Lives of the Most Excellent Painters, Sculptors, and Architects/Madonna Properzia de’ Rossi

by Giorgio Vasari

 

MADONNA PROPERZIA -DE’ ROSSI, SCULPTRESS OF BOLOGNA.

[born 1501-died 1530.]

It is a remarkable fact, that whenever women have at any time devoted themselves to the study of any art or the exercise of any talent, they have for the most part acquitted themselves well; nay, they have even acquired fame and distinction, a circumstance of which innumerable examples might easily be adduced. There is no one to whom their excellence in the general economy of life is unknown, but even in warlike enterprises they have sometimes been seen to distinguish themselves, as witness, Camilla, Arpalice, Valasca, Tomiris, Panthesilea, Molpadia, Orithya, Antiope, Hippolyta, Semiramis, Zenobia, and, finally, Mark Antony’s Fulvia, who so frequently armed herself, as the historian Dion informs ns, in her husband’s defence as well as her own.

In poetry too, women have sometimes been known to win admiration, as Paiisanias relates. Coriima was highly celebrated in the art of versification; and Eustathius, in the enumeration which he gives of the ships of Homer (as does also Eusebius in his Book of the Times), makes mention of the honoured and youthful Sappho, who of a verity, although she was a woman, was nevertheless such a one that she surpassed by very far all the eminent writers of that age. So also doth Varro, with all unwonted and yet wellmerited praise, exalt Erinna, who with three hundred verses, opposed herself to the glorious fame of the brightest luminary of Greece, and with a small volume of her own making,^[1] called Elecate, counterpoised the Vv^idely-grasping Iliad of the great Homer.^[2] Aristophanes has celebrated Carissena as most accomplished in the same art, upholding her to be a most learned and most eminent lady; and as much may be said for Theano, Mirone, Polla, Elpis, Cornisicia, and Telisilla, to the last of whom a very beautiful statue was erected in the Temple of Venus, as a testimony of the admiration in which she was held for her extraordinary abilities.

But, to say nothing of the many other poetesses who might be enumerated, do we not read that in the difficult studies of philosophy. Arete was the teacher of the learned Aristippus? and were not Lastenia and Assiotea the disciples of the divine Plato? In the art of oratory, the Roman ladies Sempronia and Hortensia were muqh renowned; in grammar, according to Athenaeus, Agallis attained to high distinction; and in the prediction of things future, or if you please to call it so, in astrology and magic, Themis, Cassandra, and Man to acquired the greatest fame in their day, as did Isis and Ceres in matters connected with agriculture; while the daughters of Thespios received universal applause for their attainments in all the sciences.

But, it is certain that at no period of the world’s history, has the truth of the assertion which we have made above been rendered more clearly manifest than in the present, wherein the highest fame has been acquired by women, not only in the study of letters, as in the instance of the Signora Vittoria del Vasto, the Signora Veronica Gambara, the Signora Catarina Anguisciola, Schioppa, Nugarola, Madonna Laura Battiferra, and a hundred others, who are most learned; not in the vulgar tongue only, and in Latin and Greek, but in every other walk of science. Nay, there are who have not disdained to contend, as it were, with us for the vaunt and palm of superiority in a different arena, and have set themselves, with their white and delicate hands, to mechanical, or speaking more exactly, to manual labours, forcing from the rigidity of marble, and from the sharp asperity of iron, that fame which was the desire of their hearts, and succeeding in the attainment of its highest eminence, as did our Properzia de’ Rossi^[3] of Bologna, a maiden of rich gifts, who was equally excellent with others in the disposition of all household matters, while she gained a point of distinction in many sciences well calculated to awaken the envy, not of women only, but of men also.

