had been ungenerous in depriving him of the privilege of asking for what
she so freely bestowed?

In Genoa she devotedly pursued her art and won new honors, while she was
not forgotten in Madrid. Presents were sent her on her second marriage,
and later the Infanta Clara Eugenia and other Spaniards of exalted rank
visited her in Genoa. Her palace became a centre of attraction to
Genoese artists and men of letters, while many strangers of note sought
her acquaintance. She contributed largely to the restoration of art and
literature to the importance that had been accorded them in the most
brilliant days of Genoese power.

We have not space to recount all the honors conferred on Sofonisba, both
as a woman and an artist. She lived to an extreme old age, and, although
she lost her sight, her intellect was undimmed by time or blindness.
Vandyck, who was frequently her guest, more than once declared that he
"was more benefited by the counsels of the blind Sofonisba than by all
his studies of the masters of his art!" From a pupil of Rubens this was
praise indeed!

The chief characteristics of Sofonisba's painting were grace and spirit.
Her portrait of herself when at her best is in possession of the
Lomellini. A second is the splendid picture at Althorpe, in which she is
represented as playing the harpsichord. One can scarcely imagine a place
in which a portrait would be more severely tested than in the gallery of
the Earl of Spencer, beside portraits of lovely women and famous men,
painted by master artists. Yet this work of Sofonisba's is praised by
discerning critics and connoisseurs. Of the other portraits of herself,
that in the Uffizi is signed by her as "of Cremona," which suggests that
it was painted before she went to Spain. That in the Vienna Gallery is