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| <div id="contents"><div><p class="c56 c106"><span class="c49 c22"></span></p></div><p class="c45"><span class="c6 c38"><a class="c8" href="https://www.google.com/url?q=https://docs.google.com/document/d/1qciG2ndN2dOfg4KDgL9LwCOl8HUZP5liSKtwRcJ_Ah4/edit?usp%3Dsharing&sa=D&ust=1597863595242000&usg=AOvVaw3GzPl7MMvZ4RNVKfjYspJO">Premodern Women Artists and Patrons:</a></span></p><p class="c45"><span class="c6 c38"><a class="c8" href="https://www.google.com/url?q=https://docs.google.com/document/d/1qciG2ndN2dOfg4KDgL9LwCOl8HUZP5liSKtwRcJ_Ah4/edit?usp%3Dsharing&sa=D&ust=1597863595243000&usg=AOvVaw14DrGfvdx3CXcvecdf8IKm">A Global Bibliography</a></span></p><p class="c45"><span class="c6 c38"><a class="c8" href="https://www.google.com/url?q=https://docs.google.com/document/d/1qciG2ndN2dOfg4KDgL9LwCOl8HUZP5liSKtwRcJ_Ah4/edit?usp%3Dsharing&sa=D&ust=1597863595244000&usg=AOvVaw0fzzj8gkciLhnEa0lIoYUU">Ancient, Medieval, and Renaissance/Early Modern</a></span></p><p class="c15"><span class="c7"></span></p><p class="c15"><span class="c3"></span></p><p class="c25"><span class="c4">Categories are chiefly ordered by medium or geography and, for individuals, by birthdate (</span><span class="c38">before 1700</span><span class="c3">), but standard terms like “Medieval” or “Renaissance and Early Modern” are sometimes used here for European culture. The former begins around 500 CE and ends around 1400 (for Italy) or 1500 (elsewhere in Europe)</span></p><p class="c15"><span class="c3"></span></p><p class="c25"><span class="c4">“</span><span class="c38">Primary sources</span><span class="c3">” encompass anything produced before 1800; they are ordered chronologically; and are separated out when there is a significant number.</span></p><p class="c15"><span class="c3"></span></p><p class="c25"><span class="c38">Please be aware that this document is regularly updated and new features added, so if you rely on a downloaded doc or pdf remember to check back with the online Google Doc version.</span></p><p class="c25"><span class="c3"> </span></p><p class="c25"><span class="c3">For individual entries, be sure also to look at the general categories of each woman’s era. We have attempted to outline who is included in general sources as much as possible, rather than listing the source under multiple women. The usual rule for giving a woman an individual entry has been that she has two or more sources dedicated to her.</span></p><p class="c15"><span class="c3"></span></p><p class="c25"><span class="c22 c78 c52">Compiled, and first posted on academia.edu by Pat Simons, 25 April 2020. Expanded versions were posted on 29 April 2020 and 14 May 2020. Thereafter, additions were made by Tracy Hamilton and Pat Simons to a Google Doc version, including suggestions generously offered by friends and colleagues. The Google Doc version was opened to public access on 29 May 2020. </span></p><p class="c25"><span class="c52 c93"> For their valuable input, we are grateful to Sussan Babaie, Sheila Barker, Lara Blanchard, Nathaniel Campbell, Julia Dabbs, Laura Jacobus, Jitske Jasperse, Grażyna Jurkowlaniec, Louise Marshall, Therese Martin, Jennifer Purtle, </span><span class="c93 c13 c24 c52">Volker Schier, Anne Rudloff Stanton</span><span class="c93 c52">, Molly Swetnam-Burland, Paola </span><span class="c93 c24 c52">Vitolo, </span><span class="c22 c78 c52">and various users who remained anonymous.</span></p><p class="c25 c80"><span class="c22 c78 c52">All comments are welcome via the Comment icon on the upper right above the menu bar. Please follow the “House Style” here when sending additions, corrections, and comments. We’d also appreciate feedback on structure and organization. </span></p><p class="c25 c80"><span class="c22 c78 c52">Items in any language are welcome. For those readers less familiar with non-European languages, it would be helpful, but not essential, if titles were translated into English or the subject matter briefly summarized in English.</span></p><p class="c25 c80"><span class="c93 c52">External links are only provided to sites where the </span><span class="c93 c52 c17">full </span><span class="c93 c52">item is available, and for free.</span></p><p class="c30"><span class="c49 c22"></span></p><h1 class="c66 c77" id="h.ds51eppvvh4v"><span class="c7">Table of Contents </span></h1><h1 class="c77 c66" id="h.j4ipd0r76gw3"><span class="c52">(the links below and in the list/column to the left of the Google Doc will take you to the full bookmarked content)</span></h1><h2 class="c1" id="h.kyghpr7of8gv"><span class="c6 c50"><a class="c8" href="#kix.aof7tpr7otmh">General: Women Artists</a></span><span class="c50"> </span><span class="c7">(Global)</span></h2><h2 class="c1" id="h.lq9tgw4lmdyu"><span class="c6 c50"><a class="c8" href="#id.gmvy7isgp3p">Women Artists: Self-Portraits</a></span><span> (Global)</span></h2><h2 class="c1" id="h.lnrg5gxzdfw1"><span class="c6 c50"><a class="c8" href="#kix.mlapizbdo32d">Women Artists and Patrons: Textiles and Needlework</a></span><span class="c22 c38 c13 c14"> (Global)</span></h2><p class="c47"><span class="c4 c13 c14"> </span><span class="c6 c4 c13"><a class="c8" href="#id.g0mpwgfjh8o">St. Etheldreda</a></span><span class="c4 c13 c14"> / </span><span class="c4 c13 c29">Æthelthryth </span><span class="c22 c4 c13 c14">(English; embroiderer; c. 638-679)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#id.lgvrn0nle294">Herlinda and Renilda</a></span><span class="c4 c13 c14"> (Flemish; sisters; abbess-saints; 8</span><span class="c4 c13 c21 c14">th</span><span class="c4 c13 c14"> </span><span class="c4 c13 c14">C); the extant Anglo-Saxon “</span><span class="c6 c4 c13"><a class="c8" href="#id.lgvrn0nle294">Maaseik embroideries</a></span><span class="c4 c13 c14">” of the 9</span><span class="c4 c13 c21 c14">th</span><span class="c22 c4 c13 c14"> C</span></p><p class="c47"><span class="c4 c13 c14"> </span><span class="c6 c4 c13"><a class="c8" href="#id.uw7zk6k1ny9p">Eanswitha</a></span><span class="c22 c4 c13 c14"> (born in Hereford; embroiderer; active c. 800-20)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.6rm5nvvf2oxy">Æthelswith</a></span><span class="c4 c13 c14"> (born Ely; embroiderer and weaver; active 11</span><span class="c4 c13 c21 c14">th</span><span class="c22 c4 c13 c14"> C)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.fq8nfef6sb1k">Edith of Wessex </a></span><span class="c22 c4 c13 c14">/ Edgitha (English; embroiderer; c.1025-1075)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.kqsblr1d2ei1">Christina of Markyate</a></span><span class="c22 c4 c13 c14"> (English; anchoress; embroiderer; c. 1096/98-c.1155)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.grje74wm9mn0">St Clare of Assisi</a></span><span class="c4 c13 c23"> (born Assisi; Clarissan nun; embroiderer; 1194-1253</span></p><p class="c47"><span class="c4 c13 c14"> </span><span class="c6 c4 c13"><a class="c8" href="#id.a8so39fzwyev">Mabel of Bury St Edmunds</a></span><span class="c22 c4 c13 c14"> (English; embroiderer; active 1235-44; died after 1256)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.q0ef5d36yona">Aalès</a></span><span class="c22 c4 c13 c14"> (French; rug and tapestry maker; active 1292-1300)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.oxyy98gbj5t2">Christiana of Enfield</a></span><span class="c22 c4 c13 c29"> (English; active c. 1300-05)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#id.tulrq0x6unln">Roesia de Borford</a></span><span class="c22 c4 c13 c29"> / Rose Burford (English; merchant; embroiderer; before c. 1280?-1329)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.pt3y2hcx5m8p">Alice Claver</a></span><span class="c22 c4 c13 c29"> (English; silkwoman; c.1425?-1489)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.lxay7f9y4tqk">Elizabeth Stokton</a></span><span class="c22 c4 c13 c29"> (English; embroiderer and silkworker; active 1460-86)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.6fxfchcbgl0b">Margaret Neville</a></span><span class="c22 c4 c13 c29"> (English; Countess of Oxford; embroiderer; c.1442-1506/07)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.jxsyni51zvg7">Elizabeth Philip</a></span><span class="c22 c4 c13 c29"> (English; embroiderer; c.1480/85?-c1536)</span></p><p class="c47"><span class="c4 c13 c14"> </span><span class="c6 c4"><a class="c8" href="#id.7qzp9c70z663">Margarita Barza</a></span><span class="c4 c14">; and </span><span class="c6 c4"><a class="c8" href="#id.7qzp9c70z663">Veronica Sala</a></span><span class="c4"> (probably born Milan; embroiderers; 16thC)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#kix.raaowwo9vu1o">Caterina Cantona</a></span><span class="c4 c13"> (born Milan; embroiderer; c. 1551/55-1629) </span><span class="c4">and her young daughter </span><span class="c6 c4"><a class="c8" href="#kix.raaowwo9vu1o">Barbara</a></span><span class="c3"> (painter; embroiderer)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.5q4mlq51rzxa">Three sisters from Ferrara</a></span><span class="c3"> (Italian; needleworkers; fl. early 17thC)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.vafqnqjau85p">Francisca de Jesús</a></span><span class="c3"> / Francesca di Giesù (Spanish; weaver; fl. early 17thC)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.53yw890vg51">Katharina Rozee / Miss Rozee</a></span><span class="c3 c13"> (born Leiden; embroiderer; 1632-1682)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#id.o61nj2hczl">Susanna Perwich</a></span><span class="c3 c13"> (English; musical virtuoso; embroiderer; “amateur artist”; c. 1637-1661)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.z6yx2rp0o66l">Hannah Smith</a></span><span class="c3 c13"> (English; embroiderer; “amateur artist”; c.1642-?)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.s0y6um20m9ni">Helena Larsdotter Lindelia</a></span><span class="c3"> (probably born Eksjö; embroiderer; 1650??-1710)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.7ui92n2ypksx">Margaretha Felicitas Walther</a></span><span class="c4"> (born Nuremberg; 1654-1698) with her sisters </span><span class="c6 c4"><a class="c8" href="#id.7ui92n2ypksx">Maria Magdalena</a></span><span class="c4"> and </span><span class="c6 c4"><a class="c8" href="#id.7ui92n2ypksx">Anna Maria</a></span><span class="c4"> (all embroiderers in silk)</span></p><p class="c42 c47"><span class="c6 c4"><a class="c8" href="#id.xznrw5gg6r78">Margaretha Helm</a></span><span class="c4"> / Helmin née Mainberger (born Deiningen; embroiderer; printmaker; 1659-1742)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.lj9r7z7dzdet">Martha Edlin</a></span><span class="c4"> (English; embroiderer; “amateur artist”; 1660-1725)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.yk5tr7up9xwv">Anna Maria Schmilau</a></span><span class="c3"> née Niedemans (Swedish; tapestry artist; c. 1660??-1725)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.319qiysurjxn">Anna Maria Garthwaite</a></span><span class="c3"> (born in Leicestershire; textile designer, 1690-1763)</span></p><h2 class="c1" id="h.pevw56bbhan1"><span class="c6 c50"><a class="c8" href="#kix.3uhshst6ca8v">Women Artists: Printmaking</a></span><span class="c50 c14"> </span><span class="c22 c38 c14">(Global)</span></h2><p class="c20"><span class="c6 c4"><a class="c8" href="#id.9g4m8x4lm4h2">Diana Mantuana</a></span><span class="c4 c14"> / Diana Scultori / Diana Ghisi</span><span class="c4"> (born Mantua; engraver; c. 1547-1612)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.rfo7i3yofv1h">Barbara van den Broeck</a></span><span class="c4 c14"> </span><span class="c3">(born Antwerp; printmaker; c.1558/60-c.1590)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.8uzvw37nvfvr">Isabella / Elisabetta / Isabetta Parasole</a></span><span class="c4"> (born Rome; printmaker, c.1570-1620) and sister-in-law </span><span class="c6 c4"><a class="c8" href="#id.8uzvw37nvfvr">Geronima Parasole</a></span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.phcum4p6u6e2">Magdalena van de Passe</a></span><span class="c3"> (born Cologne; active in Utrecht; printmaker, 1600-1637)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.f4728zomt39q">Theresa Maria Coriolano</a></span><span class="c3"> (born Bologna; printmaker; 1620-1671)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.5sf42y82dnkt">Geertruydt Roghman</a></span><span class="c38"> </span><span class="c3">(born Amsterdam; printmaker, 1625-after 1657)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.49nal77f68hs">Maria Boorkens / Boortens</a></span><span class="c3"> (born ’s Gravenhage; etcher; 1626-1678)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.qihxx3r4am0">Claudine Bouzonnet-Stella</a></span><span class="c4"> (born Lyon; printmaker; 1636-1697) and her sister </span><span class="c6 c4"><a class="c8" href="#id.qihxx3r4am0">Antoinette </a></span><span class="c3">(born Lyon; printmaker; 1641-1676)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.6454kxg1k2at">Magdalena Roghman</a></span><span class="c3"> (born Amsterdam; printmaker; 1637-1669/89)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.7i3c77ke3no2">Isabella Piccini</a></span><span class="c3"> (born Venice; nun; printmaker; 1644?-1735)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.atcb1xz3jigg">Madeleine Masson</a></span><span class="c3"> (born Paris; printmaker; c.1646-1713)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.7vf0tgidgfzg">Johanna Sibylla Küsel</a></span><span class="c3"> / married name Kraus (born Augsburg; printmaker; 1650-1717)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.amer6jsgg0jp">Veronica Fontana</a></span><span class="c3"> (born Parma; printmaker, primarily in woodcuts; 1651-1690)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.11hmc0211cgw">Susanna Maria von Sandrart</a></span><span class="c22 c4 c44"> (born Nuremberg; printmaker, 1658-1716)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.avts6at83mj4">Toinette / Antoinette Larcher</a></span><span class="c3"> (born Paris; printmaker; 1685-1725)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.is4j884x0784">Marie-Madeleine / Louise-Magdeleine Horthemels</a></span><span class="c3"> / married name Cochin (born Paris; printmaker; 1686-1767) and her sisters Marie-Nicole (1689-after 1745) and Marie-Anne-Hyacinthe</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.j689j1oq51ow">Suzanne Silvestre</a></span><span class="c4"> (born Paris; printmaker; 1694-before 1738)</span></p><h2 class="c1" id="h.e3iwbqmxup2d"><span class="c6 c50"><a class="c8" href="#id.u2rr5cgsnash">Women Artists: Sculpture and Metalworking</a></span><span class="c50 c14"> </span><span class="c14">(Global)</span></h2><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.oo54qhmhw9u1">Pellegrina Mazzoni</a></span><span class="c4"> née </span><span class="c4 c13 c14">degli Agazzi</span><span class="c3"> (sculptor; first wife of the sculptor Guido Mazzoni; c.1460?-c.1510/1515)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#kix.crbn51a683dv">Properzia de' Rossi</a></span><span class="c3"> (born Bologna; sculptor, c. 1490-1530)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.p6bbmqufkmwk">Daughter of Valerio Vincentino</a></span><span class="c4"> (born Vicenza; gem engraver and goldsmith; born c. 1531/35-?)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#kix.rcm120v4gp4s">Maria Angelica Razzi </a></span><span class="c4">(Italian; sculptor; nun; c.1535-after 1587) </span><span class="c4">and other nuns (including </span><span class="c6 c4"><a class="c8" href="#kix.rcm120v4gp4s">Maria Vincenza Brandolini</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#kix.rcm120v4gp4s">Dionisia Niccolini</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="#kix.rcm120v4gp4s">Caterina Rosselli</a></span><span class="c4">) who were sculptors at the convent of S. Caterina da Siena, Florence, in the 16</span><span class="c4 c21">th</span><span class="c4"> C</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#kix.ra1vtlf6wfq0">Maria Faydherbe</a></span><span class="c3"> (born Mechelen; sculptor; 1587-1643)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.r0u8u4apsfl4">Anna Maria Pfründt </a></span><span class="c3">/ married name Braun / Braunin (born Lyon; sculptor; 1642-1713)</span></p><p class="c75 c107"><span class="c6 c4"><a class="c8" href="#kix.u03ow4biw3y9">Elizabeth Haselwood</a></span><span class="c3"> (probably born Norwich; silversmith; c. 1644-1715)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.gz6bnwpak3a0">Luisa Roldán</a></span><span class="c3"> (born Seville; sculptor, 1652-1706)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.n5mbj8cvvxi">Andrea de Mena</a></span><span class="c4"> (born Granada; nun; sculptor; 1654-1734) and her sister </span><span class="c6 c4"><a class="c8" href="#id.n5mbj8cvvxi">Claudia</a></span><span class="c3"> (nun)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.v13ny56fkigm">Alice Sheene</a></span><span class="c3"> (probably born London; silversmith; fl.1700-15)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.qxv4znhmvpln">Maria van Lommen</a></span><span class="c3"> (born Utrecht; gold- and silversmith; 1688-1742)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#kix.ecz82d2po2z7">Sarah Holaday</a></span><span class="c4 c5"> née Feram (</span><span class="c4">probably born London; silversmith; c.1690</span><span class="c22 c4 c5">-1754)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.9s1de31grr4o">Mary Roode / Rood</a></span><span class="c3"> (probably born London; silversmith; c. 1690-after 1726)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.p0bta3je7vei">Anne Tanqueray </a></span><span class="c3">(probably born London; silversmith; 1691-1733)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.x0dhxm5rfite">Elizabeth Godfrey</a></span><span class="c3"> (probably born London; silversmith; c.1700-1771)</span></p><h2 class="c1" id="h.1uetn11y64jh"><span class="c6"><a class="c8" href="#id.tss2f1c8oeq">Women Artists: Architecture</a></span><span class="c7"> (Global)</span></h2><p class="c26 c13"><span class="c6 c4"><a class="c8" href="#id.jf3x5nhwkzfq">Jacquette de Montbron </a></span><span class="c3">(French; aristocrat; architect; 1542-1598)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.hz6j6neik63d">Plautilla Bricci</a></span><span class="c3"> (painter and architect active in Rome; 1616-1690)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.caldfa4gligr">Lady Elizabeth Wilbraham</a></span><span class="c4"> (born in Staffordshire; architect; 1632-1705)</span></p><h2 class="c1" id="h.epbm6yo6baqy"><span