Margoli Crantin Sectory 20
Page 08
In 1890 Mlle. Fould painted a portrait of her stepfather, and for a time devoted herself to portraits rather than to the subjects she had before studied with such success. In 1893 she painted a portrait of Rosa Bonheur, in her studio, while the latter paused from her work on a large picture of lions. This portrait presents the great animal painter in a calm, thoughtful mood, in the midst of her studio, surrounded by sketches and all the accessories of her work. In the opinion of many who knew the great artist most intimately this is the best portrait of her in existence.
Five bells were hung at regular intervals on a round hoop erected on a sort of stage. A rope was attached to each bell after the manner of church bells. At a given signal from their master, they all sprang to their feet, and at a second signal, each advanced to the ropes, and standing on their hind feet, stuck their front claws firmly into the ropes, which were in that part covered with worsted, or something of the kind, so as to give the claws a firmer hold. There was a moment's pause--then No. 1 pulled his or her rope, and so sounded the largest bell; No. 2 followed, then No. 3, and so on, till a regular peal was rung with almost as much precision and spirit as though it were human hands instead of cats' claws that effected it.
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