Every city in Italy possessed some of these noble women at this time. Prominent among those who are not known as well as they deserve is Donna Catarina Fiesco or Adorno of Genoa, one of the saintly women of the time, who, in forgetfulness of self knew how to be so helpful to others in a wise and womanly way that she has been given the title of St. Catharine of Genoa. She was the daughter of one of the noble Genoese ruling families, the Fieschi, the daughter {299} of Conte Giacomo Fiesco, who was Viceroy of Naples and Papal Chamberlain during the first half of the fifteenth century. Catarina was born July 10, 1447, the third of seven daughters whose mother also came from an ancient house of Genoa enrolled in the first Libro d'Oro. Very early she chose to be a religious, but Giuliano Adorno, a son of Doge Antoniotto Adorno, fell in love with her and though his reputation was that of a young blade and sport, he was good-looking and handsome of figure, and Donna Catarina, having seen him several times at mass, fell in love with him. Political considerations helped on the match and indeed seemed to have been most powerful, for after Catarina had been told of Giuliano's wild ways she refused to marry him and finally was married in black, positively declining to don the customary red velvet robe and lavish ornaments of gold and jewels of Genoese brides. Their marriage, as Catarina evidently had dreaded, was not happy and after five years Catarina betook herself to a convent. After her departure her husband went from bad to worse, and finally, cast off by his indulgent father, was reduced to abject poverty and despair. His wife sought him out, lifted him up and together they took a house near the Spedale Maggiore where they received and cared for poor incurables. Five years later her husband died, "his death having paid all debts," and Catarina was elected prioress of the women's department of the hospital. She organized the nursing, reorganized the hospital service, especially as regards the poor, and took her official duties as prioress very seriously. She found time, however, to compose a number of little books for persons in distress of mind and of body, and some of them have been translated into French and Spanish. Her "Treatise on Purgatory," setting forth the strength of Christian piety in the face of death, was published in 1502 and had a wide popularity in the Latin countries of Europe. She wrote a series of dialogues that became very popular and were widely used by the parish clergy in dramatic form in the churches. The two characters in the dialogues were Good and Evil, and from rival pulpits these presented their various claims. The custom of having this dialogic form of church instruction is still extant in {300} Genoa. In 1509 she died, leaving all of her property and possessions to the hospital, and her body, miraculously preserved, reposes in a superb crystal casket within the chapel of the hospital. Of her, as Edgcumbe Staley says in