class="c6"><a class="c8" href="#kix.uta9jcedr4ip">Women Artists and Patrons: Asia</a></span></h2><p class="c47"><span class="c38"> </span><span class="c6 c4"><a class="c8" href="#id.s0rvub4orb4s">Wei Fu-Jên / Wei Furen</a></span><span class="c3"> (Chinese calligrapher; 272-349)</span></p><p class="c47"><span class="c38"> </span><span class="c6 c4"><a class="c8" href="#id.rhj7gjw12dwq">Empress Wu Zetian / Wu Tse-t’ien</a></span><span class="c3"> (Chinese; 624–705)</span></p><h2 class="c55 c63 c66 c48" id="h.owbw22nx9jim"><span class="c6 c52"><a class="c8" href="#id.17yj6kmn60gu">Empress Yang Meizi / Yang Mei-tzu </a></span><span class="c3">(Chinese calligrapher, and patron; 1162–1233)</span></h2><h2 class="c55 c63 c66 c48" id="h.c1xr6bd17o0y"><span class="c6 c52"><a class="c8" href="#id.k6kume9xeca7">Guan Daosheng / Kuan Tao-sheng / Guan Furen / Kuan Fu-Jên</a></span><span class="c3"> (born Wuxing, Central China; poet, calligrapher, painter; 1262-1319)</span></h2><h2 class="c55 c63 c66 c48" id="h.ieggc1kbuhgm"><span class="c6 c27"><a class="c8" href="#id.bgksimhlpjly">Qiu Zhu / Miss Qiu / Duling Neishi</a></span><span class="c27"> (born Suzhou Prefecture, China; fl.1565-1585)</span></h2><p class="c26"><span class="c6 c4"><a class="c8" href="#id.vu4jc21ohgue">Fan Daokun / Li Daokn / Madame Li </a></span><span class="c4">(Chinese; late 16</span><span class="c4 c21">th</span><span class="c3"> C)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.tz5v5gfsicv9">Ma Shouzhen / Ma Xiangian / Yuejiao</a></span><span class="c19 c4"> (born Nanjing; c.1548-1604)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.qlt5zngx2sor">Xue Susu / Xue Wu / Xuesu / Sunjung</a></span><span class="c4 c24"> (Chinese; c.1564-by 1652)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.8z4vg9egfwgq">Fu Daokun</a></span><span class="c3"> (Chinese; fl. 1626)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.w0bgedr8hcph">Wen Shu / Hanshan / Duanrong </a></span><span class="c4">(Chinese; 1595-1634)</span></p><h2 class="c55 c63 c66 c48" id="h.409t6ho7levz"><span class="c6 c52"><a class="c8" href="#id.8mgnynbvd9aj">Li Yin / Jinsheng / Shi’an / Kanshan Nüshi</a></span><span class="c52"> (born Shaoxing; 1616-1685)</span></h2><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.mm1s70pgmbxx">Liu Yin / Liu Shi / Liu Shih / Liu Rushi / Liu Ju-shih</a></span><span class="c3"> (Chinese courtesan, poet, and painter; 1618–64)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.orj2vu9fbpit">Kiyohara </a></span><span class="c6 c4 c13"><a class="c8" href="#id.orj2vu9fbpit">Yukinobu</a></span><span class="c4"> </span><span class="c3">(Japanese painter; 1643-1682)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.nzx2tgsxyp8s">Chen Shu / Nanlou / Shangyuan Dizi / Nanlou Laoren</a></span><span class="c4"> (born Xiuzhou; 1660-1735)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.7j0xqbijbxc1">Ma Ch’üan / Ma Quan / Jiangxiang</a></span><span class="c3"> (Chinese painter of birds and flowers; late 17th-18thC)</span></p><h2 class="c1" id="h.hwtvdcj2p8wb"><span class="c6"><a class="c8" href="#kix.g34oofczcc3x">Women Artists and Patrons: The Americas</a></span><span class="c7"> (including indigenous women)</span></h2><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.xkbymls1f6zi">Sor Juana Inés de la Cruz</a></span><span class="c4 c13 c24"> (born near Mexico City; nun, writer, possibly a miniaturist and self-portraitist; 1648-1695)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.aecwla1u20rh">Isabel de Cisneros / de Santiago</a></span><span class="c3"> (born in Ecuador; painter; c.1666/70-c.1714)</span></p><h2 class="c1" id="h.rm8w60ubecgj"><span class="c6"><a class="c8" href="#kix.fd156s520dvh">Women Artists and Patrons: Islamic Cultures</a></span></h2><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.lys3yc6r3v0t">Dayfa Khatun</a></span><span class="c3 c13"> (patron; wife of the Ayyubid sultan al-Zahir Ghazi; regent of Aleppo during her grandson’s minority, 1236-1242; c. 1185?-1242)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.y5bel3y00h7t">Shajar al-Durr</a></span><span class="c3 c13"> (patron; ruler of Egypt; ??-1257</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.y3d4s6a60ubs">Gawhar Shad / </a></span><span class="c6 c4"><a class="c8" href="#id.y3d4s6a60ubs">Gauhar Shad</a></span><span class="c4"> </span><span class="c3 c13">(patron; wife of Shah Rukh, emperor of the Timurid Empire; d. 1457)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.jlev43fr88vm">Hurrem Sultan / Roxelana </a></span><span class="c3">(patron; wife of the Ottoman Sultan Suleiman the Magnificent; c. 1502-1558)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.lwfyswccv5b4">Nur Jahan</a></span><span class="c19 c4 c13"> (patron; poet; probable architectural designer; possible painter; wife of Mughal Emperor Jahangir 1611-27; 1577-1645)</span></p><p class="c47 c39"><span class="c6 c4 c13"><a class="c8" href="#id.htzg6936tmz">Nadira Banu</a></span><span class="c4 c13 c14"> (Mughal princess; possible “amateur artist”; 1618-1659)</span></p><h2 class="c1" id="h.154e8gnc6lgb"><span class="c6"><a class="c8" href="#id.rbvf8vtn4les">Women Artists and Patrons: Eastern Europe, Slavic and Russian Areas</a></span></h2><p class="c47"><span> </span><span class="c6 c4 c13"><a class="c8" href="#id.3p3cyvas33cq">Dorota Koberowa / Kober </a></span><span class="c4 c13 c14">(born Kraków; painter; 1549-1622)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.9mmf227rfzl5">Agnieszka Piotrkowczykówna / Piotrkowczyk</a></span><span class="c4"> (born Kraków; painter; ?-c.1638)</span></p><h2 class="c1" id="h.xn0ntz8nhpws"><span class="c6"><a class="c8" href="#kix.fcdy24fbd94e">Selected Primary Sources on Women Artists in Western Europe</a></span></h2><h2 class="c1" id="h.9e5wtyoymvay"><span class="c6"><a class="c8" href="#kix.5d3a1dfofeqr">General, and Miscellaneous Artists: Southern Europe</a></span></h2><h2 class="c1" id="h.9ya571tyd6l6"><span class="c6"><a class="c8" href="#kix.lpvkhogc8p1e">General, and Miscellaneous Artists: Northern Europe</a></span></h2><h2 class="c1" id="h.tl2ij5yhmf7"><span class="c6"><a class="c8" href="#id.kab9u13mbv5a">Women Artists Who Did Not Exist: Europe</a></span></h2><p class="c47"><span class="c38"> </span><span class="c6 c4"><a class="c8" href="#id.kl8n6jqdodyt">Sabina von Steinbach </a></span><span class="c3">(13th-early 14th C sculptor at the Cathedral of Strasbourg)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.ba3af92zvjqq">Margaret van Eyck</a></span><span class="c3"> (15th C sister of Flemish painters Hubert, Lambert and Jan van Eyck)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.qbedgpni6tb2">Penelope Cleyn</a></span><span class="c3"> / Clein / Klein (17th C miniaturist in London)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.lsp2awyy8wdc">Eva van Marle </a></span><span class="c4">(portraitist in Zwolle 1642-54)</span></p><h2 class="c1" id="h.rudlvndyydkx"><span class="c6"><a class="c8" href="#kix.t1w94wg4ey3u">Women Artists in Mediterranean Antiquity</a></span></h2><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#kix.czrbkx3kr0j">Primary Sources</a></span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#kix.webbn6edr517">Secondary Sources</a></span><span class="c7"> </span></p><h2 class="c1" id="h.6b65yh9asjtx"><span class="c6"><a class="c8" href="#kix.fgf6fqq9fnji">Women Artists in Medieval Europe (chiefly secular) </a></span><span class="c7"> </span></h2><h2 class="c1" id="h.zes104uss1km"><span class="c6"><a class="c8" href="#kix.dyhatdkz0vf9">Catholic Nuns as Artists and Patrons</a></span></h2><h2 class="c1" id="h.vwg62a29s5d"><span class="c6 c50"><a class="c8" href="#kix.1kw11r93snly">Individual Artists: Europe (organized by birthdate)</a></span><span class="c50"> </span><span class="c7">(painters, unless otherwise noted)</span></h2><h2 class="c1" id="h.u2ipi4mfdigs"><span> </span><span class="c6 c50"><a class="c8" href="#id.8ojwusqnp471">Artists Born Before 1450</a></span></h2><p class="c47"><span class="c38"> </span><span class="c6 c4"><a class="c8" href="#kix.kqzsdk25lpq8">En</a></span><span class="c3"> (mistakenly called Ende, probably a nun, illuminator, active in northern Spain 975)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.97dvxp9y34my">Diemudis of Wessobrunn</a></span><span class="c4"> / Diemud (German; nun; scribe; possibly an illuminator, c.1060-1130)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.5vaj9ofryyln">Guda </a></span><span class="c4 c24">(German; nun; scribe and illuminator, c. 1150)</span></p><p class="c47"><span class="c4"> </span><span class="c6 c4"><a class="c8" href="#kix.bgt3zzuspexn">Hildegard of Bingen</a></span><span class="c22 c4 c9"> (born near Mainz; abbess, 1098-1179)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#kix.woex1vq6yvgx">Herrad of Hohenbourg</a></span><span class="c4 c9"> (born Landsberg; nun, </span><span class="c4 c9 c17">d.</span><span class="c4 c9"> 1195) and the </span><span class="c4">illuminated manuscript </span><span class="c4 c17">Hortus deliciarum</span><span class="c3"> </span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.jerhy8et4yd">Claricia</a></span><span class="c3"> (German; secular illuminator; fl. c. 1200)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.7p6g30fxc6yi">Donella</a></span><span class="c4"> (probably born Bologna; secular illuminator; fl. 1271)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.ilznqjx2awp4">Gisle / Gisela von Kerzenbroeck</a></span><span class="c4"> (German; nun; illuminator and probable overseer of a conventual workshop; </span><span class="c4 c17">d.</span><span class="c3"> by 1300)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.zcz2t2fdu3pa">Clara Gatterstedt</a></span><span class="c4"> (German; nun; fl.c.1300-c.1310)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.avgqzya7wixs">Teresa Dieç / Díaz</a></span><span class="c3"> (active in northern Spain, c. 1316)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.ybp5jqa2b4tk">Jeanne de Montbaston</a></span><span class="c4"> (probably born Paris; secular illuminator; fl. 1320-55)</span></p><p class="c20"><span class="c6 c4 c13"><a class="c8" href="#id.f0lnlqfe8cev">Anastasia </a></span><span class="c22 c4 c13 c14">(probably born Paris; secular illuminator; fl. 1400-05)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#id.jxe20t6kbm6v">Onorata Rodiani</a></span><span class="c4 c13 c14"> (born Castelleone; fresco painter; cross-dressed mercenary; c. 1405-1452)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.sgreuopf5it3">Caterina de’ Vigri / St Catherine of Bologna </a></span><span class="c3">(born Bologna; Clarissan nun, 1413-1463)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.sqv6dg57t6e7">Maria Ormani degli Albizzi</a></span><span class="c3"> (born Florence; nun; scribe and illuminator; 1428-c.1470)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.o30cwjly06i6">Barbara Gwichtmacherin</a></span><span class="c3"> (German; nun; illuminator; c.1430/35?-1491)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.g0n5kfawj30z">Agnes van den Bossche</a></span><span class="c3"> (probably born Ghent; c.1435/40-after 1504)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.rq7akfnqsd8g">Tommasa / Tomasa del Fiesca</a></span><span class="c3"> (born Genoa; nun; embroiderer and painter; c.1448-1534</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.c7rumf7cloy9">Barbara Ragnoni </a></span><span class="c4">(Italian; nun; 1448-1533)</span></p><h2 class="c1 c39" id="h.3f3vv9lmvd8q"><span> </span><span class="c6"><a class="c8" href="#id.8xn8rjjaibbm">Artists Born 1450-1679</a></span></h2><p class="c20"><span class="c6 c4"><a class="c8" href="#id.vas38j4t8vtd">Antonia di Paolo di Dono (Uccello) </a></span><span class="c3">(born Florence; Carmelite nun; 1456-1491)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.9062fiy91r08">Betkin Scepens</a></span><span class="c4"> (Flemish; illuminator; fl. 1476-1489), and four other women working in the Bruges workshop of the illuminator and binder Willem Vrelant: an </span><span class="c6 c4"><a class="c8" href="#id.9062fiy91r08">unnamed apprentice</a></span><span class="c4"> (c.1461-63), the </span><span class="c6 c4"><a class="c8" href="#id.9062fiy91r08">associate Matkin </a></span><span class="c4">(1464-66), a </span><span class="c6 c4"><a class="c8" href="#id.9062fiy91r08">Breyel woman</a></span><span class="c4"> who was an apprentice (1467-68), and </span><span class="c6 c4"><a class="c8" href="#id.9062fiy91r08">Mary</a></span><span class="c3">, his wife then widow (d. 1494)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.21d51ucym5zy">Marguerite / Grietkin Scheppers</a></span><span class="c3"> (Flemish; secular illuminator; fl. 1478-1505)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.rvsh3vuuysel">Cornelia Cnoop</a></span><span class="c3"> (born Bruges; miniaturist; 1460/85-after 1529)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.oo54qhmhw9u1">Pellegrina Mazzoni</a></span><span class="c4"> née </span><span class="c4 c13 c14">degli Agazzi</span><span class="c3"> (sculptor; first wife of the sculptor Guido Mazzoni; c.1460?-c.1510/1515)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.ko7poxwi76eb">Clara de Keysere</a></span><span class="c3"> (born Ghent; painter; illuminator; c. 1465-1545)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.3iurc7chmun5">Anna Swenonis</a></span><span class="c3"> / Svensdotter (Swedish; illuminator; Bridgettine nun; c.1465?-1527)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.davu36xo97r7">Cornelie van Wulfskerke</a></span><span class="c4"> (Flemish; Carmelite nun; illuminator; c.1480-1540)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.i67dmwilli2b">Eufrasia Burlamacchi</a></span><span class="c3"> (born Lucca; nun; illuminator; 1482-1548)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.crbn51a683dv">Properzia de' Rossi</a></span><span class="c3"> (born Bologna; sculptor, c. 1490-1530)</span></p><p class="c20"><span class="c6 c4 c13"><a class="c8" href="#id.2hw45yg4maiq">Teodora Danti</a></span><span class="c3 c13"> (born Perugia; writer and painter; c. 1498-c.1573)</span></p><p class="c20"><span class="c6 c4 c13"><a class="c8" href="#id.2ln5gvc74uyx">Dorotea Broccardi </a></span><span class="c4 c13">(Italian; Clarissan nun; scribe and illuminator; active 1520s)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.7c4iutz2togj">Susanna Horenbout / Hornebolt</a></span><span class="c3"> (born in Flanders, worked in England; 1503-c.1554)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.x3ucc1dme7g1">Anna Smijters</a></span><span class="c4"> (probably born Ghent; illuminator; c. 1505/10?-?)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.kv1yw9lfr4bv">Levina Teerlinc</a></span><span class="c3"> (born Bruges, worked at English court; c. 1510/20-1576)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.l9jelcel5x09">Mayken Verhulst Bessemeers </a></span><span class="c4">(born Mechelen; painter; miniaturist; print publisher; watercolorist; c.1518-1600)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.mrobdrszgn3f">Mechtelt van Lichtenberg</a></span><span class="c3"> / toe Boecop (born Utrecht; c.1520-1598)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.efe5rghwjbkv">St. Caterina de’ Ricci</a></span><span class="c4"> (born Florence; Dominican tertiary; mystic; canonized 1746; 1522-1590) and her fellow sisters</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.af10q8g5lczi">Plautilla Nelli</a></span><span class="c4"> (born Florence; Dominican nun; 1524-88) </span><span class="c4">and other nuns who were painters at the convent of S. Caterina da Siena, Florence, in the 16</span><span class="c4 c21">th</span><span class="c3"> C (including the miniaturist Alessandra del Milanese; the painters Veronica Niccolini; Maria Ruggieri; and Agata Traballesi). </span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.m129vnysiorc">Prudenza Fiammetta Cambi</a></span><span class="c4"> (born Florence; Dominican nun; ?-1601)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.pxgpiq3uqa32">Catharina van Hemessen</a></span><span class="c3"> (born Antwerp, later worked in Spain; 1528-1581)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.4410qzcjj8xz">The Anguissola Sisters</a></span><span class="c3"> (born Cremona; Sofonisba, 1532/5-1625, who worked </span></p><p class="c25 c87"><span class="c4">at the Spanish court 1559-73; Elena Angissola (nun; c. 1532-1584); Lucia Anguissola, </span><span class="c3 c13">1536/38-c. 1565-68)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.1b1sfkn0zdlh">Campaspe Giancarli</a></span><span class="c4 c13"> (Venice; “amateur artist”; c.1535?-?)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.4ghb09lmvyck">Irene di Spilimbergo</a></span><span class="c3 c13"> (born Spilimbergo; 1538-1559)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.rlfojc3d2wkk">Anna Coblegers </a></span><span class="c3 c13">(born Antwerp; c. 1545/50?-1566)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.nmv6bm56je7e">Magdalena Pietersz </a></span><span class="c4 c13">(born Haarlem; 1540/60-1614)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.wxt7ucry05gb">Lucrezia Quistelli della Mirandola</a></span><span class="c3 c13"> (born Florence; 1541-1594)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.jf3x5nhwkzfq">Jacquette de Montbron</a></span><span class="c4"> (French; architect; 1542-1598)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.buxs6225hudo">Mayken / Marie Coecke</a></span><span class="c4 c13"> (probably born Brussels; c.1545-1578)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.3tvhjfeuilk9">Mariangela Criscuolo</a></span><span class="c3 c13"> (born Naples; 1548-1630)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.uviuus5vh5zq">Cecilia Riccio / Brusasorci</a></span><span class="c4 c13"> (born Verona; 1549-c.1593)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.6cvdfedrawr">Lavinia Fontana</a></span><span class="c3"> (born Bologna; 1552-1614)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.wawlrt7pk9ur">Barbara Longhi</a></span><span class="c3"> (born Ravenna; 1552-1638)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.m867gqd6hna">Marietta Robusti / Marietta Tintoretto</a></span><span class="c4"> (born Venice; c. 1560-90) </span><span class="c4">and two sisters </span><span class="c6 c4"><a class="c8" href="#kix.m867gqd6hna">Ottavia and Perina </a></span><span class="c3">who were nuns and embroiderers</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.rfo7i3yofv1h">Barbara van den Broeck</a></span><span class="c4 c14"> </span><span class="c3">(born Antwerp; printmaker; c.1558/60-c.1590)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.2y3r2smny8cm">Marguerite Bahuche</a></span><span class="c3"> (born Tours; c.1560/70-1632)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.488eu32rx998">Isabel Sánchez Coello</a></span><span class="c3"> (Spanish; 1564-1612)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.xsfb4vz9nd67">Vittoria Farinato</a></span><span class="c3"> (born Verona; 1565-by mid-1594)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.pszopzk6pnpa">S. Maria Maddalena de’ Pazzi</a></span><span class="c3"> (born Florence; nun; canonized in 1669; 1566-1607)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.8uzvw37nvfvr">Isabella / Elisabetta / Isabetta Parasole </a></span><span class="c3">(born in Rome; printmaker, c.1570-1620) and sister-in-law Geronima Parasole</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.9bj7xqx75tjt">Esther Inglis</a></span><span class="c6 c4"><a class="c8" href="#id.9bj7xqx75tjt"> </a></span><span class="c3">(born in France, worked in Scotland; miniaturist, calligrapher, </span></p><p class="c25 c87"><span class="c3">embroiderer; 1571-1624)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.a61e7z7atsx1">Quintilia Amaltea</a></span><span class="c3"> (probably born Friuli; painter and sculptor; c.1572-after 1611)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.bz270q3026u6">Prudentia Diependale</a></span><span class="c3"> / Profondavalle di Lovania (probably born Milan; c.1575-?)