 Few if any of her works are known.Her true nature and skills are difficult to sift from the poetic legend; she was for her eulogists the equivalent of the prototypical ever-innocent feminine charm, what "Beatrice" was to Dante and "Laura" to Petrarch, although girded with a paint-brush for the craft-oriented Renaissance.The "National Gallery of Art" (Washington D.C.) houses two paintings in relation to her