Properzia was distinguished by remarkable beauty of person. She sang and played on musical instruments better than any woman of her day, in the city of Bologna: being endowed with much fancy and admirable facility in the realization of her ideas, she set herself to carve peach stones, a labour wherein she displayed such extraordinary skill and patience, that the results thereof were marvellous to behold; and that, not for the subtlety of the work only, but for the graceful elegance of the minute figures thus represented, and for the able manner in which they were grouped.^[4]. It is without doubt a remarkable thing to see the whole history of the Crucifixion exhibited on so small a surface as that presented by the stone of a peach, comprising too, as do those executed by Properzia, a vast number of figures, besides those of the executioners and the apostles, and, what is more than all, exhibiting the most delicate treatment of each figure, with a truly admirable arrangement of all.^[5]

Encouraged by her success in these attempts, Properzia resolved to apply to the superintendent of works to the cathedral for a portion of the labours to be executed, when the three doors of the principal façade of San Petronio were to be decorated with figures in marble. This she did through the medium of her husband, and to that application the superintendents returned a favourable reply, declaring themselves willing to entrust her with a portion of the work, but first requiring to see some specimen in marble of what she could perform.^[6] Properzia thereupon immediately commenced a bust in the finest marble for the Count Alessandro de’ Pepoli; this represented the father of that noble, Count Guido Pepoli; it was taken from the life, and gave infinite satisfaction, not only to the Pepoli family, but also to the whole city.^[7] The Sculptress consequently received a commission from the superintendents, who immediately gave her a portion of the work, wherein she produced a most admirable representation, to the delight and astonishment of all Bologna. The subject chosen was the Wife of Pharaoh’s Steward, who, having become enamoured of his servant Joseph, and falling into despair at the repulse received from him, is seeking to detain him by taking hold of his garment, an action to which the Sculptress has given a feminine gracefulness of inexpressible beauty; it is indeed reported that the unhappy woman was herself at that time in love with a very handsome young man, who seems to have cared but little for her, and she is supposed to have expressed her own feelings in this story of the Old Testament, which gave her great satisfaction, and was considered by all to be singularly beautiful.^[8]

But Properzia would never execute any other work for that building, seeing that although entreated by many persons to continue her labours therein, yet being constantly discouraged by Maestro Amico,^[9] who was not among those by whom she was requested to persevere, but who spoke ill of her on the contrary to the Superintendents; she would, as I have said, work no more for that edifice; and so powerful was the malignity with which she was assailed, that the wardens would pay her but a very wretched price for her labours.^[10] It is true that there are two angels of most beautiful proportions, and in fine relief, by the hand of Properzia, which are still to be seen in San Petronio, but these were done entirely against her will.^[11] She ultimately devoted her attention to copper-plate engraving, wherein she succeeded to admiration, and was liigWy extolled; the poor enamoured young woman was indeed most perfectly successful in all things, with the exception of her unhappy love.

The fame of this noble and elevated genius becoming noised abroad, soon extended through all Italy, and reaching the ears of Pope Clement VII., that Pontiff, immediately after having performed the coronation of the emperor at Bologna, made inquiry after the sculptress, but it was found that the unfortunate woman had died in that very week,^[12] and had been buried in the hospital called Della Morte, as she had requested to be in her last will.^[13] Pope Clement, who had greatly desired to see Properzia, was sorry to hear of her death, but much more deeply grieved were her fellow citizens, who while she lived had held her to be one of the greatest miracles of nature that has been produced in our times.^[14]

We have certain drawings by the hand of Properzia in our book; they are copies from the works of Raffaello da Urbino, made with the pen and extremely well done. Her portrait was procured for and sent to me by certain painters who were among the most intimate of her friends.

But there have not wanted women who have equalled Properzia in design, although she drew very well, and have performed works in painting quite as meritorious as those executed by her in sculpture. Among these is first to be considered the Sister Plautilla, a Nun, and now prioress in the convent of Santa Caterina of Siena, which is situate on the Piazza di San Marco in Florence,^[15] who, beginning to draw, from small commencements gradually proceeded to copy the works of the best masters, and ultimately attained the power of producing such performances, that she has awakened astonishment even in artists themselves. There are two pictures by her hand in the church of the above-named convent of Santa Caterina, one of which, that namely wherein are represented the Magi in adoration of Christ, is more particularly extolled.^[16]

In the convent of Santa Lucia at Pistoja, there is a large picture by Sister Plautilla in the choir, it represents the Madonna holding the divine Child in her arms, with San Tommaso, Sant’ Agostino, Santa Maria Maddalena. Santa Caterina of Siena, Sant’ Agnese, Santa Caterina the Martyr, and Santa Lucia. Another large picture by the same hand was sent abroad by the director of the Hospital of Lelmo. In the refectory of the above-named convent of Santa Caterina in Florence, there is a large picture of the Last Supper by Sister Plautilla;^[17] and in the hall wherein the nuns are wont to assemble for their various labours, there is also a painting by the same artist, with so many pictures dispersed about among the houses of the Florentine gentry, that it would take me too long if I were to enumerate them all.