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.8ytz3dekigu2">Isabella Francken</a></span><span class="c3"> (born Paris; c.1575?-1631 or later)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#kix.g87ehlf1shgp">Caterina Pepoli</a></span><span class="c3"> (born Bologna; “amateur artist”; c.1576-?)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.f3ajyq1779m7">Portia Lupiccini </a></span><span class="c3">(born Florence; nun Felice from 1596; miniaturist; born c. 1580/85-?)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.mxr8f3ky046t">Anna van Bouckel</a></span><span class="c3"> (Flemish; printmaker; active in Antwerp, 1600-49)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.w6hjt26xaj6r">Maria Strick</a></span><span class="c4"> / née Becq (born ’s Hertogenbosch; calligrapher and printmaker; 1577-c.1631)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.qsccx69urlsu">Fede Galizia</a></span><span class="c3"> (born Trento; lived in Milan; c.1578-1630)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.kwdpd36but2f">Anna Roemers Visscher</a></span><span class="c4"> (born Amsterdam; 1584-1651) and sister </span><span class="c6 c4"><a class="c8" href="#id.jwzdlloaf8jy">Maria Tesselschade Roemers Visscher</a></span><span class="c4"> </span><span class="c3">(1594-1649), glass engravers</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.qn8urwhpnxe1">Chiara Varotari</a></span><span class="c3"> (born Padua; 1584-c.1663)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ra1vtlf6wfq0">Maria Faydherbe</a></span><span class="c3"> (born Mechelen; sculptor; 1587-1643)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.6lmlm9hdzd9o">Clara Peeters</a></span><span class="c4"> (probably born Antwerp; c. 1587-after 1637)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.1icniatef0fx">Lucrina Fetti</a></span><span class="c3"> (born Rome, nun in Mantua, c.1590-1673)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.7m9k7u8z1pxz">Angelica / Angela Veronica Airola</a></span><span class="c4"> (probably born Genoa; nun; c.1590-1670)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.66r3nmhtbodg">Caterina Ginnasi</a></span><span class="c3"> (Italian; 1590-1660)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.fwpa5v9o5vxh">Antonia Pinelli</a></span><span class="c4"> (born Bologna; active c. 1614-1644)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.ineqoth19u07">Artemisia Gentileschi</a></span><span class="c3"> (born Rome; also worked in Florence, Venice, London, Naples; 1593-1652/3)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.xhwuyhh96uoz">Apollonia van Veen</a></span><span class="c4"> (probably born The Hague; after 1595-1635)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.bfu909qdfg0d">Orsola Maddalena Caccia</a></span><span class="c3"> (born Moncalvo; 1596-1676) and sister Francesca</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.i6aaywkujbyu">Angiola Guglielma Butteri / Angelica Buttero</a></span><span class="c4"> (Italian; nun; c.1596-1676)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.chkrghfr6w26">Maria Eufrasia della Croce</a></span><span class="c3"> (Italian; nun, 1597-1676)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.p3fpgferiexn">Arcangela Paladini</a></span><span class="c19 c4 c13"> (born Pisa; painter, embroiderer, poet, singer; 1599-1622)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.xi01mpgwegl5">Susanna Mayr</a></span><span class="c19 c4 c13"> (born Augsburg; painter; paper-cut artist; 1600-1674)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.pnekzzsprnyp">Luisa Capomazza</a></span><span class="c4 c13 c24"> (probably born Naples; nun; c.1600-1646)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ewed4nb5xgy9">Giovanna Garzoni</a></span><span class="c3"> (born Ascoli Piceno; 1600-70)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.7q6xqsaol3s6">Angela Cherubina Angelelli</a></span><span class="c4"> (probably born Bologna; nun; fl. early 17thC)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.dqpd62j7lxfw">María de Jesús Torres</a></span><span class="c4"> (born Toledo; fl. early 17</span><span class="c4 c21">th</span><span class="c4"> C)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.56zhzk3rv01o">Diana or Anna or Annella/Aniella di Beltrano / née de Rosa</a></span><span class="c3"> (born Naples; 1602-1643)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.r3d4qeca1vgz">Gertruida / Gertruyt van Veen </a></span><span class="c4">/ Malo-van Veen (born Antwerp; 1602-1643)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.o7bmrtxe5zt">Maria de Grebber</a></span><span class="c3"> (born Haarlem; c.1602-1680)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.uoac6mh19sb">Susanna van Steenwyck</a></span><span class="c4"> / née Gaspoel (Dutch; 1602/10-c.1664)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ujz1h199tskh">Margaretha de Heer</a></span><span class="c3"> (born Leeuwarden; 1603-1665)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.19mb2hse9m58">Anna Francisca de Bruyns</a></span><span class="c3"> (born in Belgian village of Morialmé, 1604-1656)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.uqchdp2hoemm">Ortensia Fedeli</a></span><span class="c3"> (Italian; nun; fl. 1625-31)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.v8osr8esv7xa">Alessandra Martelli</a></span><span class="c4"> (probably born Florence; nun; miniaturist; fl. 1625-31)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.x0t3jutigw7">Virginia Vezzi / da Vezzo</a></span><span class="c4"> (Italian; painter, printmaker, teacher; 1606-1638)</span></p><p class="c47 c13 c39"><span class="c6 c4"><a class="c8" href="#id.nsfvdth0whgg">Joan Carlile</a></span><span class="c3"> (English; c. 1606-1679)</span></p><p class="c47 c13 c39"><span class="c6 c4"><a class="c8" href="#id.tjc89dsks5fp">Sara van Baalbergen</a></span><span class="c3"> / Eysen-van Baalbergen (born Haarlem; 1607-after 1638)</span></p><p class="c47 c42 c13"><span class="c6 c4"><a class="c8" href="#id.80vohp6zjui">Cornelia van Blankenburg</a></span><span class="c3"> (probably born The Hague; musician; “amateur” artist?; 1607-1682)</span></p><p class="c26 c13"><span class="c6 c4"><a class="c8" href="#id.e03xygvw540v">Maddalena Corvina</a></span><span class="c4"> (born Rome; miniaturist and printmaker; 1607-1666)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.rpzchashv21f">Anna Maria Schurman</a></span><span class="c4"> (born Cologne, mainly lived in the Netherlands; writer; engraver; </span><span class="c3">worked in pastels; paper-cut artist; embroiderer; 1607-1678)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.dt903jaxbqte">Catarina Ykens I</a></span><span class="c4">, née Floquet (born Antwerp; 1608-after 1666)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.38tqqyxiujqo">Judith Leyster</a></span><span class="c3"> (born Haarlem; 1609-1660)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.tomgskshiisy">Louise Moillon</a></span><span class="c3"> (born Paris; 1610-1696)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.63vkozjybned">María Eugenia de Beer</a></span><span class="c3"> (born Utrecht, active in Spain; painter and engraver;</span></p><p class="c25 c102"><span class="c3">c.1610-1652)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.z4dwbtenwcao">Anna Maria Vaiani</a></span><span class="c22 c4 c23"> (born Florence; painter and printmaker, c.1610-c.1655)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.curula7ri2pm">Catharina van Knibbergen</a></span><span class="c22 c4 c23"> (Dutch; active in The Hague; c.1610s-c.1671?)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.2b8r3gma2nyl">Catharina Peeters</a></span><span class="c22 c4 c23"> (born Antwerp; 1615-after 1676)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.q7jodvwbe72e">Caterina Tarabotti </a></span><span class="c4">(born Venice; active 1659; c. 1615-1693)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.hz6j6neik63d">Plautilla Bricci</a></span><span class="c3"> (Italian; 1616-90; painter and architect active in Rome)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.lot4klylq6l7">Michaelina Woutier / Wautier / Woutiers</a></span><span class="c3"> (born Mons; 1617-1689)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.7vnpu58bn4tc">Ginevra Cantofoli</a></span><span class="c3"> (born Bologna; 1618-1672)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.qnht0ykdg9da">Katharina Pepijn</a></span><span class="c3"> / Pepyn (born Antwerp; 1619-1668 or 1688)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.n2ydknz34zza">Maria van Uden</a></span><span class="c4"> (probably born Antwerp; 1610/30-1665)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.kijtxdwjxbkr">Luise Hollandine Pfalz-Simmern, Pfalzgräfin</a></span><span class="c3"> (born The Hague; abbess, 1622-1709)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.769z48sur3d5">Laura Bernasconi</a></span><span class="c3"> (born Rome; c. 1622-1675)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.2yvb70ra5c2y">Lucrezia Renieri (b. c.1627) and her sisters Clorinda (c.1629-c.1715)</a></span><span class="c4">, Angelica (b. 1631) and Anna (1636-1660/63</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.1eiiofreftly">Margarita Godewyk</a></span><span class="c3"> / Margaretha van Godewijk (born Dordrecht; poet; painter; embroiderer; glass engraver; 1627-1677)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.ahawrbsz36mx">Sophia </a></span><span class="c4">(1628-57), </span><span class="c6 c4"><a class="c8" href="#id.ahawrbsz36mx">Maria</a></span><span class="c4"> (d.1658) and </span><span class="c6 c4"><a class="c8" href="#id.ahawrbsz36mx">Susanna</a></span><span class="c4"> (1631-69) Schwanhard (all born Nuremberg) and their sister-in-law </span><span class="c6 c4"><a class="c8" href="#id.ahawrbsz36mx">Katharina</a></span><span class="c3"> (d.1701) (all glass engravers)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.o9e8g2yxu9z9">Flaminia Triva</a></span><span class="c4"> (born Reggio Emilia; 1629-after 1662)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.wr8rtggdwt6q">Catherine Duchemin</a></span><span class="c3"> / married name Girardon (born Paris; 1630-1698)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.4vw6vfkqgd8b">Josefa de Óbidos / Josefa de Ayala</a></span><span class="c3"> (born Seville, worked in Portugal; 1630-84)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.dvgvadm6idrp">Maria van Oosterwijck</a></span><span class="c3"> (born near Delft; 1630-1693)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.zicdiahc2emn">Johanna Vergouwen</a></span><span class="c3"> (born Antwerp; 1630-1714)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.ks4jvws886lf">Anna Angelica Allegrini</a></span><span class="c4 c13 c14"> (born Rome or Gubbio; fl. mid 17</span><span class="c4 c13 c21 c14">th</span><span class="c4 c13 c14"> C)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.214wcwbwi32c">Ippolita de Biagi</a></span><span class="c3"> (probably born Rome; fl. 1650-65)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.xhxi4tvcf5f">Lucrezia Bianchi</a></span><span class="c4 c13"> (probably born Bologna; active in Modena c. 1650)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.gi7zgabxtp0k">Gesina ter Borch</a></span><span class="c3"> (born Deventer, 1631-1690)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.caldfa4gligr">Lady Elizabeth Wilbraham</a></span><span class="c3"> (born in Staffordshire; architect; 1632-1705)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.c15wsyurbzj8">Mary Beale</a></span><span class="c3"> (born in Suffolk, 1633-1699)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.y47wml2i44as">Anna Maria Carew</a></span><span class="c3"> (miniaturist; active in England, 1660s)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.17v2ljtf8xn1">Giustiniana Guidotti </a></span><span class="c3">(Italian; fl. 1650-65)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.3wmmlwln5dk2">Paulina Grandi </a></span><span class="c4">(Venetian; fl.1660-65)</span></p><p class="c18"><span class="c4">C</span><span class="c6 c4"><a class="c8" href="#id.hjimiall0atz">atharina Oostfries</a></span><span class="c3"> (born Nieukoop; painter and glass painter; 1636-1708)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.9esm1g73oqrb">Geertgen / Geertje Wyntges also known by her patronymic Pieters</a></span><span class="c4"> (born Delft; 1636-1712)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.4j0d2u22skxg">Lucia Scaligeri </a></span><span class="c4 c13">(born Venice; 1637-1700)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.l6mc2slrur9e">Elisabetta Sirani</a></span><span class="c3"> (born Bologna; 1638-65), and her sisters Anna and Barbara</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.r8eo3bcpt7iw">Josefa Sánchez</a></span><span class="c3"> (Spanish; active 1639-1649)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.duyx8ij9oqmh">Jacoba van Veen</a></span><span class="c4"> (born Leiden; painter and calligrapher; c.1639-after 1675)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.8wi99o3sua8f">Maria Theresa</a></span><span class="c4"> (1640-1706), </span><span class="c6 c4"><a class="c8" href="#id.8wi99o3sua8f">Anna Maria</a></span><span class="c4"> (1641-?) and </span><span class="c6 c4"><a class="c8" href="#id.8wi99o3sua8f">Francoise Katharina van Thielen</a></span><span class="c4"> (1645-?) (all born Mechelen)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.2vaqaxnrsri8">Antoinette Hérault</a></span><span class="c3"> (born Paris; 1642-1695)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.xfmrskx7x6w">Anna Katrina Fischer / married name Block</a></span><span class="c3"> (born in Nuremberg; c.1642-1718)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.3bewgcmbqeez">Mariana and her sister Gratia</a></span><span class="c3"> (Venetian; fl. 1663)</span></p><p class="c75 c107"><span class="c6 c4"><a class="c8" href="#id.767jpuoz5wzp">Sara Saftleven</a></span><span class="c4"> (born Utrecht; 1644-1702)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.7awe8s3dx2r0">Maria de Dominici</a></span><span class="c3"> (born in Malta; nun, sculptor and painter, 1645-1703)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.xw9vlu7mmvnb">Isabella Maria dal Pozzo</a></span><span class="c4"> (born Turin; c.1645?-1700)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.me5vvk53r1ts">Geneviève Boullogne</a></span><span class="c4"> (1645-1708) and her sister </span><span class="c6 c4"><a class="c8" href="#id.me5vvk53r1ts">Madeleine Boullogne</a></span><span class="c3"> (1646-1710); both born Paris)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.nr5ovsoow062">Regina Heintz / Enzo</a></span><span class="c3"> (probably born Venice; c.1646-before 1709)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.b8qikca25tgv">Maria Schalcken</a></span><span class="c3"> (Dutch, c.1647/50-1699)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.7qxz6j1z8hdm">Aleijda Wolfsen</a></span><span class="c3"> (born Zwolle; 1648-1692)</span></p><p class="c25 c42"><span class="c6 c4 c13"><a class="c8" href="#id.9ldmb7bgfew0">Teresa Del Pò</a></span><span class="c4 c13"> (born Naples; printmaker; worked in pastels; 1649-1713)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.thxirzlpv3m3">Maria Sibylla Merian</a></span><span class="c3"> (born Frankfurt; 1647-1717)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.akdzn7oyg7js">Elisabeth Sophie Chéron</a></span><span class="c4"> / </span><span class="c4">married name Madame Le Hay </span><span class="c3">(born Paris; poet, painter and printmaker, 1648-1711)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.jhxduqdj6ef">Elisabetta Marchioni</a></span><span class="c3"> (born Rovigo; c. 1650-1700)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.3ept5msmb4n7">Anna Felicitas Neuberger </a></span><span class="c4">(born Augsburg; miniaturist; sculptor; c. 1650-after 1731)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.d1m23f2m60q6">Margherita Caffi</a></span><span class="c4"> née Volo (probably born Milan; 1650-1710)</span></p><p class="c25 c42"><span class="c6 c4 c13"><a class="c8" href="#id.jkvxxdctwoi9">Anne Carlisle</a></span><span class="c3 c13"> (English; c.1650??