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.

<b>ROTKY, BARONESS HANNA.</b> 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.

<b>RUDDER, MME. DE.</b> 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 l'Art, in the form of a panel, called 'The
Eagle and the Swan.' It was exhibited afterward at the Secession in
Vienna, where it was purchased by a well-known amateur and connoisseur.
Other works were produced in succession, each more interesting than its
predecessor. No