The "good _Angelica_" is the second representative of this phase of transition. She, too, at the persuasion of her friend Winckelmann, clothed herself as an ancient Vestal, but her true woman's nature left in her classical raiment still a neat fashion of _rococo_. Through her intercourse with Winckelmann she became somewhat of a "blue-stocking," and studied the historians of antiquity in order to find there subjects like Cornelia, the mother of the Gracchi, Agrippina with the urn of Germanicus, Phryne, and the like. Still more there were the tender legends of the ancients, out of whose store she satisfied her patrons: Adonis at the chase, Psyche, Ariadne abandoned by Theseus or found by Bacchus, the death of Alcestis, Hero and Leander. In these she is soft to the point of sentimentality, and pleasant to the point of nausea. Goethe says of her with justice: "The forms and traits of the figures have little variety, the expression of the passions no force, the heroes look like gentle boys, or girls in disguise." But he also says of her: "The lightness, grace in form, colour, conception, and treatment is the one ruling quality of the numerous works of our fair artist. No living painter has surpassed her either in grace of representation or in the taste and capacity with which she handles her brush." And this decision, too, can still be endorsed. Angelica knew how to impart to those clear lines and forms demanded by Winckelmann a grace now coquettish, now sentimental, but always extremely lovable. She has struck soft and--notably in her portraits of women--very tender colour chords.