-c1680)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.htz0sufnfcf7">Diana Glauber</a></span><span class="c3 c13"> (born Utrecht; 1650-c.1721)</span></p><p class="c25 c42"><span class="c6 c4 c13"><a class="c8" href="#id.z7fqbx2rly4y">Marie Blancour</a></span><span class="c3 c13"> (French; fl. 1650-1699)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#kix.khrmcbbrwe9b">Joanna Koerten</a></span><span class="c4"> / married name Joanna Block (born Amsterdam; glass engraver; paper-cut artist; 1650-1715)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.6kuiqm13kkcm">Susanna van Egmont</a></span><span class="c3"> (born Paris; miniaturist; 1651-before 1709)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.1yzt4zuwh20o">Helena Roovers</a></span><span class="c4"> (Danish; 1651-1675)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.evqsx8y75ufu">Anne Marie Renée Strésor</a></span><span class="c3"> (French; member of the Academy from 1676; a nun late in life; 1651-1713)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.lphyyg7egunp">Marie Duchatel / Chastel</a></span><span class="c3"> (born Brussels; miniaturist; 1652-1692)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.clh9ocyqgh9s">Magdalena Fürstin</a></span><span class="c4"> (born Nuremberg; hand-colourist; 1652-1717)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.fsgntq5tptgm">Susan Penelope Rosse</a></span><span class="c3"> (probably born London; miniaturist, c.1652-1700)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.kbfmd6yip9n1">Cornelia de Rijck</a></span><span class="c3"> (born Amsterdam; painter and paint seller; 1653-1726)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.g2in4zardguv">Maria Oriana Galli da Bibiena</a></span><span class="c4"> (born Bologna; 1656-1749)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#id.jrvt6p5dlea0">Marie Courtois</a></span><span class="c3 c13"> / married name Nattier (probably born Paris; miniaturist; c.1655-1703)</span></p><p class="c25 c42"><span class="c6 c4 c13"><a class="c8" href="#kix.pvwwpyus3tl0">Adriana Spilberg </a></span><span class="c3 c13">(born Amsterdam; 1656-c.1703)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.a6p41mvoxi7z">Elizabeth Neale</a></span><span class="c4 c13"> (English; fl. Antwerp? 1662)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.y4ct3yy2wffk">Lucrezia Scarfaglia </a></span><span class="c3">(probably born Bologna; active 1677-78)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.sh7psqm2jdqp">Sophia Holt</a></span><span class="c4"> (born Zwolle; 1658-1734)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.xb7lsaegsbul">Agnese Dolci </a></span><span class="c22 c4 c44">(born Florence; 1659-1731)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.5i62c9vst0oi">Catarina Ykens II</a></span><span class="c4 c44"> (born Antwerp; 1659-in or after 1737)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.1p1kbrjhbllh">Anne Killigrew</a></span><span class="c19 c4"> (born London; poet; painter; 1660-1685)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.8eb3z3bp5mvg">Gentile Zanardi</a></span><span class="c19 c4"> (probably born Bologna; 1660-c.1700)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.6mbaavefbc42">Cornelia van Marle</a></span><span class="c19 c4"> (born Zwelle; 1661-1698)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.tfvuuzuxefzm">Angela Teresa Muratori Scanabecchi</a></span><span class="c19 c4"> (born Bologna; composer and painter; 1661-1708)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.g676t286h10l">Amalia / Emilie Wilhelmina Königsmarck</a></span><span class="c19 c4"> (Swedish; “amateur” artist; 1663-1740)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.csg8lzp0lnfp">Alida Withoos</a></span><span class="c4 c24"> (born Amersfoort; botanical painter; c.1661-1730) and her sister </span><span class="c6 c4"><a class="c8" href="#id.atryyfta09z0">Maria </a></span><span class="c4 c13 c14">(born Amersfoort; 1663-after 1699)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.f7vqngprnaln">Maria Vittoria Cassana</a></span><span class="c4 c24"> (born Genoa; c.1660/70?-1711)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ecz02buro7bf">Rachel Ruysch</a></span><span class="c3"> (born The Hague; 1664-1750)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.5ukt22lc1wvz">Angela Beinaschi</a></span><span class="c3"> / Benaschi (born Naples; 1666-1746)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.ct9otur0npg7">Anna Maria Ehrenstrahl </a></span><span class="c4 c13 c14">(born Stockholm; 1666-1729)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.127ci2ghfxew">Giovanna Fratellini</a></span><span class="c22 c4 c44"> (born Florence; miniaturist and pastellist; 1666-1731)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.tl4df5ehm0nf">Anna Maria de Koker</a></span><span class="c22 c4 c44"> (born Amsterdam; painter and printmaker; 1666-1698)</span></p><p class="c47 c39"><span class="c6 c4"><a class="c8" href="#id.bb8b4cnq6eqg">Anna Ruysch</a></span><span class="c22 c4 c44"> (born The Hague; 1666-1754)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.253k5eyqbg9n">Johanna Helena Graff</a></span><span class="c22 c4 c44">, married name Herold / Herolt (born in Frankfurt; 1668-c.1723)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.fqas4d0j0ii">Maria Elena Panzachi </a></span><span class="c4 c10">(born Bologna; 1668-1737)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.4f5er5lh7oww">Aleida Greve </a></span><span class="c22 c4 c44">(born Zwolle; 1670-1742)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.bo8466dcla4t">Anna Cornelia Holt</a></span><span class="c22 c4 c44"> (born Zwolle; 1671-1692)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.yr1vyemelq60">Charlotte Catherine Patin</a></span><span class="c22 c4 c44"> (probably born Paris; author; art historian; c.1672-1744?)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.nvssgcbxtjm5">Maria Moninckx</a></span><span class="c4 c44"> (born The Hague; 1673?-1757)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.q1l3uek5pwoc">Rosalba Carriera</a></span><span class="c3"> (born Venice; also worked in Paris, Vienna and elsewhere; 1675-1757)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.cakg4y7b477o">Maria Clara Eimmart </a></span><span class="c4">married name Muller (born Nuremberg; engraver, designer, astronomer; 1676-1707)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.45ubvhqurciy">Lucia Casalini Torelli </a></span><span class="c3">(born Bologna; 1677-1762)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.hpcc01drluws">Dorothea Maria Graff</a></span><span class="c4"> / married name Gsell (Born Nuremberg; worked in Amsterdam and Saint Petersburg; 1678-1743)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.yclquouqztck">Anna </a></span><span class="c6 c4"><a class="c8" href="#id.yclquouqztck">Waser</a></span><span class="c3"> (born Zurich; etcher and miniaturist; 1678-1714)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.kryeakqq85x5">Margareta Wulfraet</a></span><span class="c3"> (born Arnhem; 1678-1760)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.wbu8e7wa74pb">Faustina Maratti </a></span><span class="c3">(born Rome; poet and painter; c. 1679-1745)</span></p><h2 class="c1 c87" id="h.2lvrqsvp2b73"><span class="c6"><a class="c8" href="#id.o2xpu95qwvmo">Artists born 1680-1699</a></span></h2><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.uvga4jsel788">Maria Verelst</a></span><span class="c3"> (born Vienna; worked in London; 1680-1744)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.dhqxh84dsmyo">Anna Metrana</a></span><span class="c4"> (active Turin, c. 1700-18)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.6hohhn7apggd">Giulia Lama</a></span><span class="c3"> (born Venice; 1681-1747)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.hbvzjwvyc5b5">Margareta Capsia </a></span><span class="c4">(Finnish; 1682-1759)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.6oj13grz53v8">Maria de Wilde</a></span><span class="c4"> (born Amsterdam; printmaker and playwright; 1682-1729)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.toymy5f6g103">Catharina Elisabeth Heinecken</a></span><span class="c3"> née Oesterreich (born Lübeck; painter; printmaker; alchemist; 1683-1757)</span></p><p class="c47 c42"><span class="c6 c4 c13"><a class="c8" href="#id.vl5idurc12uq">Anna Maria Thelott</a></span><span class="c4 c13 c24"> (born Uppsala; printmaker and miniaturist; 1683-1710)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.fpzjmpwbenc3">Anthonyna / Anthonia Houbraken</a></span><span class="c3"> (born Dordrecht; draftsperson; 1686-1736)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.rswqwf40ie7m">Teresa Berenice Vitelli</a></span><span class="c4 c24"> / nun Veronica </span><span class="c3">(born Florence; 1687-1738)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.y6i3bzbeazkj">Anna Barbara Murrer</a></span><span class="c3"> (born Nuremberg; 1688-1721)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.n8y3x2g6kjww">Amalia Pachelbel </a></span><span class="c3">(married Johann Beer in 1715; painter, embroiderer; born Erfurt 1688-1723)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.6ljmvahidjjk">Anna Maria Werner née Haid</a></span><span class="c3"> (born Gdansk; miniaturist; 1688-1753)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.6sxlnmnii5wo">Catharina Backer</a></span><span class="c4 c13"> (born Amsterdam; collector and painter; 1689-1766)</span></p><p class="c25 c42"><span class="c6 c4"><a class="c8" href="#id.lt29w7la8niy">Maria Giovanna Clementi</a></span><span class="c4"> / La Clementina (born Turin; 1690-1761)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.5enb919my3fp">Jacoba Maria van Nickelen</a></span><span class="c4"> (born Haarlem; c.1690-1749)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.l5s3fkd1m7rj">Henriëtte Wolters née van Pee</a></span><span class="c4"> (born Amsterdam; miniaturist and painter; 1692-1741)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.1362c9x05k2b">Margaretha Haverman</a></span><span class="c3"> (born Breda; 1693-after 1723)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.1japaw1ympq5">Anna Folkema</a></span><span class="c3"> (born Dokkum; printmaker; miniaturist; 1695-1768)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.3iqzhe9m232d">Christina Houbraken</a></span><span class="c3"> (born Dordrecht; 1695-after Feb 1760)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.5i1w02l9xdm6">Caterina de Julianis</a></span><span class="c4 c24"> (probably born Naples; nun; painter; wax modeler; c.1695-1742)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.5ayqebxcx50s">Helena Arnell</a></span><span class="c3"> (Finnish; 1697-1751)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.5ai2oxe2619m">Maria Weenix</a></span><span class="c3"> (born Amsterdam; 1697-1774)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.xdgwqcgawdkd">Susanna Drury </a></span><span class="c3">(married name Warter; born Dublin; c.1698-c.1770)</span></p><p class="c47 c42"><span class="c6 c4"><a class="c8" href="#id.vg4laf7z6wvp">Catharina Sperling-Heckel / Sperlingen</a></span><span class="c4"> (born Augsburg; miniaturist; printmaker; 1699-1741)</span></p><h2 class="c1" id="h.btb7802e98nu"><span class="c6"><a class="c8" href="#kix.pwbk6fwk4rmu">Patronage (by, for, and of European women): general and miscellaneous</a></span><span class="c7"> </span></h2><h2 class="c1" id="h.jpn9r1q5c9ll"><span class="c6"><a class="c8" href="#kix.4q1ww5pyvzmw">Women Patrons: Antiquity</a></span><span class="c7"> </span></h2><h2 class="c1" id="h.yqlypva0do3o"><span class="c6"><a class="c8" href="#kix.g7lqvu3885tv">Women Patrons: Byzantine</a></span><span class="c7"> </span></h2><h2 class="c1" id="h.rt47ki862bzs"><span class="c6"><a class="c8" href="#kix.ila9n6manluy">Women Patrons: </a></span><span class="c6"><a class="c8" href="#kix.ila9n6manluy">Medieval</a></span><span class="c7"> </span></h2><h2 class="c1" id="h.gd5r1e9b1hqq"><span class="c6"><a class="c8" href="#kix.70xgv7fwtt4r">Women Patrons: Renaissance and Early Modern</a></span><span class="c7"> </span></h2><h2 class="c1" id="h.e59zhyuqnm3w"><span class="c6"><a class="c8" href="#id.cdo2eimpgnc4">Individual Patrons: Europe (organized by birthdate)</a></span></h2><h2 class="c1 c39" id="h.x7vr4716k343"><span> </span><span class="c6"><a class="c8" href="#id.dmaaihmmq6vp">Patrons Born Before 1450</a></span></h2><p class="c47"><span class="c38"> </span><span class="c6 c4 c13"><a class="c8" href="#id.rmqi3lbn1cki">Queen Hatshepsut </a></span><span class="c4 c13">(1508–1458 BCE; Queen of Egypt)</span></p><p class="c47"><span class="c38"> </span><span class="c6 c4"><a class="c8" href="#kix.uz1ff8ejclh">Cleopatra VII</a></span><span class="c3"> (69-30 BCE; Queen of Egypt from 51 BCE)</span></p><p class="c47"><span class="c4"> </span><span class="c6 c4"><a class="c8" href="#kix.o3m04gmk04mg">Livia Drusilla</a></span><span class="c3"> (59 BCE-29 CE; Empress of the Roman Empire 27 BCE-14 CE)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.u9djdu7zjvve">Helena / St Helena</a></span><span class="c3"> (c.246/48-c.330; Empress of the Roman Empire from 325)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.2e5e85wsb2jj">Julia Domna</a></span><span class="c4"> </span><span class="c4 c14">(c. 160–217; </span><span class="c4">Empress of the Roman Empire</span><span class="c22 c4 c14"> from 193 to 211)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.eefz0fwcf26o">Aelia Galla Placidia</a></span><span class="c22 c4 c14"> (388-89/392-93 to 450; regent to Valentinian III from 423 until his majority in 437)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.95yu7vej6umw">Anicia Juliana</a></span><span class="c4"> (Constantinople</span><span class="c22 c4 c14">, 462-527/528)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.u7qresa4rv6r">Theodora</a></span><span class="c3"> (c. 500-548; Empress of the Byzantine Empire from 527)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.aigdp533uv57">Aelflaed</a></span><span class="c4"> (English; Queen; early 10</span><span class="c4 c21">th</span><span class="c3"> C)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ckbree60fjl6">Theophano/Theophanu of Byzantium</a></span><span class="c3"> (Holy Roman Empress; 958-991)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.t19komvf7oyp">Mathilde, Abbess of Essen</a></span><span class="c3"> (949-1011; German; nun)</span></p><p class="c25 c43"><span class="c6 c4"><a class="c8" href="#kix.7b5ar4upa9u8">Uta of Regensburg</a></span><span class="c3"> (abbess from c. 990-at least 1025)</span></p><h2 class="c82 c60 c66 c48 c115" id="h.o2hnvv5ecg6e"><span class="c6 c52"><a class="c8" href="#id.yqi12vknic9i">Gertrude of Braunschweig</a></span><span class="c3"> (ca. 1010-1077; countess of Brunswick, Lower-Saxony)</span></h2><p class="c76"><span> </span><span class="c6 c4"><a class="c8" href="#id.ccfr7q4o6ebb">Petronilla of Holland</a></span><span class="c4"> (b. ca. 1082-d. 1144; countess of Holland)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.suy9ampfaz7">Adelaide of Maurienne</a></span><span class="c3 c13"> (1092-1154; Queen of France)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.b38tgttq7miv">Urraca of Leon-Castile</a></span><span class="c3 c13"> (b. 1079; reigned 1109-26; Queen of Leon-Castile)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.8q6ntctwo5t0">Sancha</a></span><span class="c4 c13"> (ca. 1095–1159; </span><span class="c4 c13">Queen of Leon-Castile</span><span class="c4 c13">)</span></p><p class="c25 c63"><span class="c6 c4 c40"><a class="c8" href="#kix.ewyc6tctkb0b">Melisende</a></span><span class="c4 c40 c23"> (1105-61; Queen of Jerusalem)</span></p><p class="c25 c63"><span class="c6 c4 c13"><a class="c8" href="#kix.2ldy8ioi3zj9">Eleanor of Aquitaine</a></span><span class="c3 c13"> (1122-1204; Duchess of Aquitaine; Queen of France; Queen of England)</span></p><p class="c25 c63"><span class="c6 c4 c13"><a class="c8" href="#id.ze27b1kh2m7l">Agnes II of Meissen</a></span><span class="c4 c13"> (born Meissen; abbess; 1139-1203)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.11dno2axujdu">Matilda of England</a></span><span class="c3 c13"> (1156-1189; Duchess of Saxony and Bavaria)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.4matb3a7g7zx">Leonor of England</a></span><span class="c3 c13"> (ca. 1161-1214; Queen of Castile)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.8juormdvnhor">Berenguela of Castile</a></span><span class="c3 c13"> (1180-1246; Queen of Castile and Leon)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.5oqq478yz36o">Tamar</a></span><span class="c4"> (1184-1213; Queen of Georgia)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.2y4fsrok40pn">Blanche of Castile</a></span><span class="c3 c13"> (1188-1252; Queen of France)</span></p><p class="c25 c63"><span class="c6 c4 c13"><a class="c8" href="#id.77riggirzzjo">Tamta </a></span><span class="c6 c4 c96"><a class="c8" href="#id.77riggirzzjo">Mqargrdzeli</a></span><span class="c4 c44 c96"> (c. 1190-1254; noblewoman from Armenia; ruler of Akhlat)</span></p><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#kix.suex24xmkpg7">Marguerite of Burgundy and Tonnerre</a></span><span class="c3"> (1248-1308; Countess of Anjou and Queen of Sicily and Naples) </span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.nvz4tittzzde">Maria of Hungary, Queen of Naples</a></span><span class="c3"> (1257-1323)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.262xfn3fbxjv">Marie of Brabant</a></span><span class="c4 c13 c23"> (1260-1321: Queen of France)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.gj02c77rlber">Mahaut (Mathilda) d’Artois</a></span><span class="c3"> (1268-1329; Countess of Artois from 1302; Regent of Burgundy 1303-1315)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.myxglueiouch">Jeanne of Navarre and Champagne</a></span><span class="c3"> (1273-1305; Queen of France and Navarre and Countess of Champagne)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.mtwr0arofkm3">Jacopina d’Este</a></span><span class="c4"> (c.1285??