Sofonisba was the second daughter.  The actual date of her birth is unknown, but from various other dates that we have concerning her, that given above is generally adopted.  She was educated with great care and began her study of drawing and painting when but seven years old, under the care of Bernardino Campi, the best artist of the five Campi of Cremona.  Later she was a pupil of Bernardino Gatti, “il Sojaro,” and in turn she superintended the artistic studies of her sisters.

Sofonisba excelled in portraits, and when twenty-four years old was known all over Italy as a good artist.  Her extraordinary proficiency at an early age is proved by a picture in the Yarborough collection, London—­a portrait of a man, signed, and dated 1551, when she was not more than twelve years old.

When presented at the court of Milan, then under Spanish rule, Sofonisba was brought to the notice of Philip II., who, through his ambassador, invited her to fill the office of court painter at Madrid.  Flattering as this invitation must have been to the artist and her family, it is not surprising that she hesitated and required time for consideration of this honorable proposal.

The reputation of the ceremonious Spanish court, under its gloomy and exacting sovereign, was not attractive to a young woman already surrounded by devoted admirers, to one of whom she had given her heart.  The separation from her family, too, and the long, fatiguing journey to Spain, were objections not easily overcome, and her final acceptance of the proposal was a proof of her energy and strength of purpose.

Her journey was made in 1560 and was conducted with all possible care for her comfort.  She was attended by two noble ladies as maids of honor, two chamberlains, and six servants in livery—­in truth, her mode of travelling differed but little from that of the young ladies of the royal family.  As she entered Madrid she was received by the king and queen, and by them conducted to the royal palace.

We can imagine Sofonisba’s pleasure in painting the portrait of the lovely Isabella, and her pictures of Philip and his family soon raised her to the very summit of popularity.  All the grandees of Madrid desired to have their portraits from her hand, and rich jewels and large sums of money were showered upon her.

Gratifying as was her artistic success, the affection of the queen, which she speedily won, was more precious to her.  She was soon made a lady-in-waiting to her Majesty, and a little later was promoted to the distinguished position of governess to the Infanta Clara Eugenia.

That Sofonisba fully appreciated her gentle mistress is shown in her letter to Pope Pius IV., who had requested her to send him a portrait of the queen.  She wrote that no picture could worthily figure the royal lady, and added:  “If it were possible to represent to your Holiness the beauty of the Queen’s soul, you could behold nothing more wonderful.”