think it is--is admirable, however." A surprising critique for a girl of
her age!

When seventeen she made her first picture of any importance. "While they
were playing cards last night I made a rough sketch of the players--and
this morning I transferred the sketch to canvas. I am delighted to have
made a picture of persons sitting down in different attitudes; I copied
the position of the hands and arms, the expressions of the countenance,
etc. I had never before done anything but heads, which I was satisfied to
scatter over the canvas like flowers."

Her enthusiasm for her art constantly increased. She was not willing to
acknowledge her semi-invalidism and was filled with the desire to do
something in art that would live after her. She was opposed by her
family, who wished her to be in fashionable society. At length she had
her way, and when not quite eighteen began to study regularly at the
Julian Academy. She worked eight and nine hours a day. Julian encouraged
her, she rejoiced in being with "real artists who have exhibited in the
Salon and whose pictures are bought," and declared herself "happy,
happy!" Before long M. Julian told her that she might become a great
artist, and the first time that Robert-Fleury saw her work and learned
how little she had studied, and that she had never before drawn from a
living model, he said: "Well, then, you have extraordinary talent for
painting; you are specially gifted, and I advise you to work hard."

Her masters always assured her of her talent, but she was much of the
time depressed. She admired the work of Mlle. Breslau and acknowledged
herself jealous of the Swiss artist. But after a year of study she took
the second prize in the Academy, and admitted that she ought to be
content.