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 no picture could worthily figure the royal
lady, and added: "If it were possible to represent to your Holiness the
beauty of the Queen's soul, you could behold nothing more wonderful."

The Pope bestowed rich gifts on Sofonisba, among which were sacred
relics, set with gems. He also wrote an autograph letter, still in
existence, in which he assured her that much as he admired her skill in
painting, he had been led to believe this the least of her many gifts.

Sofonisba soon gained the approval of the serious and solemn King, for
while Philip was jealous of the French ladies of the court and desired
Isabella to be wholly under Spanish influence, he proposed to the artist
a marriage with one of his nobles, by which means she would remain
permanently in the Queen's household. When Philip learned that Sofonisba
was already betrothed to Don Fabrizio de Monçada--a Sicilian nobleman--in
spite of his disappointment he joined Isabella in giving her a dowry of
twelve thousand crowns and a pension of one thousand.

It would seem that one who could so soften the heart and manners of