The wedded pair, anxious to escape from the shadow of this sorrow, hastened to Rome, where they fixed their permanent abode, paying only a few visits to Naples at the command of the royal family. Their house was the centre of attraction to the artistic and literary society of that capital of art; and Madame Zucchi did the honors and dispensed hospitalities with a grace peculiarly her own, without losing a particle of her energy in the prosecution of her painting, or any portion of the love for it that had distinguished her early years. This may account for the uniform individuality discernible in her productions, in the merits and defects of which may be traced the peculiarities of her nature and training. In Rome, Angelica became acquainted with Goethe, Herder, and other great men who at different times visited the Eternal City. Goethe says of her in one of his letters, “The good Angelica has a most remarkable, and, for a woman, really unheard-of talent; one must see and value what she does and not what she leaves undone. There is much to learn from her, particularly as to work, for what she effects is really marvelous.” And in his work entitled “Winkelmann and his Century,” he observes concerning her: “The light and pleasing in form and color, in design and execution, distinguish the numerous works of our artist. No living painter excels her in dignity, or in the delicate taste with which she handles the pencil.” At the same time she has been thought deficient in strength of outline, variety and force of touch; her coloring has been said to lack depth and warmth; while all acknowledge her grace, sweetness, and delicacy, and the freedom and ease, with the correctness and elegance of her drawing. Her works have been justly called “light and lovely May-games of a charming fantasy.” Among her character-pictures have been noted particularly “Allegra” and “Penserosa,” and fancy portraits of Sappho and Sophonisba, with the goddesses of Grecian mythology; also figures and scenes from the modern poets, such as the delicate and bewitching Una, from Spenser’s “Faery Queen,” and simple allegorical representations. These last were favorite subjects with her, and were taken both from classic and romantic history, as “Venus and Adonis,” “Rinaldo and Armida,” “The Death of Heloise,” “Sappho inspired by Love,” etc. The praise can not be denied her of having essentially aided the progress of modern art, without parting with any portion of her feminine reserve and purity. Her pictures, with Mengs’s writings, helped to liberate painting from the exclusive school of Carlo Maratti.