years old; and so great was the reverence for her
memory that her remains were preserved, and may still be seen in a chapel
of her convent. There are few places in that ever wonderful Italy of such
peculiar interest as this chapel, where sits, clothed in a silken robe,
with a crown of gold on the head, the incorrupt body of a woman who died
four hundred and forty years ago. The body is quite black, while the
nails are still pink. She holds a book and a sceptre. Around her, in the
well-lighted chapel, are several memorials of her life: the viola on
which she played, and a manuscript in her exquisite chirography, also a
service book illuminated by Caterina, and, still more important, one of
her pictures, a "Madonna and Child," inserted in the wall on the left of
the chapel, which is admirable for the beauty of expression in the face
of the Holy Mother.

We cannot trace Caterina's artist life step by step, but she doubtless
worked with the same spirit of consecration and prayer as did that Beato
whom we call Angelico, in his Florentine convent, a century earlier.

Caterina executed many miniatures, and her easel pictures were not large.
These were owned by private families. She is known to us by two pictures
of "St. Ursula folding her Robe about her Companions." One is in the
Bologna Gallery, the other in the Academy in Venice. The first is on a
wooden panel, and was painted when the artist was thirty-nine years old.
The Saint is represented as unnaturally tall, the figures of her virgins
being very small. The mantle and robe of St. Ursula are of rich brocade
ornamented with floral designs, while on each side of her is a white
flag, on which is a red cross. The face of the saint is so attractive
that one forgets the elongation of her figure. There is a delicacy in the
execution, combined with a freedom and firmness of handling fully equal
to the standard of her school and time. Many honors were paid to the
memory of Caterina de Vigri. She was chosen as the protectress of
Academies and Art Institutions, and in the eighteenth century a medal was
coined, on which she is represented as painting on a panel held by an
angel. How few human beings are thus honored three centuries after death!

<b>VINCENT, MME.</b> See Labille.

<b>VISSCHER, ANNA AND MARIA.</b> These daughters of the celebrated Dutch
engraver were known as "the Dutch Muses." They made their best reputation
by their etchings on glass, but they were also w