n her usual spirits, she revisited the scenes of her
youth and remained some time in Venice with the family of Signor Zucchi.
Returning to Rome she resumed her accustomed work, so far as her health
permitted.

She held fast to the German spirit through all the changes in her life,
with the same determination which made it possible, in her strenuous
labors, to retain her gentle womanliness. Just before she died she
desired to hear one of Gellert's spiritual odes.

She was buried in Sant' Andrea dei Frati, beside her husband. All the
members of the Academy of St. Luke attended her obsequies, and her latest
pictures were borne in the funeral procession. Her bust was placed in the
Pantheon, and every proper tribute and honor were paid to her memory in
Rome, where she was sincerely mourned.

Although Angelica lived and worked so long in London and was one of the
thirty-six original members of the Royal Academy, I do not think her best
pictures are in the public galleries there. Of course many of the
portraits painted in London are in private collections. Her pictures are
seen in all the important galleries of Europe. Her etchings, executed
with grace and spirit, are much esteemed and sell for large prices.
Engravings after her works by Bartolozzi are most attractive; numerous as
they were, good prints of them are now rare and costly.

She painted several portraits of herself; one is in the National Portrait
Gallery, London, one at Munich, and a third in the Uffizi, Florence. The
last is near that of Madame Le Brun, and the contrast between the two is
striking. Angelica is still young, but the expression of her face is so
grave as to be almost melancholy; she is sitting on a stone in the midst
of a lonely landscape; she has a portfolio in one hand and a pencil in
the other, and so unstudied is her pose, and so lacking in any attempt to
look her best, that one feels that she is entirely absorbed in her work.
The Frenchwoman could not forget to be interesting; Angelica was
interesting with no thought of being so.

I regard three works by this artist, which are in the Dresden Gallery, as
excellent examples of her work; they are "A Young Vestal," "A Young
Sibyl," and "Ariadne Abandoned by Theseus."

On the margin of one of her pictures she wrote: "I will not attempt to
express supernatural things by human inspiration, but wait for that till
I reach heaven, if there is painting done there."

In 1784 Angelica Kauffman painte