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 en- graving and etching. When Pope Clement VII. went to
