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xxvi 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 much in Rome. The Acadimie des Beaux-Arts was established by Louis XIV., and there was a rapidly growing interest in art. As yet, however, the women of France affected literature rather than painting, and in the seventeenth century they were remarkable for their scholarly attainments and their influence in the world of letters.

Madame de Maintenon patronized learning; at the Hôtel Rambouillet men and women of genius met the world of