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Neither is the ancient rule amiss, to bend nature, as a wand, to a contrary extreme, whereby to set it right, understanding it, where the contrary extreme is no vice. Let not a man force a habit upon himself, with a perpetual continuance, but with some intermission. For both the pause reinforceth the new onset; and if a man that is not perfect, be ever in practice, he shall as well practise his errors, as his abilities, and induce one habit of both; and there is no means to help this, but by seasonable intermissions. But let not a man trust his victory over his nature, too far; for nature will lay buried a great time, and yet revive, upon the occasion or temptation. Like as it was with AEsop's damsel, turned from a cat to a woman, who sat very demutely at the board's end, till a mouse ran before her. Therefore, let a man either avoid the occasion altogether; or put himself often to it, that he may be little moved with it. A man's nature is best perceived in privateness, for there is no affectation; in passion, for that putteth a man out of his precepts; and in a new case or experiment, for there custom leaveth him. They are happy men, whose natures sort with their vocations; otherwise they may say, multum incola fuit anima mea; when they converse in those things, they do not affect. In studies, whatsoever a man commandeth upon himself, let him set hours for it; but whatsoever is agreeable to his nature, let him take no care for any set times; for his thoughts will fly to it, of themselves; so as the spaces of other business, or studies, will suffice. A man's nature, runs either to herbs or weeds; therefore let him seasonably water the one, and destroy the other.

The chief characteristics of Sofonisba's painting were grace and spirit. Her portrait of herself when at her best is in possession of the Lomellini. A second is the splendid picture at Althorpe, in which she is represented as playing the harpsichord. One can scarcely imagine a place in which a portrait would be more severely tested than in the gallery of the Earl of Spencer, beside portraits of lovely women and famous men, painted by master artists. Yet this work of Sofonisba's is praised by discerning critics and connoisseurs. Of the other portraits of herself, that in the Uffizi is signed by her as "of Cremona," which suggests that it was painted before she went to Spain. That in the Vienna Gallery is dated 1551, and inscribed Sophonisba Anguissola. Virgo. Sc. Ipsam Fecit. Still another, in which a man stands beside her, is in the Sienna Gallery. He holds a brush in his hand, and is probably one of her masters.

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