Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/368

Rh Design in New York. Her subjects were still-life, fruit, and flowers, and her works are widely distributed.

Pazzi, Caterina de, whose conventual name was Maria Maddalena. Was born in Florence in 1566. It would be interesting to know the relation that this gentle lady bore to those Pazzi who had earned a fame so unlike hers fourscore years before she saw the light.

Caterina de Pazzi, when a mere girl, entered a convent which stood on the site of the church known by her name in the Via Pinti. The cell of Santa Maddalena—now a chapel—may still be visited. She was canonized by Pope Alexander VIII. in 1670, sixty-two years after her death.

The Florentines have many lovely legends associated with her memory. One of these relates that she painted pictures of sacred subjects when asleep. Be this as it may, we know that her pictures were esteemed in the days when the best artists lived and worked beside her. Examples of her art may still be seen in churches in Rome and Parma, as well as in the church of her native city which bears her name.

Peale, Anna C. Made her mark as a miniature painter and for some years was the only professional woman artist in Philadelphia. Her portrait of General Jackson made in 1819 was well considered. She also made portraits of President Monroe, Henry Clay, R. M. Johnson, John Randolph of Roanoke, and other prominent men. Miss Peale married in 1829 the Rev. William Staughton, a Baptist clergyman, the president of the theological college at Georgetown, Kentucky. He lived but three months after their marriage, and she returned to Phila-