He had a daughter and a pupil in Lavinia Fontana, named also Zappi, from the family of Imola, into which she was married. This lady executed several altar-pieces at Rome and at Bologna in the paternal style, as far as regards colouring; but less successful in point of design and composition. She felt the inferiority, as is observed by Baglione, and sought reputation from portrait-painting, a branch in which she is preferred by some to Prospero. It is certain that she wrought with a sort of feminine perseverance, in order that her portraits should more faithfully express every line and feature of nature in the countenances, every refinement of art in the drapery. She became painter to Pope Gregory XIII., and was more particularly applied to by the Roman ladies, whose ornaments she displayed more perfectly than any male artist in the world. She attained to so high a degree of sweetness and softness in the art, especially after knowing the works of the Caracci, that one or two of her portraits have been attributed to Guido. With equal ability she produced a number of cabinet pictures, such as that Holy Family for the Escurial, so much commended by Mazzolari, and her Sheba at the throne of Solomon, which I saw in the collection of the late Marchese Giacomo Zambeccari. She has there expressed, in the form of allegory, the Duke and Duchess of Mantua, surrounded by many lords and ladies of their court, arrayed in splendid style; a painting that would reflect credit on the Venetian School. Gifted with such genius, she was by no means chary of her own likenesses executed by herself, which ornament the royal gallery of Florence and other collections. But there remains no specimen more truly speaking and delightful than the one belonging to the Conti Zappi, at Imola, where it is accompanied by the portrait of Prospero in his declining days, also painted by her.