Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/71

12 The reputation of the ceremonious Spanish court, under its gloomy and exacting sovereign, was not attractive to a young woman already surrounded by devoted admirers, to one of whom she had given her heart. The separation from her family, too, and the long, fatiguing journey to Spain, were objections not easily overcome, and her final acceptance of the proposal was a proof of her energy and strength of purpose.

Her journey was made in 1560 and was conducted with all possible care for her comfort. She was attended by two noble ladies as maids of honor, two chamberlains, and six servants in livery—in truth, her mode of travelling differed but little from that of the young ladies of the royal family. As she entered Madrid she was received by the king and queen, and by them conducted to the royal palace.

We can imagine Sofonisba's pleasure in painting the portrait of the lovely Isabella, and her pictures of Philip and his family soon raised her to the very summit of popularity. All the grandees of Madrid desired to have their portraits from her hand, and rich jewels and large sums of money were showered upon her.

Gratifying as was her artistic success, the affection of the queen, which she speedily won, was more precious to her. She was soon made a lady-in-waiting to her Majesty, and a little later was promoted to the distinguished position of governess to the Infanta Clara Eugenia.

That Sofonisba fully appreciated her gentle mistress is shown in her letter to Pope Pius IV., who had requested her to send him a portrait of the queen. She wrote that