Artemisia, his daughter and disciple, followed her father into that island; but she passed her best years in Italy. She was respected for her talents, and celebrated for the elegance of her manners and appearance. She is noticed both by Italian and foreign writers, and by Walpole among the latter, in his _Anecdotes of Painting in England_. She lived long at Naples, married there a Pier Antonio Schiattesi; and was there assisted and improved in the art by Guido Reni, studied the works of Domenichino, and was not unskilled in other approved styles. She shews variety of style in her few remaining historical pictures. Some of them are at Naples and Pozzuolo, and there are two in Florence inscribed with her name; one in the ducal gallery, and the other in possession of my noble and learned friend Sig. Averardo de' Medici; the former representing Judith slaying Holofernes, is a picture of a strong colouring, of a tone and perspicuity that inspires awe; the latter, a Susanna and the Elders, is a painting that pleases by the scene, the elegance of the principal figure, and the drapery of the others. Artemisia, however, was more celebrated for her portraits, which are of singular merit; they spread her fame over all Europe, and in them she surpassed her father. Orazio Riminaldi was a scholar of the elder Lomi in Pisa, and of the younger in Rome, but imitated neither of them; from the beginning he gave himself up to the guidance of Manfredi, in the manner of Caravaggio, and afterwards became a follower of Domenico Zampieri, to rival whom he seems intended by nature. From the time that the art of painting revived in Pisa, that city had not perhaps so eminent a painter, nor have many better been born on the banks of the Arno, a soil so propitious to the arts. Grand in contour and in drapery, after the manner of the Caracci, pleasing and agreeable in his carnations, full, free, and delicate in the management of his pencil, he would have been faultless, had not the wretched style of engraving raised prejudices against him. Excessive fatigue, or, as others will have it, the plague of 1630, snatched him in early life from his country; for the fame of which alone he seems to have lived to maturity. He there ornamented many altars with fine pictures, one of which representing the martyrdom of S. Cecilia, was afterwards placed in the Pitti palace. In the choir of the cathedral there are two of his scriptural pieces, that form a perfect study for any one who wishes to become acquainted with this epoch. The judgment of the master of the works was conspicuous in engaging Riminaldi to paint the cupola, even before he had finished the above pictures, and in making choice of him in preference to any other artist. The Assumption of the Virgin Mary, which he painted in oil, is one of the best conceived and most perfect works that Tuscany had ever beheld, and it was the last labour of Orazio. His brother Girolamo completed it