-1365; daughter of Francesco d’Este, Marquis of Ferrara; wife of Enrico Scrovegni of Padua; married c.1301)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.4txkrcdlqb1v">Jeanne of Burgundy and Artois</a></span><span class="c3"> (1292-1330; Queen of France and Countess of Burgundy and Artois, wife of Philip V)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.pqhvf2qgutz2">Clémence of Hungary</a></span><span class="c3"> (1293-1328; Queen of France)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.fgadi7qx5du0">Jeanne of Burgundy</a></span><span class="c3"> (1293-1349; Queen of France, wife of Philip VI)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.b5w956kzuezi">Isabella of France</a></span><span class="c4 c13 c14"> (1295-1358; Queen of England)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.3nbjaivz4shc">Marie of St. Pol</a></span><span class="c4 c13 c14"> (c.1303–1377; Countess of Pembroke) </span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.sgcscmbadhcx">Jeanne d’Evreux</a></span><span class="c3"> (1310-1371; Queen of France)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.8uknboqfwb63">Philippa of Hainault</a></span><span class="c4 c13 c14"> (c.1310–1369; Queen of England)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.a2hy0uidfnl5">Jeanne II, Queen of Navarre</a></span><span class="c3"> (1312-1349)</span></p><p class="c62 c63 c13"><span class="c6 c4"><a class="c8" href="#id.kbvfzurbctli">Joanna I of Naples</a></span><span class="c4 c24"> (1326-1382; Queen of Naples from 1343; also titled Queen of Jerusalem and Sicily)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.5rpv0ylbrasv">Yolande of Flanders</a></span><span class="c19 c4"> (1326–1395; countess of Bar and dame de Cassel)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.4n3tbanh9xsa">Fina Buzzacarini</a></span><span class="c19 c4"> (1328-1378; wife of Francesco I da Carrara, lord of Padua)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.a6w1o6okw5qi">Blanche of Navarre</a></span><span class="c19 c4"> (1330-1398; Queen of France)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.8vwwr43d01b0">Agnese / Agnesina da Mosto</a></span><span class="c4 c24"> (c.1333/42-1410; wife of Doge Antonio Venier)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.z3hbq1w7k4fb">Maddalena Scrovegni </a></span><span class="c3">(1356-c.1429; born Padua; wife of Francesco Manfredi, wealthy widow by 1381)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.juru49wo0m1u">Angellela di Pietro</a></span><span class="c19 c4"> (probably born Perugia; active 1403)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.cvjf3brbhl21">Isabeau of Bavaria</a></span><span class="c4 c24"> (</span><span class="c4 c14">1370-1435: Queen of France)</span></p><p class="c18"><span class="c6 c4 c13"><a class="c8" href="#kix.uo0jgyupngtm">Valentina Visconti</a></span><span class="c4 c13 c14"> (1371-1408: Countess of </span><span class="c4 c13 c129"><a class="c8" href="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Vertus&sa=D&ust=1597863595348000&usg=AOvVaw1_c2_ogRT7TV0IYjdyjEto">Vertus</a></span><span class="c22 c4 c13 c14"> and Duchess of Orléans)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#id.aeztl48s4h0x">Marie of Anjou</a></span><span class="c4 c24"> (</span><span class="c4 c14">1404-1463: Queen of France)</span></p><p class="c26"><span class="c6 c4 c13"><a class="c8" href="#id.9d8l57on0jb5">Caterina Piccolomini</a></span><span class="c4 c13 c23"> (c.1410/15-?; born near Siena; married 1430; sister of Pope Pius II)</span></p><p class="c47 c63 c13"><span class="c6 c4"><a class="c8" href="#id.1ltiupqw3gxj">Lucrezia de’ Medici née Tornabuoni </a></span><span class="c4 c24">(1427-1482; born Florence; wife of Piero de’ Medici, mother of Lorenzo ‘il Magnifico’)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.zh0y84v312f5">Lady Margaret Beaufort</a></span><span class="c4"> (1443-1509; mother of English king Henry VII)</span></p><h2 class="c1 c107" id="h.y6ww6l9tn6c2"><span class="c14"> </span><span class="c6"><a class="c8" href="#id.f812l6t119ep">Patrons Born 1450-1699</a></span></h2><p class="c47 c63"><span class="c6 c4"><a class="c8" href="#id.sutv3lsfsx82">Caterina Cornaro</a></span><span class="c3"> (1454-1510; last Queen of Cyprus, until 1489; thereafter she held court in the fiefdom of Asolo near Venice)</span></p><p class="c26"><span class="c4 c6"><a class="c8" href="#id.1759plv7kplc">Mary of Burgundy</a></span><span class="c4"> (1457-1482; Duchess of Burgundy)</span><span class="c4"> </span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.r37wuil6ojin">Eleanor of Portugal / ‘Dona Leonor’/ Eleanor of Viseu</a></span><span class="c19 c4"> (1458-1525)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.6p7awandkar2">Atalanta di Galeotto Baglioni </a></span><span class="c19 c4">(c.1460?-1509; married Griffone di Braccio Baglioni)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.qbo8i5vdub4b">Caterina Sforza</a></span><span class="c4 c24"> (1463-1509; born Milan; Countess of Forlì; wife of Lord of Imola; after his death (1488) regent for her son Ottaviano Riario)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.77lhb3r93oz8">Agnesina Badoer Giustinian</a></span><span class="c3"> (c. 1472-1542; wealthy Venetian noblewoman)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.uaeh1775mwup">Alfonsina Orsini</a></span><span class="c4"> (1472-1520; born Naples; married Piero di Lorenzo de’ Medici in 1488; regent of Florence 1515-19)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#id.caco37fyc5gx">Elena Duglioli dall’Olio</a></span><span class="c3"> (1472-1520; born Bologna; aristocrat, beatified in 1828)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.6egsbyb9puxs">Isabella d’Este</a></span><span class="c3"> (1474-1539; Marchioness of Mantua)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.axsqrlb9wgd2">Anne of Brittany</a></span><span class="c3"> (1477-1514; Queen of France)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.60crfnuwpofz">Giovanna ‘da Piacenza’</a></span><span class="c3"> (1479-1524; nun and abbess in Parma)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.yzul5gl3j9pe">Margaret of Austria</a></span><span class="c4"> (1480-1530; Archduchess; Governor of the Hapsburg Netherlands, 1507-15, 1519-30)</span></p><p class="c20"><span class="c6 c4"><a class="c8" href="#kix.l6skpmw7sx6d">Felice della Rovere</a></span><span class="c3"> (c.1483-1536; illegitimate daughter of Pope Julius II)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.rxddzis26hf4">Vittoria Colonna</a></span><span class="c3"> (1492-1547; noblewoman and poet)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.731gtxclo3it">Eleonora Gonzaga</a></span><span class="c3"> (1493-1550; born Mantua; Duchess of Urbino 1521-38)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.yklokwswdn7w">Claude of France</a></span><span class="c3"> (1499-1524; Queen of France)</span></p><p class="c26"><span class="c6 c4"><a class="c8" href="#id.2emgqeeqmku">Camilla Peretti </a></span><span class="c4">(1519-1605; Roman noblewoman; sister of Pope Sixtus V)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.t45bol4trbdu">Catherine de’ Medici</a></span><span class="c3"> (1519-1589; Queen of France 1547-1559, and thereafter Queen mother)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.aoxrex7nwgsj">Bess of Hardwick / Elizabeth Cavendish, later Elizabeth Talbot, Countess of Shrewsbury</a></span><span class="c22 c4 c14"> (c. 1521/22 or 1527-1608)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.4isa255ibckr">Eleonora di Toledo</a></span><span class="c22 c4 c14"> (1522-1562; from 1539 wife of Florentine Duke Cosimo I de’ Medici)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.fpolebn2xrwb">Elizabeth I</a></span><span class="c4 c14"> </span><span class="c22 c4 c14">(1533-1603; Queen of England and Ireland from 1558)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.kky2dyx4waxk">Christine of Lorraine</a></span><span class="c4 c14"> (1565-1637; Grand Duchess of Tuscany; co-regent 1621-28)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.2jgwiqmkd13g">Marie de’ Medici</a></span><span class="c22 c4 c14"> (1575-1642; Queen of France 1600-1610; regent 1610-1617)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.sf8wpel6eecz">Maria Maddalena of Austria</a></span><span class="c4 c14"> (1589-1631; Archduchess of Austria; Grand Duchess of Florence, 1609-21; co-regent 1621-28)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.ipcmf53q3bdx">Anne Clifford</a></span><span class="c22 c4 c14"> (1590-1676; Countess of Dorset, Pembroke and Montgomery)</span></p><p class="c18"><span class="c6 c4"><a class="c8" href="#kix.qwsru2fku4mo">Henrietta Maria of France</a></span><span class="c22 c4 c14"> (1609-1669; wife of king Charles I, 1625-1649)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#kix.d61eu0f8hqmw">Queen Christina of Sweden</a></span><span class="c3"> (1626-89; abdicated 1654, converted to Catholicism and moved to Rome)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.23ad0cecb5m0">Agnes / Agneta Block</a></span><span class="c4"> (1629-1704; art collector; horticulturalist; paper-cut artist)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.qvhv1u73nc2">Mariana of Austria</a></span><span class="c3"> (1634-1696; born near Vienna; Queen of Spain as wife of Philip IV, 1649-1665, then regent until 1675)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.n3s28n1qvwx9">Hedwig Eleonora </a></span><span class="c3">of Holstein-Gottorp (German; Queen of Sweden 1654-60 then regent until 1672; 1636-1715)</span></p><p class="c25 c63"><span class="c6 c4"><a class="c8" href="#id.e8iadqebxd43">Anna Maria Luisa de’ Medici</a></span><span class="c3"> (born Florence; Electress Palatine; 1667-1734)</span></p><p class="c15 c63"><span class="c3"></span></p><p class="c25"><span class="c6 c38"><a class="c8" href="#kix.leb9y6d99zw3">Online Resources</a></span></p><hr style="page-break-before:always;display:none;"><h2 class="c98 c66 c48 c123" id="h.m0rw1qkfh3nd"><span class="c7"></span></h2><a id="kix.aof7tpr7otmh"></a><h1 class="c77 c66" id="h.v8xpjicz2c83"><span>General: Women Artists </span><span class="c3">(Global)</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">Amussen, Susan D. and Adele Seeff (eds). </span><span class="c4 c17">Attending to Early Modern Women.</span><span class="c4"> Newark: University of Delaware Press, 1998. Eg Corine Schleif. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/9473681/Corine_Schleif_The_Roles_of_Women_in_Challenging_the_Canon_of_Great_Master_Art_History&sa=D&ust=1597863595357000&usg=AOvVaw2YnAZVY-xOH_HlPs21yg3w">The roles of women in challenging the canon of ‘great master’ art history</a></span><span class="c3">”; Sheila ffolliot. “Putting women in the picture: gender and art history in the classroom.”</span></p><p class="c11"><span class="c4">Bachmann, Donna and Sherry Piland (eds). </span><span class="c4 c17">Women Artists: An Historical, Contemporary and Feminist Bibliography. </span><span class="c3">Metuchen, New Jersey: Scarecrow Press, 1978. 2nd ed., 1995.</span></p><p class="c11"><span class="c4">Baddeley, Orana, Griselda Pollock and Marsha Weidner; revised Sonja Gandert. “Women and Art History.” </span><span class="c4 c17">Grove Art Online. </span><span class="c3">Published online 2003, revised and updated 2019. Sections on Western World, Latin America, and East Asia.</span></p><p class="c11"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/the-politics-of-exhibiting-female-old-masters/&sa=D&ust=1597863595358000&usg=AOvVaw2BbKEekM8uHEI8tGE3J6d3">Women Artists and Their Contended Place in Public History</a></span><span class="c4">.” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">16 April 2020.</span></p><p class="c11"><span class="c4">Barlow, Margaret. </span><span class="c4 c17">Women Artists.</span><span class="c3"> New York: Hugh Lauter Levin, 1999. </span></p><p class="c11"><span class="c4">Bermingham, Ann. “The aesthetics of ignorance: The accomplished woman in the culture of connoisseurship.” </span><span class="c4 c17">Oxford Art Journal </span><span class="c3">16 no 2 (1993): 3-20.</span></p><p class="c11"><span class="c4 c13 c105">Bermingham, Ann. </span><span class="c4 c13 c105 c17">Learning to Draw. Studies in the Cultural History of a Polite and Useful Art. </span><span class="c4 c13 c105">New Haven: Yale University Press, 2000. From the abstract: “As early as the sixteenth century, drawing in England came to be seen as something more than an activity exclusive to artists—it became a polite and useful art, a practice of everyday life. This generously illustrated book explores the social and cultural processes that enabled drawing to emerge as an amateur pastime, as well as the meanings that drawing had for people who were not artists. Ann Bermingham shows how the history of drawing in England—from the age of Elizabeth I to the era of early photography—mirrored changes in society, politics, the practical world, and notions of self.</span><span class="c3">” The practice, and its implications extend well beyond England.</span></p><p class="c11"><span class="c4">Borzello, Frances. </span><span class="c4 c17">A World of Our Own: Women as Artists Since the Renaissance</span><span class="c3">. New York: Watson-Guptill, 2000. Includes “Out of the Shadows, 1500-1600,” pp. 15-49.</span></p><p class="c11"><span class="c4">Broude, Norma and Mary D. Garrard (eds). </span><span class="c4 c17">Feminism and Art History: Questioning the Litany. </span><span class="c3">New York: Harper and Row, 1982.</span></p><p class="c11"><span class="c4">Broude, Norma and Mary D. Garrard. “Feminist Art History and the Academy. Where Are We Now?” </span><span class="c4 c17">Women’s Studies Quarterly </span><span class="c3">15 nos 1-2 (Spring-Summer 1987): 10-16.</span></p><p class="c11"><span class="c4">Broude, Norma and Mary Garrard. “An Exchange on the Feminist Critique of Art History.” </span><span class="c4 c17">Art Bulletin</span><span class="c3"> 71 (1989): 124-26.</span></p><p class="c11"><span class="c4">Broude, Norma and Mary Garrard (eds). </span><span class="c4 c17">The Expanding Discourse. Feminism and Art History. </span><span class="c3">New York: HarperCollins, 1992.</span></p><p class="c11"><span class="c4">Chadwick, Whitney. </span><span class="c4 c17">Women, Art, and Society. </span><span class="c4">London: Thames and Hudson, 1990. With bibliography on pp. 366-77. Rev: Patricia Mathews. </span><span class="c4 c17">Art Bulletin </span><span class="c3">(June 1991): 336-39. Fifth ed, 2012.</span></p><p class="c11"><span class="c4">Cheney, Liana De Girolami (ed). </span><span class="c4 c17">Essays on Women Artists, I.</span><span class="c3"> Lewiston: Edwin Mellen Press, 2003. </span></p><p class="c11"><span class="c4">Christie, J.R.R. and Fred Orton. “Writing on a Text of the Life.” </span><span class="c4 c17">Art History</span><span class="c3"> 11 (1988): 545-64.</span></p><p class="c11"><span class="c4">Clement, Clara Erskine. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/womeninfinearts00clemgoog/page/n10/mode/2up&sa=D&ust=1597863595360000&usg=AOvVaw3Dcr9MoVkQObKSKfDJ16Ws">Women in the Fine Arts from the Seventh Century B.C. to the Twentieth Century</a></span><span class="c4 c17">. </span><span class="c3">Boston: Houghton Mifflin, 1904. Rpt New York: Hacker Art Books, 1974.</span></p><p class="c11"><span class="c4">Couchman, Jane, Allyson M. Poska and Katharine McIver (eds). </span><span class="c4 c17">The Ashgate Research Companion to Women and Gender in Early Modern Europe. </span><span class="c4">Farnham: Ashgate, 2013. Includes Catherine King, “Lay Patronage and Religious Art”; Sheila ffolliott, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42218221/Early_Modern_Women_Artists&sa=D&ust=1597863595361000&usg=AOvVaw1d9EDyjaw06OzQy2rClO65">Early Modern Women Artists</a></span><span class="c4">”; Sheryl Reiss, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8115890/_Beyond_Isabella_and_Beyond_Secular_Women_Patrons_in_Early_Modern_Europe_2013_&sa=D&ust=1597863595361000&usg=AOvVaw3LAEhXKVU9QGlm-SNleIJZ">Beyond </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8115890/_Beyond_Isabella_and_Beyond_Secular_Women_Patrons_in_Early_Modern_Europe_2013_&sa=D&ust=1597863595362000&usg=AOvVaw3y7N0mr7rsqDEXAT4kfccG">Isabella and Beyond</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8115890/_Beyond_Isabella_and_Beyond_Secular_Women_Patrons_in_Early_Modern_Europe_2013_&sa=D&ust=1597863595362000&usg=AOvVaw3y7N0mr7rsqDEXAT4kfccG">: Secular Women Patrons of Art in Early Modern Europe</a></span><span class="c3">.”</span></p><p class="c11"><span class="c4">Cowen, Tyler. “Why Women Succeed, and Fail, in the Arts.” </span><span class="c4 c17">Journal of Cultural Economics </span><span class="c3">20 (1996): 93-113. </span></p><p class="c11"><span class="c4 c13">Crowston, Clare. “Women, Gender, and Guilds in Early Modern Europe: An Overview of Recent Research.” </span><span class="c4 c13 c17">International Review of Social History</span><span class="c4 c13"> 53 (2008): 19-44.</span><span class="c4 c13 c23"> </span></p><p class="c11"><span class="c4">Dabbs, Jul</span><span class="c4">ia </span><span class="c4">K. “Making the Invisible Visible: The Presence of Older Women Artists in Early Modern Artistic Biography.” In Cathy McGlynn, Margaret O’Neill and Michaela Schrage-Früh (eds). </span><span class="c4 c17">Aging Women in Literature and Visual Culture.</span><span class="c4"> NewYork</span><span class="c3">: Palgrave, 2017, pp. 23-40.</span></p><p class="c11"><span class="c4">Dabbs, Julia. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/new-adventures-in-teaching-art-herstory/&sa=D&ust=1597863595363000&usg=AOvVaw3hu_YX6KAwmLXRH7WaWEyn">New Adventures in Teaching Art History</a></span><span class="c4">.” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">26 June 2019.</span></p><p class="c11"><span class="c4">Dabbs, Julia K. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42167668/_The_Visual_Arts_on_Early_Modern_Women_Artists_&sa=D&ust=1597863595364000&usg=AOvVaw2GM_sKZwR_WmUOFXfJNhNK">The Visual Arts</a></span><span class="c4">.” In Amanda L. Capern (ed). </span><span class="c4 c17">The Routledge History of Women in Early Modern Europe.</span><span class="c3"> Routledge, 2019, pp. 335-56. On early modern women artists.</span></p><p class="c11"><span class="c4">De Beir, Valentine, Francesco Solinas and Alaine Tapié (ed). </span><span class="c4 c17">De Dames van de Barok / Les dames du baroque. </span><span class="c4">Gent: MSK, 2018. Exhibition on female painters from 16</span><span class="c4 c21">th</span><span class="c4">-17</span><span class="c4 c21">th</span><span class="c4"> C Italy.</span><span class="c4 c17"> </span></p><p class="c11"><span class="c4">Ellet, Elizabeth Fries Lummis. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/womenartistsina01ellegoog&sa=D&ust=1597863595365000&usg=AOvVaw3odqIxXYQva4Ho1usbs5Ox">Women Artists In All Ages and Countries</a></span><span class="c4 c17">. </span><span class="c3">New York: Harper and Brothers, 1859. The first English-language text focusing on women artists.</span></p><p class="c11"><span class="c4 c23">ffolliott, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42211731/Art_and_Women_ca._1400-1630&sa=D&ust=1597863595365000&usg=AOvVaw2OBsMUUXZkTSCpzcyGuGNa">Art and women, c. 1400-1630</a></span><span class="c4 c23">.” In Diana Robin, Anne R. Larsen and Carole Levin (eds). </span><span class="c4 c23 c17">Encyclopedia of Women in the Renaissance: Italy, France, and England.</span><span class="c4 c23"> Santa Barbara: ABC-CLIO, 2007.