The one of her productions which has become most celebrated is a bas-relief, in white marble, of Potiphar’s wife seeking to detain Joseph by holding his garment. The perfection of the drawing, the grace of the action, and the emotion that breathes from the whole face and form, obtained high praise for this performance. Vasari calls it “a lovely picture, sculptured with womanly grace, and more than admirable.” But envy took occasion to make this monument of Properzia’s genius a reproach to her memory. It was reported that she was profoundly in love with a young nobleman, Anton Galeazzo Malvasia, who cared little for her; and that she depicted her own unhappy passion in the beautiful creation of her chisel. It was probably true that her life was imbittered by this unreturned love. One of her countrymen says the proud patrician disdained to own as his wife one who bore a less ancient name; and that he failed in his attempt to persuade her to become his on less honorable terms. Professional jealousy aided in the attempt to depress the pining artist. Amico Albertini, with several men artists, commenced a crusade against her, and slandered her to the superintendents with such effect that the wardens refused to pay the proper price for her labors on the façade. Even her alto-relief was not allowed to have its appointed place. Properzia had no heart to contend against this unmanly persecution; she never attempted any other work for the building, and the grief to which she was abandoned gradually sapped the springs of life. There are two angels in bas-relief, exquisitely sculptured by her, in the church of San Petronio; and another work by her hand, representing the Queen of Sheba in the presence of Solomon, is preserved in what is called “the revered chamber.” Other works of hers have been pronounced to be in the highest taste. She is said to have furnished some admirable plans in architecture. In copper-plate engraving she succeeded to admiration, and many of her pen-and-ink etchings from Raphael’s works obtained the highest praise. “With this poor loving girl,” Vasari says, “every thing succeeded save her unhappy passion.” The fame of her noble genius spread throughout Italy; and Pope Clement VII., having come to Bologna to officiate at the coronation of the Emperor Charles V., inquired for the fair sculptress of whom he had heard such marvelous things. Alas! she had died that very week--on the 14th of February, 1530--and her remains had been buried, according to her last request, in the Hospital della Morte. She was lamented by her fellow-citizens, who held her to have been one of the greatest miracles of nature. But what availed posthumous praises to the victim of injustice and calumny?