ch exhibits a female figure painting the statue of the
Madonna. The artist holds in her left hand a palette, which is the
earliest notice of the use of that implement with which antiquarians are
acquainted. The fashion of painting figures cut in wood was once much
practised, and we see here the representation of a female artist of very
ancient date. Painting, music, and dancing come under the designation of
accomplishments; yet to obtain distinction in any of these branches
implies a vast amount of work. An illustration of Lygate's Pilgrim shows
us a young lady playing upon a species of organ with one hand; in the
other she holds to her lips a mellow horn, through which she pours her
breath, if not her soul; lying beside her is a stringed instrument
called a sawtry. Such varied musical acquirements certainly argue both
industry and devotion to art. Charlemagne's daughters were distinguished
for their skill in dancing; and we read of many instances in the Middle
Ages of women excelling in these fine arts.

The period of time generally denominated the Middle Ages commences with
the fifth century, and ends with the fifteenth. We have in several
instances ventured to extend the limits as far as a part of the
sixteenth century, and therefore include among female artists the name
of Sofonisba Anguisciola, who was born about 1540. She was a noble lady
of Cremona, whose fame spread early throughout Italy. In 1559, Philip
II. of Spain invited her to his court at Madrid, where on her arrival
she was treated with great distinction. Her chief study was portraiture,
and her pictures became objects of great value to kings and popes.

Her royal patrons of Spain married their artist to a noble Sicilian,
giving her a dowry of twelve thousand ducats and a pension of one
thousand ducats, beside rich presents in tapestries and jewels. She went
with her husband to Palermo, where they resided several years. On the
death of her husband the king and queen of Spain urged her to return to
their court; but she excused herself on account of her wish to visit
Cremona. Embarking on board a galley for this purpose, bound to Genoa,
she was entertained with such gallantry by the captain, Orazio
Lomellini, one of the merchant princes of that city, that the heart of
the distinguished artist was won, and she gave him her hand on their
arrival at Genoa.

History does not tell us whether she ever revisited Cremona, but she
dwelt in Genoa during the remain