</span></p><p class="c11"><span class="c4">ffolliott, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42218221/Early_Modern_Women_Artists&sa=D&ust=1597863595366000&usg=AOvVaw1avIMtiRHBcLyz1DqJdsLR">Early Modern Women Artists</a></span><span class="c4">.” In Jane Couchman, Allyson M. Poska and Katharine McIver (eds). </span><span class="c4 c17">The Ashgate Research Companion to Women and Gender in Early Modern Europe. </span><span class="c3">Farnham: Ashgate, 2013.</span></p><p class="c11"><span class="c4">ffolliott, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/do-we-have-any-great-women-artists-yet/&sa=D&ust=1597863595366000&usg=AOvVaw2zenHoheZlS_MtKX4bgot0">Do We Have Any Great Women Artists Yet?</a></span><span class="c4">” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">16 April 2020.</span></p><p class="c11"><span class="c4">Fine, Elsa Honig. </span><span class="c4 c17">Women and Art: A History of Women Painters and Sculptors from the Renaissance to the 20th Century. </span><span class="c3">Montclair, N.J.: Abner Schram, 1978. With bibliography, pp. 225-30.</span></p><p class="c11"><span class="c4">Fletcher, J. </span><span class="c4 c17">The Woman's Art Show, 1500-1970. </span><span class="c3">Nottingham: Nottingham Castle Museum, 1982.</span></p><p class="c11"><span class="c4">Frederickson, Kristen and Sarah E. Webb (eds). </span><span class="c4 c17">Singular Women: Writing the Artist. </span><span class="c3">Berkeley: University of California Press, 2003.</span></p><p class="c11"><span class="c4 c24">Frigeri, Flavia.</span><span class="c4"> </span><span class="c4 c17">Women Artists.</span><span class="c3"> London: Thames and Hudson, 2019.</span></p><p class="c11"><span class="c4">Garrard, Mary D. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/43000536/_Of_Men_Women_and_Art_Some_Historical_Reflections_Art_Journal_35_1976_pp._324-329&sa=D&ust=1597863595368000&usg=AOvVaw0FC3SR3uIopNUCmrvSJD7J">Of Men, Women and Art</a></span><span class="c4">: Some Historical Reflections.” </span><span class="c4 c17">Art Journal </span><span class="c3"> (Summer 1976): 324-29.</span></p><p class="c25"><span class="c4">Garrard, Mary D. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/43805079/Feminism_Has_It_Changed_Art_History?email_work_card%3Dview-paper&sa=D&ust=1597863595368000&usg=AOvVaw3krTCsa-U3Xd804H1671i3">Feminism: has it changed art history?</a></span><span class="c4">” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595368000&usg=AOvVaw2HNc-W_i5cU7PdLQxyTs8f">Heresies </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595369000&usg=AOvVaw0kjB5Smc3melM9PYXhJphY">4 </a></span><span class="c3">(Spring 1978): 59-60.</span></p><p class="c11"><span class="c4">Gaze, Delia (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c4">. London: Fitzroy Dearborn, 1997. 2 vols. Rev: Lorna Healy. </span><span class="c4 c17">Art History</span><span class="c3"> 23 (March 2000): 145-48. Most entries are biographical and include bibliography, but an opening section provides general entries on, in order, “Woman as Artists in the Middle Ages,” “Convents, “Guilds and the Open Market,” “Court Artists,” “Academies of Art,” “Copyists,” “Printmakers,” and “Amateur Artists.”</span></p><p class="c11"><span class="c4">Gouma-Peterson, Thalia and Patricia Mathews. “The Feminist Critique of Art History.” </span><span class="c4 c17">Art Bulletin </span><span class="c3"> 69 (Sept 1987): 326-57. Letters: 71 (1989): 126-27.</span></p><p class="c11"><span class="c4">Green, Dorothy. “The Inseparable Obstacle: Women, Art, and Germaine Greer.” </span><span class="c4 c17">Quadrant </span><span class="c4">24 no 10 (1980): 23-27. Rpt as “Sterile Comparisons,” in her </span><span class="c4 c17">The Music of Love. </span><span class="c3"> Harmondsworth: Penguin, 1984, pp. 82-91.</span></p><p class="c11"><span class="c4">Greer, Germaine. </span><span class="c4 c17">The Obstacle Race.</span><span class="c4"> </span><span class="c4 c17">The fortunes of women painters and their work. </span><span class="c4">London: Secker and Warburg, 1979. Reviews include Roszika Parker, </span><span class="c4 c17">New Statesman </span><span class="c4"> (2 Nov 1979): 682; Ti-Grace Atkinson, </span><span class="c4 c17">Drawing </span><span class="c4">(May-June 1980): 12-16; </span><span class="c4 c17">Burlington Magazine </span><span class="c4">(July 1980): 513-17; Gaye Tuchman, </span><span class="c4 c17">Signs </span><span class="c4">6 (1980/81): 170-71; Norma Broude, </span><span class="c4 c17">Art Journal </span><span class="c4">(Summer 1981): 180-83; Judy Annear, </span><span class="c4 c17">Lip </span><span class="c4">(1981/82): 95-6; Lisa Tickner, </span><span class="c4 c17">Woman's Art Journal </span><span class="c3">(Fall 1980/Winter 1981): 64-69.</span></p><p class="c11"><span class="c4">Guerrilla Girls. </span><span class="c4 c17">The Guerrilla Girls’ Bedside Companion to the History of Western Art. </span><span class="c3">New York: Penguin, 1998.</span></p><p class="c25"><span class="c4">Guhl, Ernst. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://nbn-resolving.de/urn:nbn:de:hbz:061:1-543824&sa=D&ust=1597863595371000&usg=AOvVaw1o16D7pdNxo3lvSzRFyAWG">Die Frauen in der Kunstgeschichte</a></span><span class="c4 c17">. </span><span class="c3">Berlin: Guttentag, 1858.</span></p><p class="c25 c53"><span class="c4">Harris, Ann Sutherland. “Letter to the Editor.” </span><span class="c4 c17">Woman's Art Journal </span><span class="c4">4 (Fall 1983/Winter 1984). Rpt in Hilary Robinson (ed). </span><span class="c4 c17">Visibly Female. Feminism and Art: An Anthology. </span><span class="c3"> London: Camden Press, 1987.</span></p><p class="c11"><span class="c4">Harris, Ann Sutherland and Linda Nochlin. </span><span class="c4 c17">Women Artists: 1550-1950. </span><span class="c3">New York: Alfred A. Knopf, 1977. With bibliography, pp. 340-65.</span></p><p class="c25"><span class="c4">Heller, Nancy G. </span><span class="c4 c17">Women Artists: An Illustrated History. </span><span class="c3">New York: Abbeville Press, 1987.</span></p><p class="c25"><span class="c4">Hildebrandt, Hans. </span><span class="c4 c17">Die Frau als Künstlerin. </span><span class="c3">Berlin: Rudolf Mosse, 1928.</span></p><p class="c11"><span class="c4">Hill, M.B. </span><span class="c4 c17">Women: A Historical Survey of Works by Women Artists. </span><span class="c3">Exh.cat. Raleigh, North Carolina Museum of Art, and Winston-Salem, Salem Arts Center, 1972.</span></p><p class="c11"><span class="c4">Hill, Vicki Lynn (ed). </span><span class="c4 c17">Female Artists Past and Present. </span><span class="c3">2nd ed. Berkeley: Women’s History Research Center, 1974.</span></p><p class="c25"><span class="c4">Hirsch, Anton. </span><span class="c4 c17">Die bildenden Künstlerinnen der Neuzeit.</span><span class="c3"> Stuttgart, 1905.</span></p><p class="c25"><span class="c4">Hirsch, Anton. </span><span class="c4 c17">Die Frauen in der bildenden Kunst. </span><span class="c3">Stuttgart, 1905.</span></p><p class="c11"><span class="c4">Hofrichter, Frima Fox.</span><span class="c4 c24"> “An Intimate Look at Baroque Women Artists: Births, Babies, and Biography.”</span><span class="c4"> </span><span class="c4 c24">In</span><span class="c2"> </span><span class="c4 c24">Rosalynn Voaden and Diane Wolfthal (eds).</span><span class="c2"> Framing the Family: Narrative and Representation in the Medieval and Early Modern Periods</span><span class="c19 c4">. Tempe: Arizona Center for Medieval and Renaissance Studies, 2005, pp. 139-60 esp Leyster, Ruysch and Gentileschi.</span></p><p class="c11"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.lundhumphries.com/collections/illuminating-women-artists&sa=D&ust=1597863595373000&usg=AOvVaw3PMImwL9SLQhemWVp5PfyV">Illuminating Women Artists</a></span><span class="c4 c17">:</span><span class="c3"> series forthcoming from Lund Humphries. </span></p><p class="c11"><span class="c4">Jacobs, Fredrika H.</span><span class="c4 c17"> Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c3">New York: Cambridge University Press, 1997. Includes “A Roster of Sixteenth-Century Italian Women Artists,” pp. 165-68 (to be used with caution; some errors are noted below under particular artists).</span></p><p class="c11"><span class="c4">Jones, Tanja L. “Makers: Towards the Study of Women Artists in the Early Modern Courts.” In Birgit Ulrike Münch et al. (eds). </span><span class="c4 c17">Künstlerine: N</span><span class="c4 c59 c17">eue Perspektiven auf ein Forschungsfeld der Vormoderne</span><span class="c4 c17">.</span><span class="c3"> Petersburg: Michael Imhof Verlag, 2017, pp. 38-47.</span></p><p class="c11"><span class="c4">Kelly, Joan. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://nguyenshs.weebly.com/uploads/9/3/7/3/93734528/kelly_did_women_have_a_renaissanace.pdf&sa=D&ust=1597863595374000&usg=AOvVaw3ebD45DnnqJm9kdx3FbdCB">Did Women Have a Renaissance?</a></span><span class="c4">” Rpt. in her </span><span class="c4 c17">Women, History, and Theory</span><span class="c3">. Chicago: University of Chicago Press, 1984, pp. 19-50.</span></p><p class="c11"><span class="c3">King, Catherine E. “Representation of Artists and Art 1300-c 1500.” Ph.D. diss. University of East Anglia, 1991.</span></p><p class="c11"><span class="c4">King, Catharine. “Looking a Sight: Sixteenth-Century Portraits of Women Artists.” </span><span class="c4 c17">Zeitschrift für Kunstgeschichte </span><span class="c3">58 (1995): 381-406.</span></p><p class="c11"><span class="c4">King, Catherine. “Portrait of the artist as a woman.” In Gill Perry (ed). </span><span class="c4 c17">Gender and Art</span><span class="c3">. New Haven: Open University/Yale University Press, 1999, pp. 37-60.</span></p><p class="c11"><span class="c4">King, Catherine. “What women can make.” In Gill Perry (ed). </span><span class="c4 c17">Gender and Art</span><span class="c3">. New Haven: Open Uni/Yale University Press, 1999, pp. 61-85.</span></p><p class="c11"><span class="c4">Klinger, Linda. “Where’s the Artist? Feminist Practice and Poststructuralist Theories of Authorship.” </span><span class="c4 c17">Art Journal </span><span class="c3">50 (Summer 1991): </span></p><p class="c11"><span class="c4">Koerner, Joseph Leo. </span><span class="c4 c17">The Moment of Self-Portraiture in German Renaissance Art. </span><span class="c3">Chicago: University of Chicago Press, 1993, incl p. 111 for the ancient artist Marcia.</span></p><p class="c11"><span class="c4">Krull, Edith. </span><span class="c4 c17">Kunst von Frauen: Das Berufsbilder bildenden Künstlerinnen in vier Jahrhunderten. </span><span class="c3">Frankfurt-am-Main: Weidlich, 1984.</span></p><p class="c11"><span class="c4">Krull, Edith. </span><span class="c4 c17">Frauen in der Kunst.</span><span class="c3"> Leipzig, 1986. English trans, London, 1989.</span></p><p class="c11"><span class="c4">Lacas, Martine. </span><span class="c4 c17">Des femmes peintres: du XV</span><span class="c4 c21 c17">e</span><span class="c4 c17"> à l’aube du XIX</span><span class="c4 c21 c17">e</span><span class="c4 c17"> siècle.</span><span class="c3"> Paris: Seuil, 2015.</span></p><p class="c11"><span class="c4">Leme, Mariana et al (eds). </span><span class="c4 c17">Women’s Histories, Feminist Histories</span><span class="c3">. São Paulo: MASP, Museu de Arte de São Paulo Assis Chateaubriand, 2019. Has Lilia Moritz Schwarcz. “Encounter with Silence: Female Production in ‘Past Times’,” pp. 28-43. Entries include Sofonisba Anguissola, pp. 50-53; Mary Beale, pp. 56-57; Lavinia Fontana, pp. 88-89; Artemisia Gentileschi, pp. 90-91; Catarina van Hemessen, pp. 112-13; Judith Leyster, pp. 122-23; “Ottoman Empire,” pp. 134-45; Clara Peeters, p. 136-37; Maria Verelst; Michaelina Wautier.</span></p><p class="c11"><span class="c4">Loeb, Judy (ed). </span><span class="c4 c17">Feminist Collage: Educating Women in the Visual Arts. </span><span class="c3">New York: Columbia University Press, 1982.</span></p><p class="c11"><span class="c4">Lyle, Cindy. S. Moore and C. Navaretta. </span><span class="c4 c17">Women Artists of the World. </span><span class="c3">New York: Midmarch Associates, 1984.</span></p><p class="c11"><span class="c4">Märten, L. </span><span class="c4 c17">Die Frauen in der bildenden Kunst.</span><span class="c3"> Munich, 1914.</span></p><p class="c25"><span class="c4">Mitchell, Peter. </span><span class="c4 c17">European Flower Painters</span><span class="c3">. London: Adam and Charles Black, 1973. Rev. 1981.</span></p><p class="c11"><span class="c4">Möbius, Helga. </span><span class="c4 c17">Woman of the Baroque Age</span><span class="c3">. Montclair: Abner Schram, 1982. Includes “Women Artists”, pp. 151-66.</span></p><p class="c25"><span class="c4">Munsterberg, Hugo. </span><span class="c4 c17">The History of Women Artists. </span><span class="c3">New York: Clarkson N. Potter, 1975.</span></p><p class="c25"><span class="c4">Nabokowski, G., G. Sander and P. Gorsen. </span><span class="c4 c17">Frauen in der Kunst.</span><span class="c3"> Frankfurt, 1980.</span></p><p class="c25"><span class="c4">Nicoïdsi, Clarisse. </span><span class="c4 c17">Une histoire des femmes peintres.</span><span class="c3"> Paris: Jean-Claude Lattès, 1994.</span></p><p class="c11"><span class="c4">Nochlin, Linda. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/25134973/WHY_HAVE_THERE_BEEN_NO_GREAT_WOMEN_ARTISTS&sa=D&ust=1597863595378000&usg=AOvVaw2suMIA8qvWGO_yCsh4P192">Why Have There Been No Great Women Artists?</a></span><span class="c4">” </span><span class="c4 c17">Art News </span><span class="c4">69 (1971): 22-39, 67-71. Rpt in Thomas B. Hess and Elizabeth C. Baker (eds). </span><span class="c4 c17">Art and Sexual Politics. </span><span class="c4">New York: Collier, 1971, pp. 1-43. Rpt in her </span><span class="c4 c17">Women, Art, and Power and Other Essays. </span><span class="c3">New York, 1988, pp. 145-78.</span></p><p class="c25"><span class="c4">Orenstein, Gloria F. “Art History.” </span><span class="c4 c17">Signs </span><span class="c3">1 (Winter 1975): 505-25.</span></p><p class="c11"><span class="c4">Parker, Roszika and Griselda Pollock. </span><span class="c4 c17">Old Mistresses: Women, Art and Ideology. </span><span class="c3">London: Routledge and Kegan Paul, 1981.</span></p><p class="c11"><span class="c4">Pavière, S.H. </span><span class="c4 c17">A Dictionary of Flowers, Fruits and Still-life Painters</span><span class="c3">. 2 vols. Leigh-on-Sea and Amsterdam, 1962.</span></p><p class="c25"><span class="c4">Pavière, S.H. </span><span class="c4 c17">Floral Art</span><span class="c3">. Leigh-on-Sea: F. Lewis, 1965.</span></p><p class="c25"><span class="c4">Pecirka, Jaromir. </span><span class="c4 c17">Women in European Art. </span><span class="c3">London: Spring Books, 1960.</span></p><p class="c25"><span class="c4">Pérez-Neu, Carmen G. </span><span class="c4 c17">Galéria universal de pintoras. </span><span class="c3">Madrid: Nacionale, 1964.</span></p><p class="c11"><span class="c4">Petersen, Karen and J.J. Wilson. </span><span class="c4 c17">Women Artists: Recognition and Reappraisal From the Early Middle Ages to the Twentieth Century. </span><span class="c3">New York: Harper Colophon, 1976. With bibliography pp. 179-89.</span></p><p class="c11"><span class="c4">Petteys, Chris. </span><span class="c4 c17">Dictionary of Women Artists: An International Dictionary of Women Artists Born before 1900. </span><span class="c3">Boston: G.K. Hall, 1985. Besides individual entries on artists, has a bibliography, pp. 781-851.</span></p><p class="c11"><span class="c4">Phillippy, Patricia. </span><span class="c4 c17">Painting Women: Cosmetics, Canvases and Early Modern Culture.</span><span class="c4"> Baltimore: Johns Hopkins University Press, 2005. Rev: </span><span class="c4 c17">Renaissance Quarterly</span><span class="c3"> (Winter 2006): 1259-61.</span></p><p class="c11"><span class="c4">Pollock, Griselda. “Women, Art and Ideology: Questions for Feminist Art Historians.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">4 (1983): 39-47.</span></p><p class="c11"><span class="c4">Pollock, Griselda. “Women and Art History.” </span><span class="c4 c17">Dictionary of Art </span><span class="c3">33 (1996): 307-16.</span></p><p class="c11"><span class="c4">Quinn, Bridget. </span><span class="c4 c17">Broad Strokes: 15 women who made art and made history (in that order).</span><span class="c3"> San Francisco: Chronicle Books, 2017. Includes Artemisia Gentileschi, Judith Leyster.</span></p><p class="c11"><span class="c4">Sancho Lobis, Victoria. “Printed Drawing Books and the Dissemination of Ideal Male Anatomy in Northern Europe.” In Karolien De Clippel, Katharina Van Cauteren and Katlijne Van der Stighelen (eds). </span><span class="c4 c17">The Nude and the Norm in the Early Modern Low Countries.</span><span class="c4"> Turnhout: Brepols, 2011, pp. 51-62. More broadly, for women artists producing and using drawings, prints and statuettes for depictions of male nudes see, among others, </span><span class="c6 c4"><a class="c8" href="#id.6sxlnmnii5wo">Catharina Backer</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.ls8oib553igx">Veronica Fontana</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.9g4m8x4lm4h2">Diana Mantuana</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="#id.6oj13grz53v8">Maria de Wilde</a></span><span class="c3">.</span></p><p class="c25"><span class="c4">Scheffler, K. </span><span class="c4 c17">Die Frau in der Kunstgeschichte.</span><span class="c3"> Berlin, 1908.</span></p><p class="c11"><span class="c4">Slatkin, Wendy. </span><span class="c4 c17">Women Artists in History. From Antiquity to the 20th Century. </span><span class="c3">2nd ed. Englewood Cliffs: Prentice Hall, 1990. With annotated bibliography, pp. 222-34. 4th ed., 2001.</span></p><p class="c11"><span class="c4">Sparrow, Walter Shaw. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/womenpainterswo00spargoog/page/n20/mode/2up&sa=D&ust=1597863595382000&usg=AOvVaw1olbRhzzAxuxLjV59E5aMp">Women Painters of the World: From the Time of Caterina Vigri (1413-1463) to Rosa Bonheur and the Present Day</a></span><span class="c4 c17">. </span><span class="c3">London: Hodder and Stoughton, 1905. Rpt New York: Hacker Art Books, 1976.</span></p><p class="c25 c53"><span class="c4">Sterling, Charles. </span><span class="c4 c17">Still Life Painting from Antiquity to the Present Time. </span><span class="c3">Rev. ed. New York: Universe Books, 1959. New ed., 1981.</span></p><p class="c25 c53"><span class="c4">Vachon, Marius. