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348 mischievous and shameful century, and the worship of ugliness began in France. I would tell you who began it if I could; there must have been somebody before Courbet, who spoke about truth of effect and local colour. Be this as it may, he was committed to it, and Troyon still more so, and these were followed by Millet, who took it upon himself to explain the miserable lot of the peasant; and whosoever saw it, remembers L'Homme à la Houe, a detestable object, but which so stirred the bowels of compassion in everybody that everybody was certain something must be done to relieve the monotony of the peasant's lot. Philanthropy entered into art from that moment. And it is believed that Rosa Bonheur never wore a crinoline, preferring to walk about in breeches and a blouse. She wore clogs and led a life more laborious than that of the cart-horses she painted. Rosa Bonheur—how well the name goes with her pictures! The syllables tramp just like the great grey cart-horse that the peasant rides into the middle of the fair. Rosa Bonheur—was there ever a more cynical name? She only just escaped Rose. Rose Bonheur—a woman in whose life a rose never flourished, and who repudiated happiness! Do you tell me, and quickly, when Marian Evans changed her name to George Eliot.