Kauffman, Mary Angelica

, a female artist, well known in this country, was born in 1740, at Coire, the capital of the Grisons, and received the elements of art from her father, who, on some surprising proofs of her early capacity, at the age of fourteen, conducted her to Milan, and, after some years’ practice there and elsewhere, to Rome, where her talents, charms, accomplishments, and graces, soon rendered her an object of general admiration: in 1764 she removed to Venice, and in the following year accompanied lady Wentworth, the wife of the British resident, to England. Here, enjoying royal favour, the arbitress of public taste, loved, esteemed, perhaps envied by artists, decorated with academic honours, opulent and happy, she sunk her own name in that of sir A. Zucchi, a Venetian artist, whom she married,*


In the Cyclopædia, we are told, that after some years residence here, she was unhappily deceived by a footman of a German count, who, coming to England, personated his master, contrived to be presented at court, and persuaded Angelica to marry him. The cheat was soon discovered, and the rascal had not the humanity to endeaVour to sooth her disappointment by kindness, but treated her very ill. At last, however, by a payment made to him of 300J. he was induced to return to Germany, and promised never to molest her any more. He kept his engagement; and the lady not hearing of him for seven years, and concluding him dead, then married an Italiaa painter of the name of Zuccbi.

and, after a residence of seventeen years, returned, through her native place, to Italy, and settled at Rome; where, after a new career of success, courted, employed, and rewarded, by rnonarchs, princes, and the most distinguished travellers, she died in 1807, of gradual decay, resigned, regretted, and honoured by splendid obsequies.

Mr. Fuseli, who was honoured by the friendship of Angelica, and cherishes her memory, says, that he “has no | wish to contradict those who make success the standard of genius, and as their heroine equalled the greatest names in the first, suppose that she was on a level with them in powers. Angelica pleased, and deserved to please, the age in which she lived, and the race for which she wrought. The Germans, with as much patriotism at least as judgment, have styled her the Paintress of Minds (Seelen Mahlerin): nor can this be wondered at from a nation, who, in A. R. Mengs, flatter themselves to possess an artist equal to Raffaello. The male and female characters of Angelica never vary in form, features, and expression, from the favourite ideal she had composed in her mind. Her heroes are all, the man to whom she thought she could have submitted, though him perhaps she never found; and to his fancied manner of acting and feeling, she, of course, submitted the passions of the subject. Her heroines are herself; and whilst suavity of countenance and alluring graces shall be able to divert the general eye from the sterner demands of character and expression, can never fail to please.

Angelica painted the lighter scenes of poetry with a grace and taste entirely her own; and happily formed to meet that of an engraver whose labours highly contributed to the growth and perpetuity of her fame. Bartolozzi was the man, who, enjoying at the same time, youth, health, and ingenuity, almost entirely devoted his talents between Angelica and Cipriani. The three were endowed with congenial feelings in arts; which, if not of the highest class, were certainly entitled to rank among the most agreeable. 1


Pilkington, by Fuseli, in art. Zucchi.—Gent. Mag. vol. LXXVIII.—Athenæum, vol. III. and IV.—Rees’s Cyclopædia.