Her first work in sculpture was a minute representation of the Crucifixion on a peach stone!  The executioners, women, soldiers, and disciples were all represented in this infinitesimal space.  She also inserted in a coat of arms a double-headed eagle in silver filigree; eleven peach stones on each side, one set representing eleven apostles with an article of the creed underneath, the other set eleven virgins with the name of a saint and her special attribute on each.  Some of these intaglios are still in a private collection in Bologna.

At length Properzia saw the folly of thus belittling her talent, and when the facade of San Petronio was to be enriched with sculpture she asked for a share in the work and presented a bust she had made as a pledge of her ability; she was appointed to execute a portion of the decorations.  She made a bas-relief, the subject being “Joseph and Potiphar’s Wife,” which Vasari called “a lovely picture, sculptured with womanly grace, and more than admirable.”

By this time the jealousy of other artists was aroused, and a story was diligently repeated to the effect that Properzia loved a young nobleman who did not care for her, and that the above work, so much admired, represented her own passion.  Albertini and other artists waged an absolute crusade against her, and so influenced the superintendents of the church that Properzia was obliged to leave the work and her relief was never put in place.  Through mortification and grief her health failed, and she died when but forty years old.

In spite of her persecution she was known in all Italy, not only for her sculpture, but for her copper-plate engraving and etching.  When Pope Clement VII. went to Bologna for the coronation of Charles V. he asked for Properzia, only to hear that she had been buried that very week.

Her story has been told by Vasari and other writers.  She was handsome, accomplished in music, distinguished for her knowledge of science, and withal a good and orderly housewife.  “Well calculated to awaken the envy, not of women only, but also of men.”  Canova ardently admired the work of Properzia that remained in his day, and esteemed her early death as one of the chief misfortunes to the advance of the fine arts in Italy.

ROTKY, BARONESS HANNA. Born at Czernowitz in 1857.  She studied portrait painting under Blaas, Swerdts, and Trentino, and has worked principally in Vienna.  Her portrait of Freiherr von Sterneck is in the Military Academy at Wiener-Neustadt.

RUDDER, MME. DE. This lady has made an art of her embroidery, and may be said to have revived this decorative specialty and to have equalled the ancient productions which are so beautiful and valuable.  After her marriage to the well-known sculptor this gifted couple began their collaboration.  M. P. Verneuil, in Brush and Pencil, November, 1903, writes:  “The first result of this joint work was shown in 1894 at the Exposition Cercle pour