Numerous were the young women who learned painting in the atelier of the Caracci; while other masters had their share of fair students. Domenichino is said to have been the teacher of Flavia Durand, Teresa del Po, and Artemisia Gentileschi; Lanfranco brought to light the talent of Caterina Ginnassi; Guido Reni gave instruction to Madalena Natali, and formed the genius of Elisabetta Sirani, the pride of the Bolognese school. Albano, however, was an exception, and, with the churlish Guercino, who despised every thing like female talent, had no pupils of the fair sex. A sister of one of his pupils, nevertheless--Flaminia Triva, of Reggio--became a painter much esteemed by the connoisseurs of her time. Of these artists, only the three most distinguished need be noticed here. Caterina Ginnassi, of noble family and the niece of a cardinal, was born in Rome, 1590. She was well instructed from early youth in all feminine employments, useful as well as brilliant. She often said, afterward, “The needle and distaff are sad enemies to the brush and the pencil.” Her first master was Clelio, and after his death she threw herself into the bold and brilliant manner of Lanfranco. She produced the great paintings that adorned the church founded by her uncle, of St. Lucia, in Rome. Becoming the inheritor of the cardinal’s large possessions, she founded, according to his directions, a cloister, with a seminary attached for students from Romagna; as abbess of which, she continued to practice her favorite art, dying in 1680, in the enjoyment of the fame and popularity her industry and piety had deservedly won. ARTEMISIA GENTILESCHI. The life of Artemisia Gentileschi was more in the world and more brilliant. She was the daughter of the painter Orazio Gentileschi, was married to Pier Antonio Schiattesi, and lived long in Naples. Receiving her earliest lessons from Guido Reni, at a later period she studied the works of Domenichino, one of the best masters of expression in the Bolognese school. Her great reputation was acquired by numerous portraits, and her skill in this species of painting obtained for her the honor of a call to the English court, whither her father accompanied her. There the art-appreciating monarch Charles I. gave her abundant employment. She was esteemed not inferior to her father in historical pieces. King Charles placed several of her works among his treasures. “David with Goliath’s head” was considered her best. Some of the royal family sat to her for their portraits, as did several of the nobility. A female figure, representing Fame, of great merit, was in the royal collection. Her own portrait is in Hampton Court, painted in the powerful and vivid style of Michael Angelo. Wägen says she excelled her father in portraits.