What then are the sort of characters, in which we are to suppose that Isabella produced an effect so extraordinary? The testimonies of the extent of her power over her audiences are abundant. Padua, her native city, enrolled her at an early age in the list of the "Intenti" academicians. Among these "Intent" votaries of literature, her nickname, according to the puerile practice of such bodies, was "l'Accesa"—"the Inflamed one." The company of comedians, to which she, and her husband Francesco Andreini, also an actor and writer, belonged, were called the "Gelosi"—"Jealous ones." So that Isabella's full style and titles, as they stand in the title pages of her works, run thus; "Isabella Andreini, Comica Gelosa, Accademica Intenta, detta l'Accesa." [Sidenote: IN FRANCE.] Her son, Giovanni Battista Andreini, himself an actor and voluminous play–wright, has collected an entire volume entitled "Apollo's Lament," composed of the pieces of poetry by his mother's contemporaries, written in her praise. Another numerous selection of such tributes from most of the leading literary men and women of that day written on the occasion of her death, is prefixed to a volume of her poetry, printed at Milan in 1605. Having acted with the greatest applause before most of the Italian courts, we find that she passed with her husband's company of players into France, where the "Gelosi" enjoyed under the patronage of the French court a very high reputation, until Isabella's death deprived them of their principal support and attraction. A letter from Henry IV. is recorded,[139] in which he addresses her in the most flattering and at the same time respectful terms. A fine medal, not unfrequently met with in the cabinets of collectors, was struck in her honour, having on the obverse her portrait, with the words "D. Isabella Andreini, C. G."—_Comica Gelosa_, that is to say; and on the reverse a full length figure of Fame with the legend "Æterna fama." The celebrated Ericio Puteano wrote the following inscription for her portrait. "Hanc vides, et hanc audis; Tu disputa, Argus esse malis ut videas An Midas, ut audias. Tantum enim sermonem vultus Quantum sermo vultum commendat; Quorum alterutro æterna esse potuisset, Cum vultum omnibus simulacris emendatiorem Et sermonem omni Suada venustiorem possideat." "See her, and hear her!" as one may say; "and then doubt, whether you would rather be Argus to see the more, or Midas to hear the more. For face and voice contribute equally to increase the bewitchment of either. Both should have been eternal; for the face was more perfect than any likeness can present it, and the voice sweeter than that of Persuasion's self." Under another portrait was written; "You admire, reader, this portrait of the histrionic Muse! What would be your feelings, if you could hear her!" The Cardinal Cinthio Aldobrandini, nephew of Pope Clement VIII., wrote a number of poems in her praise, and dedicated his works to her.