The wife of the Signore Mondragone, a Spaniard by birth, has in her possession an Annunciation by the Sister Plautilla, and Madonna Marietta de Fedini has one of a similar kind. There is a small picture by this paintress in the church of Santa Maria del Fiore; with the predella of an altar, likewise by her hand: on the latter are depicted events from the life of San Zanobi, which are extremely beautiful delineations. But this venerable and well-endowed Sister, before she had begun to execute works of importance, had occupied herself with minature painting; in this department of art therefore many very beautiful little pictures by her hand may still be seen in the possession of different persons, but of these it is not needful that I should make further mention. The best of the Sister Plaiitilla’s works are without doubt those that she has copied from others, but from these it is manifest that she would have effected admirable things if she had been able to study as men do, from the life, and had been furnished with the advantages of various kinds which the student in design acquires in drawing from nature, &c. The truth of this observation may be perceived clearly from a picture of the Nativity of Christ copied by Sister Plautilla from one which was painted by Bronzino for Filippo Salviati, and is furthermore made manifest by the fact that the figures and faces of women, whom she could study at her pleasure, are much more satisfactorily rendered in her works than are those of men, and have a much closer resemblance to the truth of nature.^[18] In some of her pictures this artist has given the portrait of Madonna Costanza de’ Doni in her female heads; this lady is considered one of the brightest examples of beauty and excellence that our times have produced, and her likeness has been thus depicted by Sister Plautilla in such a manner that for a woman who, for the causes above-mentioned, could not acquire any great extent of practice, nothing better could be desired.^[19]

In like manner, and to her great praise and glory, has Madonna Lucrezia, the daughter of Messer Alfonso Quistelli della Mirandola, devoted and still devotes herself to drawing and painting, under the guidance of Alessandro Allori. This lady, who is now the wife of the Count Clemente Pietra, has produced works which, as may be seen by many pictures and portraits by her hand, are worthy of commendation from all.^[20] But with more zeal and in a more graceful manner than any other woman of our time, has the Cremonese Sophonisba, daughter of Messer Annibale Anguisciola,^[21] laboured in these our arts; for not only does she design, paint from the life, and copy the works of others with the most consummate skill and the most perfect success, but has of herself composed and executed most admirable works of her own invention in painting. It has thus happened that Philip, king of Spain, having heard of the extraordinary merits and endowments of Sophonisba, from the Signor Duke of Alba, has sent for her and caused her to be conducted in the most honourable manner into that country, where he retains her near the person of the queen, with a very large stipend; she is there regarded with admiration by the whole court, every one considering the excellence and distinction of Sophonisba as something wonderful.

No long time has indeed elapsed since Messer Tommaso Cavalieri, a Roman gentleman, sent to the Signor Duke Cosimo, besides a drawing of Cleopatra from the hand of the divine Michelagnolo, another drawing executed by Sophonisba; the work represents a little Girl, who is laughing at a boy, because the latter, having plunged his hand into a basket of crabs, which she has held out to him, is caught by one of them, which is pinching his finger, and the boy is weeping and bemoaning his pain. Wherefore, as a memorial of Sophonisba, of whose works, since she is dwelling in Spain, Italy possesses no copy, I have placed this drawing in my book of designs.

Truly may we affirm, then, with the divine Ariosto,^[22] that,

“Women have risen to high excellence
In every art whereto they give their care.”

And this shall be the end of the life of Properzia, the sculptress of Bologna.

