Angelica Kaufmann married Antonio Zucchi, a Venetian artist, and left England for Italy never to return. Fuseli consoled himself with a Miss Sophia Rawlins in 1788, the year in which he was elected Associate of the Royal Academy, and Miss Moser married Captain Hugh Lloyd. Mary Moser, at the time when she and Angelica Kaufmann joined the ranks of the “Forty,” was the only flower painter in the Academy, with the exception of John Baker. If Angelica Kaufmann, with her brilliant beauty and talents, has eclipsed her humbler friend, yet Miss Moser contrived to secure a very fair share of artistic success. She gained very practical recognition from the royal family, the Queen commissioning her to paint a room at Frogmore, for which she was paid £900. The whole decoration of this room was in flowers, flower-painting being Miss Moser’s speciality. The last time she exhibited at the Academy she sent a figure subject. Fanny Reynolds, the retiring and unappreciated sister of Sir Joshua Reynolds, was one of Angelica Kaufmann’s many friends. Perhaps she did not object to the romantic devotion paid by her famous brother to the fascinating young Italian artist who captivated all hearts. Frances Reynolds had many difficulties in the way of her artistic studies. She got no help or even encouragement from her brother, who, far from tendering her any advice, disliked to see her paint, and ridiculed her miniatures, which, he said, “make other people laugh and me cry.” Perhaps James Northcote, Sir Joshua’s pupil, was right when he said that Miss Reynolds’s portraits were an exact imitation of Sir Joshua’s defects. This would account for the unfavourable judgment and harsh treatment poor Fanny always received from her brother.