Page:The Atlantic Monthly, Volume 18.djvu/294

286, 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 remainder of her long life, pursuing her art with great success. On her second marriage, her faithful friends in the royal family of Spain added four hundred crowns to her pension. The Empress of Germany visited Sofonisba on the way to Spain, and accepted from her hand a little picture. Sofonisba became blind in her old age, but lost no other faculty. Vandyck was her guest when at Genoa, and said that he had learned more of his art from one blind old woman than from any other teacher. A medal was struck in her honor at Bologna. The Academy of Fine Arts at Edinburgh contains a noble picture by Vandyck, painted in his Italian manner. It represents individuals of the Lomellini family, and was probably in progress when he visited this illustrious woman, who had become a member of that house.

Stirling in his "Artists of Spain" states that few of Sofonisba's pictures are now known to exist, and that the beautiful portrait of herself, probably the one mentioned by Vasari in the wardrobe of the Cardinal di Monte at Rome, or that noticed by Soprani in the palace of Giovanni Lomellini at Genoa, is now in the possession of Earl Spencer at Althorp. The engraving from this picture, in Dibdin's Ædes Althorpianæ, lies before us. We think the better of kings and queens who prized a woman with eyes so clear, and an expression of such honesty and truth. The original is said to be masterly in its drawing and execution. Sofonisba is represented in a simple black dress, and wears no jewels. She touches the keys of a harpsichord with her beautiful hands; a duenna-like figure of an old woman stands behind the instrument, apparently listening to the melody.

Whatever of skill or fame women have acquired through the ages in other departments, the nursery has ever been an undisputed sphere for woman's work. Nor have we reason to think that, in the centuries we have been considering, she was not faithful to this her especial province. The cradle of Henry V., yet in existence, is one of the best specimens of nursery furniture in the fourteenth century which have come down to us. Beautifully carved foliage fills the space between the uprights and stays and stand of the cradle, which is not upon rockers, but apparently swings like the modern crib. On each of these uprights is perched a dove, carefully carved, whose quiet influences had not much effect on the infant dreams of Prince Hal.

Henry was born at Monmouth, 1388, and sent to Courtfield, about seven miles distant, where the air was considered more salubrious. There he was nursed under the superintendence of Lady Montacute, and in that place this cradle was preserved for many years. It was sold by a steward of the Montacute property, and, after passing through