pupil in the studio of Stanzioni was the Beltrano whom Aniella
married. He painted in fresco, Aniella in oils, and they were frequently
employed together. The fine picture of San Biagio, in the church of Santa
Maria della Sanita, was one of their joint works.

Their early married life was very happy, but Aniella was beautiful and
Beltrano grew jealous; it is said without cause, through the influence of
a woman who loved him and hated Aniella; and in spite of the efforts she
made to merit her husband's confidence, his distrust of her increased.
Her base rival, by her art and falsehood, finally succeeded in convincing
Beltrano that Aniella was unworthy, and in his rage he fatally stabbed
her, when, at thirty-six, she was in the prime of her beauty and talent.
She survived long enough to convince her husband of her innocence and to
pardon him for his crime, but he fled from Italy and lived the life of an
outcast during ten years. He then returned to Naples, where after seven
years, tormented by remorse, death came to his release.

Domenici generously praised the works of Aniella, and quoted her master,
Stanzioni, as saying that she was the equal of the best painters of her
time.

<b>ROSALBA.</b> See Carriera.

<b>ROSSI, PROPERZIA DE.</b> Born in Bologna. 1490-1530. This artist was the
first woman to succeed as a sculptor whose works can still be seen. Pupil
of Raimondi, she was more or less influenced by Tribolo. In the Church of
San Petronio, in her native city, in the eleventh chapel, is a beautiful
bas-relief of two angels, executed by Properzia. They are near Tribolo's
"Ascension." A relief and a portrait bust in the same church are also
ascribed to her.

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