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D3n0RH-QVoH8C%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595383000&usg=AOvVaw2uMMbWo3cCwKtTjna541Zf">La Femme dans l’art, les protectrices des arts, les femmes artistes</a></span><span class="c4 c17">. </span><span class="c4">Paris:</span><span class="c4 c17"> </span><span class="c4">J. Rouam & Cie,</span><span class="c4 c17"> </span><span class="c3">1893.</span></p><p class="c25 c53"><span class="c4">Van der Stighelen, Katlijne. “Amateur Artists. Amateur art as a social skill and a female preserve. 16th and 17th centuries.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. I. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 66-70.</span></p><p class="c11"><span class="c4">Strumwasser, Gina. </span><span class="c4 c17">Politically Incorrect. Women Artists and Female Imagery in Early Modern Europe. </span><span class="c3">San Deigo: Cognella, 2012. </span></p><p class="c11"><span class="c4">Suthor, Nicola. </span><span class="c4 c17">Bravura: Virtuosität und Mutwilligkeit in der Malerei der Frühen Neuzeit.</span><span class="c3"> Paderborn: Wilhelm Fink, 2010.</span></p><p class="c25"><span class="c4">Tickner, Lisa. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/41045180/Feminism_art_history_and_sexual_difference&sa=D&ust=1597863595384000&usg=AOvVaw3oEVGZYXM6znGodTOzKlJ6">Feminism,Art History, and Sexual Difference</a></span><span class="c4">.” </span><span class="c4 c17">Genders </span><span class="c3">3 (Fall 1988): 92-128.</span></p><p class="c11"><span class="c4">Tongiorgi Tomasi, Lucia. “‘La femminil pazienza’: Women Painters and Natural History in the Seventeenth and Early Eighteenth Centuries.” In T. O’Malley and A.R.W. Meyers (eds). </span><span class="c4 c17">The Art of Natural History: Illustrated Treatises and Botanical Paintings, 1400-1850. </span><span class="c4">Studies in the History of Art 69. Washington, DC 2008, pp. 159-86. Examines three women in seventeenth-century Rome (Isabella Cattani Parasole, Anna Maria Vaiani, and Giovanna Garzoni), Catherine Perrot (a French painter and teacher), Maria Sibylla Merian, and nuns who were botanical painters. The essay also discusses “Women Artists and Students of Flower Painting” in the 18</span><span class="c4 c21">th</span><span class="c3"> C.</span></p><p class="c18 c60"><span class="c4">Tufts, Eleanor. </span><span class="c4 c17">Our Hidden Heritage: Five Centuries of Women Artists. </span><span class="c3">London: Paddington Press, 1974. With bibliography, pp. 247-51.</span></p><p class="c18 c60"><span class="c4">Vauchon, Marius. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Duc1.c022792665%26view%3D1up%26seq%3D15&sa=D&ust=1597863595385000&usg=AOvVaw0FADJmt5x9HnKWkbYekWkw">La femme dans l’art, les protectrices des arts, les femmes artistes</a></span><span class="c4 c17">.</span><span class="c3"> Paris: J. Rouam, 1893.</span></p><p class="c11"><span class="c4">Vigué, Jordi. </span><span class="c4 c17">Great Women Masters of Art.</span><span class="c3"> New York: Waston-Guptill, 2002.</span></p><p class="c11"><span class="c4">Walters Art Gallery. </span><span class="c4 c17">Old Mistresses, Women Artists of the Past. </span><span class="c4">Exh.cat. Notes by Ann Gabhart and Elizabeth Broun. Baltimore, 1972. See also </span><span class="c4 c17">The Walters Art Gallery Bulletin </span><span class="c3"> 24 no 7 (April 1972).</span></p><p class="c11"><span class="c4">Wiertz, Wendy. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/40994151/Wiertz_W._The_Rebirth_of_the_Amateur_Artist_The_Effect_of_Past_Opinions_on_the_Amateur_Artist_in_Current_Research._In_I._Uneti%25C4%258D_M._Germ_M._Male%25C5%25A1i%25C4%258D_et_al._Eds._Art_and_its_Responses_to_Changes_in_Society_63-74._Newcastle_upon_Tyne_Cambridge_Scholars_Publishing_2016&sa=D&ust=1597863595386000&usg=AOvVaw1Lxg6F1J2bawDo43_iufLy">The rebirth of the amateur artist: The effects of past opinions on the amateur artist in current research</a></span><span class="c4">.” In Ines Unetic, Martin Germ, and Martina Malesic (eds). </span><span class="c4 c17">Art and its responses to changes in society. Conference proceedings: Decline- Metamorphosis-Rebirth. International conference for Ph.D. students, Slovenië, Ljubljana, 18-20 September 2014.</span><span class="c3"> Newcastle upon Tyne, 2016, pp. 63-74.</span></p><p class="c11"><span class="c4">Wiesner, Merry E. </span><span class="c4 c17">Women and Gender in Early Modern Europe. </span><span class="c3">New York: Cambridge University Press, 1993, incl Ch 5 “Women and the creation of culture.”</span></p><p class="c11"><span class="c4">Wiesner-Hanks, Merry. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/why-do-old-mistresses-matter-today/&sa=D&ust=1597863595387000&usg=AOvVaw2IFJc5_iYCfgAy6Ink1CKT">Why Do Old Mistresses Matter Today?</a></span><span class="c4">” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">21 April 2019.</span></p><p class="c11"><span class="c4">Wilkins, David. “Woman as Artist and Patron in the Middle Ages and the Renaissance.” In D. Radcliff-Umstead (ed). </span><span class="c4 c17">The Roles and Images of Women in the Middle Ages and Renaissance. </span><span class="c3">Pittsburgh: University of Pittsburgh, 1975.</span></p><p class="c11"><span class="c4">Winner, Matthias (ed). </span><span class="c4 c17">Der Künstler über sich in seinem Werk. </span><span class="c3">Weinheim: CHA, Acta Humaniora, 1992. Incl Kristina Herrmann-Fiore, “Il tema ‘Labor’ nella creazione artistica del Rinascimento,” pp. 245-92.</span></p><p class="c11"><span class="c4">Wittkower, Rudolf and Margot Wittkower. </span><span class="c4 c17">Born Under Saturn, The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution. </span><span class="c3">New York: W.W. Norton, 1963.</span></p><p class="c33 c16"><span class="c4">York, Laura. “The ‘Spirit of Caesar’ and His Majesty’s Servant: The Self-Fashioning of Women Artists in Early Modern Europe.” </span><span class="c4 c17">Women’s Studies</span><span class="c3"> 30 (2001): 499-520.</span></p><a id="id.gmvy7isgp3p"></a><h1 class="c77 c66" id="h.425937d0ak3t"><span>Women Artists: Self-Portraits </span><span class="c3">(Global)</span></h1><p class="c11"><span class="c3">For specific examples, also word search this document for “self-portrait.”</span></p><p class="c11"><span class="c3">Black, Jennifer Brynn. “Female Self-Portraiture in Early Modern Europe: Colonna, Anguissola, Whitney, and Peeters.” Ph.D. diss. Boston University, 2004.</span></p><p class="c11"><span class="c4">Blanchard, Lara C. W. “Imagining Du Liniang in </span><span class="c4 c17">The Peony Pavilion</span><span class="c4">: Female Painters, Self-portraiture, and Paintings of Beautiful Women in Late Ming China.” In Melia Belli Bose (ed). </span><span class="c4 c17">Women, Gender and Art in Asia, c. 1500–1900</span><span class="c3">. New York: Routledge, 2016, pp. 125-46.</span></p><p class="c11"><span class="c4">Bohn, Babette. “Female Self-Portraiture in Early Modern Bologna.” </span><span class="c4 c17">Renaissance Studies</span><span class="c3"> 18 (June 2004): 239-86.</span></p><p class="c11"><span class="c4">Bonafoux, Pascal. </span><span class="c4 c17">Portraits of the Artist: the self-portrait in painting. </span><span class="c3">Milan: Skira, 1985.</span></p><p class="c11"><span class="c4">Borzello, Frances. </span><span class="c4 c17">Seeing Ourselves. Women’s Self-Portraits. </span><span class="c4">New York: Harry N. Abrams, 1998, pp. 17-67. Revised edition, 2016. Rev: Britta Dwyer. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">23 no 1 (Spring-Summer 2002): 42-46.</span></p><p class="c11"><span class="c4">Brusati, Celeste. “Stilled Lives: Self-portraiture and self-reflection in seventeenth-century Netherlandish still-life painting.” </span><span class="c4 c17">Simiolus </span><span class="c3">20 no 2/3 (1990-91): 168-82.</span></p><p class="c11"><span class="c4">Calabrese, Omar. </span><span class="c4 c17">Artists’ Self-Portraits.</span><span class="c3"> Trans. Marguerite Shore. New York: Abbeville Press, 2006.</span></p><p class="c11"><span class="c4">Caneva, Caterina (ed). </span><span class="c4 c17">Il corridoio vasariano agli Uffizi.</span><span class="c3"> Milan: Silvana, 2002.</span></p><p class="c11"><span class="c4 c24">Carroll, Jane L. “Woven Devotions: Reform and Piety in Tapestries by Dominican Nuns.” </span><span class="c4">In Jane L. Carroll and Alison G. Stewart (eds). </span><span class="c4 c17">Saints, Sinners and Sisters. Gender and Northern Art in Medieval and Early Modern Europe.</span><span class="c4"> Burlington, VT: Ashgate, 2003,</span><span class="c4 c24"> pp. 182-201. Examines two tapestries that were produced by Dominican nuns in Germany. Both have small depictions of nuns working at looms in the margins, which may be self-portraits.</span></p><p class="c25 c53"><span class="c4">Cazzola, Fabiana. </span><span class="c4 c17">Im Akt des Malens: Aspekte von Zeitlichkeit in Selbstporträts der italienischen Frühen Neuzeit.</span><span class="c3"> Munich: Wilhelm Fink, 2013.</span></p><p class="c11"><span class="c4">Cheney, Liana De Girolami. “Female Self-Portraits of the Renaissance.”</span><span class="c4 c17"> VRA Bulletin</span><span class="c3"> 23 no 4 (1996): 70-71.</span></p><p class="c11"><span class="c4">Cheney, Liana De Girolami, Alicia Craig Faxon and Kathleen Lucey Russo. </span><span class="c4 c17">Self-Portraits by Women Painters</span><span class="c4">. Aldershot: Ashgate, 2000.</span></p><p class="c11"><span class="c4">Edholm, Felicity. “Beyond the mirror: women’s self portraits.” In Frances Bonner, Lizbeth Goodman, Richard Allen, Linda Janes and Catherine King (eds). </span><span class="c4 c17">Imagining Women. Cultural Representation and Gender.</span><span class="c3"> Cambridge, MA: Blackwell, 1992, pp. 154-72.</span></p><p class="c11"><span class="c4">Garrard, Mary. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/43000534/Artemisia_Gentileschis_Self-Portrait_as_the_Allegory_of_Painting&sa=D&ust=1597863595393000&usg=AOvVaw2dsNv7bwagO3jkiUxpRuFm">Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting</a></span><span class="c4">.” </span><span class="c4 c17">Art Bulletin</span><span class="c3"> 62 (1980): 97-112. Rpt as a chapter in her book on this artist.</span></p><p class="c11"><span class="c4">Garrard, Mary D. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/43811467/Heres_Looking_at_Me_Sofonisba_Anguissola_and_the_Problem_of_the_Woman_Artist&sa=D&ust=1597863595394000&usg=AOvVaw25o4c451uyWtSRu8_43H_3">Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist</a></span><span class="c4">.” </span><span class="c4 c17">Renaissance Quarterly </span><span class="c3">47 (Autumn 1994): 556-622.</span></p><p class="c11"><span class="c4">Ghirardi, Angela. “Women Artists of Bologna: The Self-Portrait and the Legend from Caterina Vigri to Anna Morandi Manzolini (1413-1774).” In Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614.</span><span class="c3"> Washington, DC: National Museum of Women in the Arts, 1998, pp. 32-47, for Caterina Vigri, Properzia de' Rossi, Lavinia Fontana, Antonia Pinelli, Elisabetta Sirani, Ginevra Cantofoli, Lucrezia Scarfaglia, Lucia Casalini Torelli, Anna Morandi Manzolini. </span></p><p class="c11"><span class="c4">Giusti, Giovanna and Maria Sframeli (ed). </span><span class="c4 c17">Artists’ Self-Portraits from the Uffizi.</span><span class="c3"> Exh.cat. Dulwich Picture Gallery, London. Milan: Skira, 2007.</span></p><p class="c47"><span class="c4">Hall, James. </span><span class="c4 c17">The Self-Portrait. A Cultural History.</span><span class="c3"> London: Thames & Hudson, 2014.</span></p><p class="c11"><span class="c4">Hofrichter, Frima Fox. “Judith Leyster’s </span><span class="c4 c17">Self-Portrait</span><span class="c4">: ‘Ut Pictura Poesis’.” In </span><span class="c4 c17">Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on His Sixtieth Birthday. </span><span class="c3">Doornspijk: Davaco, 1983, pp. 106-9.</span></p><p class="c11"><span class="c4">King, Catharine. “Italian Self-Portraits and the Rewards of Virtue.” In Gunter Schweikhart (ed). </span><span class="c4 c17">Autobiographie und Selbstportrait in der Renaissance.</span><span class="c3"> Cologne: König, 1998, pp. 69-91.</span></p><p class="c11"><span class="c4 c24">Mariaux, Pierre Alain. “Women in the Making: Early Medieval Signatures and Artists’ Portraits (9th–12th c.).” </span><span class="c4">In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c4">2 Vols. Leiden: Brill, 2012. Vol. 1,</span><span class="c4 c24"> pp. 393-428. Discusses Gerberga’s “battle flag” (Lotharingia, c. 960), Guda’s portrait in a Homilary (Germany, second half of the 12th C), Maria on the “stole of St. Narcissus” (Girona, late 10th C), Elisava on the “Standard of St. Ot” (Urgell, first quarter of the 12th C).</span></p><p class="c11"><span class="c4">Matthews-Grieco, Sara F. “Self-Portraits, Self-Fashioning and the Language of Things: Sofonisba Anguissola and Lavinia Fontana.” In Alessandro Buccheri et al. (eds). </span><span class="c4 c17">Archetipi del femminile. Rappresentazioni di genere, identità e ruoli sociali nell’arte dale origini a oggi.</span><span class="c3"> Sesto San Giovanni: Mimesis, 2017, pp. 23-39.</span></p><p class="c11"><span class="c4">McIver, Kathleen. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/self-portraits-by-renaissance-women-artists/&sa=D&ust=1597863595397000&usg=AOvVaw0hmS0DZCXdWBSmXEgEM_KV">Renaissance Women Painting Themselves</a></span><span class="c4">.” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">8 June 2019. On Sofonisba Anguissola and Lavinia Fontana.</span></p><p class="c11"><span class="c4 c13">Moffitt Peacock, Martha. “Mirrors of Skill and Renown: Women and Self-Fashioning </span><span class="c4">in Early-Modern Dutch Art.” </span><span class="c4 c17">Mediaevistik</span><span class="c3"> 28 (2015): 325–52.</span></p><p class="c11"><span class="c4">Moretti, Valeria. </span><span class="c4 c17">La più belle del Reale. Pittrici in autoritratto dal Cinquecento all'Ottocento. </span><span class="c3">Rome: Nuova Editrice Spada, 1983.</span></p><p class="c11"><span class="c4 c17">Painters by Painters. </span><span class="c3">Washington: National Academy of Design, 1988. On self-portraits in the Uffizi. Female artists treated are Lavinia Fontana, Marietta Robusti (Tintoretto's daughter), and Anna Bacherini Piattoli. Fede Galizia's portrait of another artist, Federico Zuccari, is also included.</span></p><p class="c11"><span class="c4">Prinz, Wolfram. </span><span class="c4 c17">Die Sammlung der Selbstbildnisse in den Uffizien.</span><span class="c4"> Vol. I: </span><span class="c4 c17">Geschichte der Sammlung.</span><span class="c3"> Berlin: Gebr. Mann, 1971.</span></p><p class="c11"><span class="c4">Schweikhart, Gunter. “Boccaccios </span><span class="c4 c17">De claris mulieribus </span><span class="c4">und die Selbstdarstellungen von Malerinnen im 16. Jahrhundert.” In Matthias Winner (ed). </span><span class="c4 c17">Der Künstler über sich in seinem Werk. </span><span class="c3">Weinheim: CHA, Acta Humaniora, 1992, pp. 113-36.</span></p><p class="c11"><span class="c4">van der Stighelen, Katlijne. “Van zelfbeeld tot ezel: kunstenaarsalaam op zestiende- en zeventiende-eeuwse zelfportretten.” In H. Vlieghe (ed). </span><span class="c4 c17">Concept, Design & Execution in Flemish Painting (1550–1700)</span><span class="c3">. Turnhout, 2000, pp. 233-60.</span></p><p class="c11"><span class="c4">Talon, Céline. “Catharina Van Hemessen’s </span><span class="c4 c17">Self-Portrait</span><span class="c4">: The woman who took Saint Luke’s palette.” In Elizabeth Sutton (ed). </span><span class="c4 c17">Women Artists and Patrons in the Netherlands 1500-1700. </span><span class="c3">Amsterdam: Amsterdam University Press, 2019, pp. 27-53.</span></p><p class="c11"><span class="c4">Tapia Méndez, Aureliano. “El autorretrato y los retratos de Sor Juana Inés de la Cruz.” In </span><span class="c4 c17">Sor Juana Inés de la Cruz y el pensamiento novohispano.</span><span class="c3"> Toluca: Instituto Mexiquense de Cultura, 1995), pp. 433-64.</span></p><p class="c11"><span class="c4">Trnek, Renate (ed). </span><span class="c4 c17">Selbstbild: Der Künstler und sein Bildnis.</span><span class="c3"> Exh.cat. Vienna: Hatje Cantz Verlag, 2004.</span></p><p class="c11"><span class="c4">Schweikhart, Gunter. “Boccaccios </span><span class="c4 c17">De Claris mulieribus</span><span class="c4"> und die Selbstdarstellungen von Malerinnen im 16. Jahrhundert.” In Matthias Winner (ed). </span><span class="c4 c17">Der Künstler über sich in seinem Werk.</span><span class="c3"> Weinheim: VCH Acta Humaniora, 1992, pp. 113-36.</span></p><p class="c11"><span class="c4">Viallet, Bice. </span><span class="c4 c17">Gli autorittrati femminili delle R. Gallerie degli Uffizi in Firenze. </span><span class="c3">Rome: Alfieri e Lacroix, 1923.</span></p><p class="c11"><span class="c4">Werkmäster, Barbro. “Av bild - själv bild - bild själv. Om kvinnliga konstnärers självporträtt.” </span><span class="c4 c17">Konsthistorisk tidskrift </span><span class="c3">60 no 2 (1991): 71-99.</span></p><p class="c11"><span class="c4">Woods-Marsden, Joanna. </span><span class="c4 c17">Renaissance Self-Portraiture. The Visual Construction of Identity and the Social Status of the Artist</span><span class="c4">. New Haven: Yale University Press, 1998, Part IV: “The Self as </span><span class="c4 c17">Pictrix Celebris</span><span class="c4">,</span><span class="c3">” pp. 183-222. Focuses on Sofonisba Anguissola. </span></p><p class="c11"><span class="c4 c13 c14">Yiu, Yvonne. “The Mirror and Painting in Early Renaissance Texts.” </span><span class="c4 c17">Early Science and Medicine</span><span class="c3"> 10 no 2 (2005): 187-210.</span></p><a id="kix.mlapizbdo32d"></a><h1 class="c77 c66" id="h.6vab0aae7w1e"><span>Women Artists and Patrons: Textiles and </span><span>Needlew</span><span>ork </span><span class="c3">(Global)</span></h1><p class="c12"><span class="c4">See artists such as Tomasa del Fiesca, Anna Maria Garthwaite, Margarita Godewyk, Esther Inglis, Helena Larsdotter Lindelia, Susanna Mayr, Amalia Pachelbel, Arcangela Paladini, Isabella Parasole (produced pattern books for lace and needle lace), Marietta Robusti (for two sisters who were embroiderers), Katharina Rozee, </span><span class="c4">Anna Maria van Schurman</span><span class="c3">, and patrons such as Aelflaed, Agnes II of Meissen, and Bess of Hardwick. Only those women known exclusively as workers in various textile arts are listed in this section.