats and Sheep" and "Two Rabbits," were hung at the Salon and were praised by critics and connois-
