Her little son, and Rocca’s, five years old, was cared for by Auguste and Albertine, her daughter.  After Madame de Stael’s death, her Considerations on the French Revolution and Ten Years of Exile were published.  Of the former, Sainte-Beuve says:  “Its publication was an event.  It was the splendid public obsequies of the authoress.  Its politics were destined to long and passionate discussions and a durable influence.  She is perfect only from this day; the full influence of her star is only at her tomb.”

Chateaubriand said, “Her death made one of those breaches which the fall of a superior intellect produces once in an age, and which can never be closed.”

As kind as she was great, loving deeply and receiving love in return, she has left an imperishable name.  No wonder that thousands visit that quiet grave beside Lake Geneva.

ROSA BONHEUR

[Illustration:  ROSA BONHEUR.]

In a simple home in Paris could have been seen, in 1829, Raymond Bonheur and his little family,—­Rosa, seven years old, August, Isadore, and Juliette.  He was a man of fine talent in painting, but obliged to spend his time in giving drawing-lessons to support his children.  His wife, Sophie, gave lessons on the piano, going from house to house all day long, and sometimes sewing half the night, to earn a little more for the necessities of life.

Hard work and poverty soon bore its usual fruit, and the tired young mother died in 1833.  The three oldest children were sent to board with a plain woman, “La mere Catherine,” in the Champs Elysees, and the youngest was placed with relatives.  For two years this good woman cared for the children, sending them to school, though she was greatly troubled because Rosa persisted in playing in the woods of the Bois de Boulogne, gathering her arms full of daisies and marigolds, rather than to be shut up in a schoolroom.  “I never spent an hour of fine weather indoors during the whole of the two years,” she has often said since those days.

Finally the father married again and brought the children home.  The two boys were placed in school, and M. Bonheur paid their way by giving drawing lessons three times a week in the institution.  If Rosa did not love school, she must be taught something useful, and she was accordingly placed in a sewing establishment to become a seamstress.

The child hated sewing, ran the needle into her fingers at every stitch, cried for the fresh air and sunshine, and finally, becoming pale and sickly, was taken back to the Bonheur home.  The anxious painter would try his child once more in school; so he arranged that she should attend, with compensation met in the same way as for his boys.  Rosa soon became a favorite with the girls in the Fauborg St. Antoine School, especially because she could draw such witty caricatures of the teachers, which she pasted against the wall, with bread chewed into the consistency of putty.  The teachers were not pleased, but so struck were they with the vigor and originality of the drawings, that they carefully preserved the sketches in an album.