* * * * *

In Rome, Florence, Bologna, Venice, and other Italian cities, there were,
in the seventeenth century, many women who made enviable reputations as
artists, some of whom were also known for their literary and musical
attainments. Anna Maria Ardoina, of Messina, made her studies in Rome.
She was gifted as a poet and artist, and so excelled in music that she
had the distinguished honor of being elected to the Academy of Arcadia.

Not a few gifted women of this time are remembered for their noble
charities. Chiara Varotari, under the instruction of her father and her
brother, called Padovanino, became a good painter. She was also honored
as a skilful nurse, and the Grand Duke of Tuscany placed her portrait in
his gallery on account of his admiration and respect for her as a
comforter of the suffering.

Giovanna Garzoni, a miniaturist, conferred such benefits upon the Academy
of St. Luke that a monument was there erected to her memory. Other
artists founded convents, became nuns, and imprinted themselves upon
their age in connection with various honorable institutions and
occupations.

* * * * *

French Art in the seventeenth century was academic and prosaic, lacking
the spontaneity, joyousness, and intensely artistic feeling of Italian
Art--a heritage from previous centuries which had not been lost, and in
which France had no part. The works of Poussin, which have been likened
to painted reliefs, afford an excellent example of French Art in his
time--1594-1665--and this in spite of the fact that he worked and studied