Professor Anna Manzolini modeled excellent portraits in wax, and Clarice Vasini obtained no small celebrity as a sculptor, being a member of the Academy. Lucia Casalini, Bianca Giovannini, Barbara Burini, Eleonora Monti, Anna Teresia Messieri, Rosa Alboni, and Teresa Tesi, belonged to Bologna, and elevated the renown of its women for painting. They aspired to imitate the example of Elizabetta Sirani. Carlotta Melania Alfieri is mentioned as accomplished in literature, music, and painting. Laura Vanetti, praised as a linguist, musician, and philosopher, also excelled in painting. In the beginning of this century the Princess Elizabeth of Parma, afterward married to the King of Spain, was a famous dilettante. Another Princess Elizabeth, the wife of the Archduke Joseph of Austria, was, in 1789, on account of her pastels, admitted to membership of the Academy in Vienna. In Venice, on the other hand, the fair students of art zealously emulated the fame of Maria Robusti. This “city of the sea” had many daughters who did well in painting, though even their names are now forgotten. She gave birth to one, however, whose fame was destined to spread into a wider circle, and to renew even in foreign lands the ancient lustre of the Italian name in art. This gifted being stands almost alone in the century as one who will be remembered by posterity with admiration. ROSALBA CARRIERA. Rosalba Carriera was born in Venice in 1675. Her father held an office under government, which occupied his whole time; but he, as well as his father, had been a painter. He loved art, and encouraged his child in her early fancies. Her first childish work was at point de Venise lace. She seemed to care little for the ordinary amusements of young people, but passed her leisure time in drawing. She tried to copy one of her father’s designs for the head of a sonnet. A student of art, who chanced to see this piece of work, showed it to his master, who instantly perceived the genius of the child artist; and, foreseeing the excellence to which she would attain, and wishing to encourage her to persevere, gave her other designs to copy. Rosalba was desolate when this friend left Venice; but a Venetian banker, who had noticed her proficiency, lent her some heads in pastel of Baroche. These studies vastly improved her; and her father, then satisfied of his daughter’s possession of rare talents, consented that she should take lessons from Antonio Nazari, who was eminent as a pastel-painter. The cavalier Diamantini, distinguished for the freshness of his pencil, also gave her instruction.