A group of dogs, great, magnificent tawny creatures, welcomed the two
visitors to the chateau; and the most powerful door that Bok had ever
seen, as securely bolted as that of a cell, told of the inaccessibility
of the mistress of the house. Two blue-frocked peasants explained how
impossible it was for any one to see their mistress, so Bok asked
permission to come in and write her a note.
This was granted; and then, as in the case of Kate Greenaway, Rosa
Bonheur herself walked into the hall, in a velvet jacket, dressed, as
she always was, in man's attire. A delightful smile lighted the strong
face, surmounted by a shock of gray hair, cut short at the back; and
from the moment of her first welcome there was no doubt of her
cordiality to the few who were fortunate enough to work their way into
her presence. It was a wonderful afternoon, spent in the painter's
studio in the upper part of the chateau; and Bok carried away with him
the promise of Rosa Bonheur to write the story of her life for
publication in the magazine.
On his return to London the editor found that Charles Dana Gibson had
settled down there for a time. Bok had always wanted Gibson to depict
the characters of Dickens; and he felt that this was the opportunity,
while the artist was in London and could get the atmosphere for his
work. Gibson was as keen for the idea as was Bok, and so the two
arranged the series which was subsequently published.
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