1. “Of her own makinghear ye that, my masters!
2. “If ever,” exclaims an angry critic; jealous, without doubt, of the honours so justly paid to ladies by the excellent Messer Giorgio; “if ever such a judgment wns pronounced in ancient Greece, we may safely affirm it to be the greatest as well as oldest literary wrong ever committed,” Another opines that no one will give any weight to our poor Vasari’s affirmations in this matter; a third declares the story of Erinna surpassing Homer to be “all but ” ridiculous. What made him put in his “all but?”
3. Alidosi, in his Istruzione delle Cose notabili di Bologna, calls Properzia the daughter of Martino Rossi of Modena. Tiraboschi and Vedriani also place her among the Modenese artists, but it was in Bologna that she grew up; if she was not bom in that city, it was there that she was educated and there she exercised her talents.
4. For minute details, see Count A. Saffi’s discourse on the works of this artist, Bologna, 1832. See also Cicognara, Storia della Scultura
5. Of these complicated and therefore remarkable works, no example now remains; the carved peach-stones still preserved in the Casa Grassi, in Bologna, being all of the simplest workmanship. —(See Saffi, Discorso, &c.) There is a cherry-stone in the Cabinet of Gems, belonging to the Florentine gallery, on which a “Gloria of Saints” is carved with astonishing exactitude, and wherein there have been counted no fewer than sixty heads of extreme minuteness. If this be, as is reported, a work by Properzia de’ Rossi, it must needs be accounted among the most complicated and minute of her performances, as known to us. But there was also a certain Ottaviano Janella of Escola, who obtained celebrity in this sort of work during the seventeenth century, and the work here in question may be by him.—Ed. Flor. 1832 -8.
6. We are here to understand heads or figures in marble, since Properzia had previously given many fine proofs of her ability in other departments of the art, as was formerly to be seen in the principal chapel of Santa Maria del Baracano, where there were numerous arabesques, animals, and other fanciful ornaments, sculptured in stone by her hands. — Saffi, ut supra.
7. The bust of Coimt Guido Pepoli is still preserved in the church or San Petronio, over a door in the interior of the building that is to say.— Ibid.
8. This work is also in the Church of San Petronio, with another representing the Queen of Sheba, also attributed to Properzia de’ Rossi. Soffit as above cited. See also Cicognara, Storia della Scultura, &c., who gives plates of the first mentioned work. The reader may likewise consult Scultura delle Forte di San Petronio, by Guizzardi, with illustrations by the Marchese Virgilio Davia.
9. Amico Aspertini, of whom there is further mention in the life of Bagnacavallo, which follows.
10. Davda denies that Properzia refused to undertake further works for the church of San Petronio, and cites several which she executed for that Basilica after the sketches of Tribolo. See the Sculture delle Porte, &c., above cited.
11. These angels, as is believed, are those standing near the Assumption of the Virgin, by Tribolo, in the eleventh chapel of the Cathedral of San Petronio.
12. Her death must therefore have taken place about the 24th of February in the year 1530, since it was on that day that the Emperor Charles V. was crowned by Clement VII., in the Basilica of San Petronio.
13. The Hospital Della Morte (of Death) has been suppressed, and its revenues are now united to those of the more happily named institution called the Spedale della Vita (Hospital of Life). —Masselli.
14. In the first edition of Vasari we have the following words as the conclusion of this life:—And to do some honour to her memory the epitaph here given was composed;—

    “Si quantum naturae, artique Propertia, tantum
    Fortunae debeat muneribusque virum
    Quae nunc mersa jacet tenebris ingloria laude
    Aequasset celebres marmoris artifices.
    Attamen ingenio vivido quod posset et arte
    Foeminea ostendunt marmora sculpta manu.”

15. See the Almanacco Storico e Statistico di Bologna of Gaetano Giordani.
16. Of the two pictures here mentioned, the one, a Deposition from the Cross, is in the Florentine Academy of Fine Arts; the other, that representing the Adoration of the Magi namely, has disappeared, but there is a somewhat inferior copy of it in the corridor by which the Pitti Palace is connected with the Uffizj.
17. The Convent of Santa Caterina now' belongs to the Academy of Fine Arts, and the refectory, in which was the Last Supper of the Sister Plautilla, is now the Library of the Academy
18. In the Deposition of the Cross, which is preserved in the Florentine Academy of Fine Arts, the countenances of the figures, notwithstanding their black beards, have the form, colour, and expression of women. — Masselli.
19. The Sister Plautilla has been slightly mentioned in the life of Fra Bartolommeo. —See vol. ii., p. 459, and note.
20. We cannot obtain any information respecting the works of this paintress. —Ibid.
21. Of Sophonisba Anguisciola there is further mention in the life of Girolamo da Carpi.
22. Orlando Furioso, cant. xx., st. 2.