Of her numerous pictures and portraits, other than those already mentioned, the best are the following: Portraits of herself in the National Portrait Gallery, London, in the Berlin Museum (1784), in the Alte Pinakothek, Munich (1784), at Innspruck, and Philadelphia, and in the artists' room in the Uffizi, Florence; Louis I of Bavaria (1805) (in Neue Pinakothek, Munich, and Schleissheim Gallery); Prince Poniatowski, 1785; Raphael Mengs and Lady Hamilton (both in South Kensington Museum), the Baroness von Kiuder and child (in the Louvre), the architect Novosielski in Edinburgh National Gallery. Her chief allegorical and historical paintings are: ‘The Death of Leonardo da Vinci,’ 1781, and ‘Servius Tullius as a Child,’ 1784, painted for the Czar Paul; ‘Thetis bathing Achilles in Water from the Styx,’ in the academy, St. Petersburg; two, illustrating Sterne's ‘Sentimental Journey,’ and ‘The Adieux of Abelard and Heloise,’ painted for the Empress Catherine II, in the Hermitage, St. Petersburg; ‘Hermann and Thusnelda,’ ‘Lament for the youthful Varus,’ ‘Pallas,’ painted for Joseph II, 1786, in Vienna Gallery; ‘Achilles in Female Attire discovered by Ulysses;’ ‘St. Joachim;’ ‘St. Ann and infant Christ,’ 1785–8; ‘A Lady as a Vestal’ (Princess Mary of Courland); ‘A Lady as a Sybil;’ ‘Ariadne and Theseus,’ in the Dresden Gallery; ‘Religion surrounded by the Virtues,’ 1798, in the National Gallery, London; ‘Christ and the Woman of Samaria,’ 1799, in the Neue Pinakothek, Munich; ‘Coriolanus going into Exile,’ 1802, ‘Scene from Ossian's Songs;’ a Madonna, Aschaffenburg Gallery; ‘Virtue directed by Prudence to withstand the solicitations of Folly,’ at Philadelphia (Pennsylvania Gallery); ‘Sybils,’ in the Pinacoteca, Turin.
At Burghley House (Lord Exeter's), where Angelica painted much, are fifteen of her pictures. Other pictures are scattered about in private collections; fine portraits by her of Sir John and Lady Cullum are at Hardwick House, Bury St. Edmunds.
[Manuscript notes and documents lent by F. Hendriks, esq., and Lady Richmond Ritchie; information from Frau Doctor Schubert-Feder, R. F. Sketchley, esq., and L. Cust, esq. The fullest biography is by G. G. de Rossi, Florence, 1810. See also Angelica Kauffmann, a biography, by Frances A. Gerard, 1892; Allgemeine Deutsche Biographie; Nagler's Künstler-Lexikon; Denkwürdige Frauen von Ida von Dümigsfeld, Leipzig, 1891; Leslie's Sir Joshua Reynolds, ed. T. Taylor, 1865; Kugler's Handbook, ed. J. A. Crowe, 1879, p. 55; Redgraves' Century of Painters, i. 176; Bryan's Dict. of Painters; Cyclopædia of Painters and Painting; Athenæum, March 1880. Two letters of Angelica's are printed in Notes and Queries, 1865, 3rd ser. vii. 109. A poem was written to Angelica by George Keate [q. v.], 1784. A contemporary but somewhat inaccurate memoir by J. Moser, giving letters from and concerning the artist, is in the European Magazine for 1809, v. 55, 251.]
KAVANAGH, ARTHUR MACMORROUGH (1831–1889), Irish politician, born at Borris House, co. Carlow, on 25 March 1831, was third son of Thomas Kavanagh (1767–1837), by his second wife, Lady Harriet Margaret Le Poer Trench, daughter of Richard, second earl of Clancarty. His father was M.P. for Kilkenny in the last Irish parliament, and for co. Carlow in the last two parliaments (of the United Kingdom) under George IV, and the first parliament under William IV. His family traced its descent to the kings of Leinster. Born with only the rudiments of arms and legs, Kavanagh nevertheless, by indomitable resolution and perseverance, triumphed over his physical defects, and learned to do almost all that the normal man can do, better than most men. Though in general carried on the back of his servant, he had a mechanical chair so contrived that he was able to move about the room without even this assistance. His chest was broad, but he could make the stumps of his arms meet across it, and by long practice he made the stumps themselves so supple, strong, and nervous, that with the reins round them he could manage a horse as well as if he had them between his fingers, and even make good use of a whip. In riding he was strapped on a chair saddle, and though thus exposed to the gravest risks in the event of his horse falling or breaking his girths, rode to hounds and took fences and walls as boldly as any in the field. He was also an expert angler, fishing from a boat or from horseback, and supplying the want of wrist-play by dexterous jerks of the stumps of his arms. Nor did his practical dexterity end here. He contrived to shoot, and shoot well, both in cover and the open, carrying a gun without a trigger-guard, resting the piece upon his left arm-stump, and jerking the trigger with his right. He also became a fair amateur draughtsman and painter, and wrote more legibly than many who suffer from no physical defect.
Kavanagh was educated under private tutors at Celbridge, co. Kildare, and with his mother at St. Germain-en-Laye, and at Rome. He also travelled with his mother and his tutor, the Rev. David Wood, in Egypt, ascending the Nile as far as the third cataract, and in Asia Minor, visiting Sinai, Jerusalem, and Beyrout, in 1846–8. On his return to Ireland in 1848 Kavanagh acted as a volunteer scout during Smith O'Brien's re-