</span></p><p class="c12"><span class="c3">Medieval Englishwomen were renowned for their gold embroidery (Schulenburg, 2009, pp. 87-88). However, note that the preponderance of English and French women in the section here on individual practitioners reflects the vagaries of survival (of documents and some objects) and the focus of scholarship more than the absence of such practitioners elsewhere. </span></p><p class="c12"><span class="c4">Abram, A. “Women Traders in Medieval London.” </span><span class="c4 c17">Economic Journal </span><span class="c3">26 no 102 (June 1916): 276-85.</span></p><p class="c12"><span class="c4">Anawalt, Patricia Rieff. </span><span class="c4 c17">The Worldwide History of Dress.</span><span class="c3"> New York: Thames and Hudson, 2007. Note that not all items were made or worn by women.</span></p><p class="c12"><span class="c4 c13 c35">Appuhn, Horst. </span><span class="c4 c13 c35 c17">Bildstickereien des Mittelalters in Kloster Lüne</span><span class="c4 c13 c35">. Dortmund: Harenberg Edition, 1990. </span><span class="c4 c35">Embroideries from the convent at Lüne from the 13th C to early 16th C.</span></p><p class="c12"><span class="c4">Archer, Janice Marie. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://repository.arizona.edu/handle/10150/187182?show%3Dfull&sa=D&ust=1597863595404000&usg=AOvVaw1Bb3ME838UN525Z3thfBst">Working women in thirteenth-century Paris</a></span><span class="c3">.” Ph.D. University of Arizona, 1995. Includes a summary of the Paris tax rolls 1292-1313 (pp. 228-39). For cloth production, see pp. 111-17, 171-79, 240, 246, 252-54, 315, and needlework, pp. 120-23, 189-94, 241-42, 247, 257-59, 317.</span></p><p class="c12"><span class="c4 c14">The Atlantian Embroiderers Guild. Some links are broken, but try “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/timeline/1000-1250.htm&sa=D&ust=1597863595404000&usg=AOvVaw2tMmg21abdUdxneXm23kag">Timeline: Embroideries from 1000-1250</a></span><span class="c4 c14">,” “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/timeline/1250-1492.htm&sa=D&ust=1597863595405000&usg=AOvVaw0jVosuVXDiv-pB4ZbZNcbX">Timeline: Embroideries from 1240-1492</a></span><span class="c4 c14">,” “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/tempore.htm&sa=D&ust=1597863595405000&usg=AOvVaw1Z3_fHKRBaBaDj6PN8xfY0">Tempore Atlantia Annotated Bibliography</a></span><span class="c4 c14">” (divided into </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/tempore.htm&sa=D&ust=1597863595406000&usg=AOvVaw2SYHh4HLa4MsM0lRgQ7i82">pre-1000</a></span><span class="c4 c14">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/tempore/1000-1250.htm&sa=D&ust=1597863595406000&usg=AOvVaw1lsAAaZgQbsUSGNCGrWWua">1000-1250</a></span><span class="c4 c14">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/tempore/1250-1492.htm&sa=D&ust=1597863595406000&usg=AOvVaw0oHufBd0tfZAuuvS4L0zqZ">1250-1492</a></span><span class="c4 c14">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://aeg.atlantia.sca.org/tempore/1492-1600.htm&sa=D&ust=1597863595407000&usg=AOvVaw11pQfLFTEYENTfQqBdDw4F">1492-1600</a></span><span class="c4 c14">). Includes material from such places as Armenia, Asia, China, Byzantium, Eastern Europe, Egypt, Iceland, Nepal, Persia, Peru, Russia, and Serbia, as well as Western Europe.</span></p><p class="c12"><span class="c4 c24">Barron, Caroline, and Matthew Davies. “Ellen Langwith: Silkwoman of London (died 1481).” </span><span class="c2">The Ricardian: Journal of the Richard III Society</span><span class="c4 c24"> 13 (2003): 39-47.</span></p><p class="c12"><span class="c4 c13 c14">Bath, Michael. </span><span class="c4 c13 c14 c17">Emblems for a Queen: the Needlework of Mary, Queen of Scots</span><span class="c22 c4 c13 c14">. London: Archetype, 2008.</span></p><p class="c12"><span class="c4 c13 c14">Bernstein, David. J. </span><span class="c4 c13 c14 c17">The Mystery of the Bayeux Tapestry</span><span class="c22 c4 c13 c14">. Chicago: University of Chicago Press, 1986.</span></p><p class="c11"><span class="c4">Binaghi Olivari, Maria Teresa. “I ricamatori milanesi tra Rinascimento e Barocco.” In P. Venturoli (ed). </span><span class="c4 c17">I tessili nell’età di Carlo Bascapé, vescovo di Novara (1593-1615).</span><span class="c3"> Novara: Interlinea, 1994, pp. 97-123.</span></p><p class="c11"><span class="c4">Binaghi Olivari, Maria Teresa. “Il ricamo.” In G. Bora et al. (eds). </span><span class="c4 c17">Rabisch: Il grottesco nell’arte dell Cinquecento.</span><span class="c3"> Exh.cat. Milan: Skira, 1998, pp. 276-78.</span></p><p class="c12"><span class="c4">Brasser, Theodore. </span><span class="c4 c17">Native American Clothing: An Illustrated History.</span><span class="c3"> Buffalo: Firefly, 2009. Note that not all items were made or worn by women.</span></p><p class="c11"><span class="c4 c14">Brel-Bordaz, Odile. </span><span class="c4 c14 c17">Broderies d’ornements liturgiques XIIIe-XIVe siècles. Opus Anglicanum.</span><span class="c4 c14"> Paris: Nouvelles Editions Latines, 1982.</span></p><p class="c12"><span class="c4">Browne, Clare et al. </span><span class="c4 c17">English Medieval Embroidery: opus anglicanum.</span><span class="c4"> Exhib. cat. London Yale University Press, 2016. See M.A. Michael. Rev of exhibition: Esther Chadwick. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.lrb.co.uk/the-paper/v39/n01/esther-chadwick/at-the-v-a&sa=D&ust=1597863595409000&usg=AOvVaw3oTAaQCOKHwssSx4P9EXp5">Opus Anglicanum</a></span><span class="c4">.” </span><span class="c4 c17">London Review of Books </span><span class="c4">39 no 1 (5 Jan 2017). Notes “the thread-makers and embroiderers </span><span class="c6 c4"><a class="c8" href="#id.oxyy98gbj5t2">Christiana of Enfield</a></span><span class="c3">, Catherine of Lincoln, Maud of Canterbury, John Machon, Alyse Darcy, Alice Catour and Thomas Bell.”</span></p><p class="c12"><span class="c4">Brosens, Koenraad et al. “MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research.” </span><span class="c4 c17">Zeitschrift für Kunstgeschichte </span><span class="c3"> 79 (2016): 315-50, esp 321-25 on women and tapestry.</span></p><p class="c12"><span class="c4">Budny, Mildred. “The Byrhtnoth Tapestry or embroidery.” In D.C. Scragg (ed). </span><span class="c4 c17">The Battle of Maldon A.D. 991.</span><span class="c4"> Oxford, 1991, pp. 263-78.</span></p><p class="c11"><span class="c4 c14">Bundrick, Sheramy D. “The Fabric of the City: Imagining Textile Production in Classical Athens.” </span><span class="c4 c14 c17">Hesperia </span><span class="c4 c14">77 (2008): 283-334.</span></p><p class="c11"><span class="c4 c24">Burkholder, Kristen M. “Threads Bared: Dress and Textiles in Late Medieval English Wills.” In Robin Netherton and Gale Owen-Crocker (eds). </span><span class="c2">Medieval Clothing and Textiles</span><span class="c19 c4">. Woodbridge: Boydell and Brewer, 2005, pp. 133-53.</span></p><p class="c11"><span class="c4 c24">Buttitta, Anastazja. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/warp-and-weft-women-as-custodians-of-jewish-heritage-in-italy/&sa=D&ust=1597863595410000&usg=AOvVaw3U8LSBTmCVXHMhByLWIfZY">WARP and WEFT: Women as Custodians of Jewish Heritage in Italy.</a></span><span class="c4 c24">” Posted on </span><span class="c2">ArtHerstory </span><span class="c19 c4">11 Feb 2020.</span></p><p class="c11"><span class="c4 c24">Campagnol. Isabella. </span><span class="c2">Forbidden Fashions: Invisible Luxuries in Early Venetian Convents</span><span class="c4 c24">. Lubbock: Texas Tech University Press, 2014. From blurb: “Form-fitting dresses, silk veils, earrings, furs, high-heeled shoes, make up, and dyed, flowing hair. … For many of the some thousand nuns in early modern Venice, however, these fashions were the norm. Often locked in convents without any religious calling - simply to save their parents the expense of their dowry - these involuntary nuns relied on the symbolic meaning of secular clothes, fabrics, and colors to rebel against the rules and prescriptions of conventual life and to define roles and social status inside monastic society.” Ch 4 is on “Textiles, Embroideries, and Laces in the Convent.” Also points out that women in tertiary orders (living outside the convent) also made lace for sale. Rev: Patricia Allerston. </span><span class="c2">Early Modern Women </span><span class="c19 c4">10 no 2 (Spring 2016): 172-76.</span></p><p class="c11"><span class="c4 c24">Carmignani, Marina “Creatività e lavoro tra Firenze e Prato dal XVI al XIX secolo.” In </span><span class="c2">Ricami e merletti nelle chiese e nei monasteri di Prato dal XVI al XIX secolo.</span><span class="c19 c4"> Florence; Nuova zincografica fiorentina, 1985.</span></p><p class="c11"><span class="c4 c24">Carr, Annemarie Weyl. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/18496217/Women_as_artists_in_the_middle_ages_The_dark_is_light_enough._&sa=D&ust=1597863595411000&usg=AOvVaw3VGIlM329p52my9fp4NWHn">Women as Artists in the Middle Ages: ‘The Dark is Light Enough’.</a></span><span class="c4 c24">” In Delia Gaze (ed). </span><span class="c2">Dictionary of Women Artists</span><span class="c19 c4">. Vol. 1. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 4-7 on “Textile arts.” </span></p><p class="c11"><span class="c4 c24">Carroll, Jane L. “Woven Devotions: Reform and Piety in Tapestries by Dominican Nuns.” </span><span class="c4">In Jane L. Carroll and Alison G. Stewart (eds). </span><span class="c4 c17">Saints, Sinners and Sisters. Gender and Northern Art in Medieval and Early Modern Europe.</span><span class="c4"> Burlington, VT: Ashgate, 2003,</span><span class="c19 c4"> pp. 182-201. Examines two tapestries that were produced by Dominican nuns in Germany. Both have small depictions of nuns working at looms in the margins. Carroll suggests that these images are part self-portraits, part devotional images, while also serving as exemplars of the Dominican reform for a “vita activa” that avoided luxury and sloth.</span></p><p class="c12"><span class="c4">Chicago, Judy, and Susan Hill. </span><span class="c4 c17">Embroidering Our Heritage. The Dinner Party Needlework.</span><span class="c3"> New York: Anchor Doubleday, 1980.</span></p><p class="c12"><span class="c4 c13 c29">Christie, Archibald G.I. </span><span class="c4 c13 c29 c17">English Medieval Embroidery: A brief survey of English embroidery dating from the beginning of the tenth century until the end of the fourteenth. </span><span class="c4 c13 c29">Oxford: Clarendon, 1938</span><span class="c4">.</span></p><p class="c12"><span class="c4">Coatsworth, Elizabeth. “Stitches in Time: Establishing a History of Anglo-Saxon Embroidery.” </span><span class="c4 c17">Medieval Clothing and Textiles </span><span class="c3">1 (2005): 1-27.</span></p><p class="c12"><span class="c4">Collingwood, Peter. </span><span class="c4 c17">The Techniques of Tablet Weaving. </span><span class="c4">New York: Watson-Guptill, 1982. For the bibliography, update, see </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.weavershand.com/twbiblio.html&sa=D&ust=1597863595413000&usg=AOvVaw1pQj7-UcNXCK5RrWuJdg5v">here</a></span><span class="c4">, and for a bibliography by Nancy Spies on tablet woven brocades see </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.weavershand.com/brocade.htm&sa=D&ust=1597863595413000&usg=AOvVaw3GRZQ_NVcmsbZzU4fmCM5J">here</a></span><span class="c3">.</span></p><p class="c12"><span class="c4 c13 c17">The Conservation of Tapestries and Embroideries: Proceedings of Meetings at the Institut Royal du Patrimoine Artistique, Brussels, Belgium, September 21-24, 1987</span><span class="c4 c13">. Los Angeles: The Getty Conservation Institute, 1989.</span></p><p class="c11"><span class="c4 c23">Creytens, Raimondo. “Il direttorio di Roberto Ubaldini da Gagliano O.P. per le terziarie collegiate di S. Caterina da Siena in Firenze.” </span><span class="c4 c23 c17">Archivium Fratrum Praedicatorum </span><span class="c22 c4 c23">39 (1969): 131-71, at 158. The manual for the nuns at the convent of S. Caterina, written by the Dominican Ubaldini (1500-10), advises them to earn money through textile and needlework.</span></p><p class="c47 c101"><span class="c4 c23">Dale, Marian K. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.1468-0289.1933.tb02259.x&sa=D&ust=1597863595414000&usg=AOvVaw2aISoqiWcp-0AGBeLD8tFS">The London Silkwomen of the Fifteenth Century.</a></span><span class="c4 c23">” </span><span class="c4 c23 c17">Economic History Review </span><span class="c4 c23">4 no 3 (1933): 324-35. Rpt </span><span class="c4 c23 c17">Signs </span><span class="c22 c4 c23">14 no 2 (1989): 489-501.</span></p><p class="c12"><span class="c4 c24">Datta, Satya. </span><span class="c2">Women and Men in Early Modern Venice: Reassessing History</span><span class="c4 c24">. Burlington VT: Ashgate, 2003. Ch 5 is on Venetian lace-makers in the sixteenth and seventeenth centuries.</span><span class="c4"> Critical rev: Stanely Chojnacki. </span><span class="c4 c17">Renaissance Quarterly</span><span class="c3"> 58 no 1 (2005): 178-79.</span></p><p class="c12"><span class="c4">Diener, Laura Michele. “Sealed with a Stitch: Embroidery and Gift-Giving among Anglo-Saxon Women.”</span><span class="c4 c17"> Medieval Prosopography </span><span class="c3">29 (2014): 1-22.</span></p><p class="c12"><span class="c4">Digby, G.W. </span><span class="c4 c17">Elizabethan Embroidery.</span><span class="c3"> London: Faber and Faber, 1963.</span></p><p class="c12"><span class="c4">Dodwell, C.R. </span><span class="c4 c17">Anglo-Saxon Art: Manchester Studies in the History of Art.</span><span class="c3"> Vol. 3. Manchester, 1982.</span></p><p class="c12"><span class="c4 c24">Dodwell, C. R. </span><span class="c2">The Pictorial Arts of the West 800-1200</span><span class="c4 c24">. New Haven: Yale University Press, 1993, ch. 2 “</span><span class="c4 c13 c24">Embroidery: 800-1200.”</span></p><p class="c12"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992. See under “Apparel” (pp. 467-68) for a list of “craftswomen who made dresses, hose, hats, shoes, and a variety of accessory items” like buttons and purses. Each of the named women has a brief entry earlier in the book, with bibliography. Many of the French entries rely on the 1292 Paris tax rolls published in Géraud (1837), which can be updated by reference to the summary of those rolls for 1292-1313 in Archer (1995). Also notes such people as Asa, queen of Agdir, from Norway in the first half of the ninth century, whose burial ship (if it is hers) contained “tools for weaving and embroidering the beautiful tapestries she liked to make,” acknowledging that the representation of her in Scandinavian sagas may be “more romantic than accurate” (p. 62). See also the category “Artistic Clothwork”; some of those women are listed below.</span></p><p class="c12"><span class="c4 c13 c23">Edwards, Joan. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www2.cs.arizona.edu/patterns/weaving/articles/nb76_emb.pdf&sa=D&ust=1597863595415000&usg=AOvVaw0qTCjzN16aBvKtOSqhy4gb">A survey of English literature of embroidery, 1840-1940</a></span><span class="c4 c13 c23">.” </span><span class="c4 c17">The Bulletin of the Needle and Bobbin Club</span><span class="c3"> 76 (1976): 3-20.</span></p><p class="c12"><span class="c4 c23">Farmer, Sharon and S.C. Kaplan. “</span><span class="c4 c23">Privilèges des métiers, l’intégration verticale et l’organisation de la production des textiles de soie à Paris aux XIIIe et XIVe siècles.” </span><span class="c4 c17">Médiévales</span><span class="c3"> 69 (Autumn 2015): 71-85.</span></p><p class="c11"><span class="c4">Findly, Ellison Banks. “Nur Jahan’s embroidery trade and flowers of the Taj Mahal.” </span><span class="c4 c17">Asian Art and Culture</span><span class="c3"> 9 no 2 (1996): 7-25.</span></p><p class="c11"><span class="c4">Frye, Susan. “Sewing Connections. Elizabeth Tudor, Mary Stuart, Elizabeth Talbot, and Seventeenth-Century Anonymous Needleworkers.” In Susan Frye and Karen Robertson (eds). </span><span class="c4 c17">Maids and Mistresses, Cousins and Queens. Women’s Alliances in Early Modern England</span><span class="c3">. New York: Oxford University Press, 1999, pp. 165-82.</span></p><p class="c11"><span class="c4">Frye, Susan. </span><span class="c4 c17">Pens and Needles: Women’s Textualities in Early Modern England.</span><span class="c3"> Philadelphia: University of Pennsylvania Press, 2010. Includes Ch. 3: “Sewing Connections: Narratives of Agency in Women’s Domestic Needlework,” pp. 116-59. </span></p><p class="c11"><span class="c4">Gajewski, Alexandra and Stefanie Seeberg. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/28114741/Having_her_hand_in_it_Elite_women_as_makers_of_textile_art_in_the_Middle_Ages&sa=D&ust=1597863595417000&usg=AOvVaw2VanVfyUIK_Nu-qBqtY5oU">Having her hand in it? Elite women as ‘makers’ of textile art in the Middle Ages</a></span><span class="c4">.” </span><span class="c4 c17">Journal of Medieval </span><span class="c4">History 42 n 1 (2016): 26-50. Abstract: “</span><span class="c4 c13">In the Middle Ages, elite women acted as creators, donors and recipients of textile art. This article analyses a small but representative group of seventh- to thirteenth-century embroideries in order to examine the motivation for their creation and to investigate the ways in which women could mark their own presence through textile art. It discusses written sources alongside the material evidence; these sources include documentary, hagiographical and literary texts, which provide information about cultural norms and the expectations of society. Set within the context of these sources, the evidence suggests that society both channelled women’s creativity into textile art and idealised it. At the same time, as artists and patrons of ornamented textiles, noblewomen had creative control over the medium; embroidery became a field in which their works were noted and celebrated.</span><span class="c4">”</span></p><p class="c11"><span class="c4">Garver, Valerie L. “Weaving Words in Silk: Women and Inscribed Bands in the Carolingian World.” </span><span class="c4 c17">Medieval Clothing and Textiles</span><span class="c3"> 6 (2010): 33-56. Analyzes three silk woven bands surviving from Carolingian Germany: Witgar’s belt, Ailbecunda band, and the Speyer band. Witgar’s belt was a gift from Emma, wife of King Louis the German, to Witgar, the future bishop of Augsburg. In these three cases women not only donated high-status silk inscribed bands, but evidence also points to women as weavers of the tablet bands.</span></p><p class="c11"><span class="c4">Géraud, Hercule (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DYTwDAAAAYAAJ%26q%3Daaeles%23v%3Donepage%26q%3Dtapiciere%26f%3Dfalse&sa=D&ust=1597863595417000&usg=AOvVaw1bzLtafWxfawxtk06_Kxnx">Paris sous Philippe-le-Bel</a></span><span class="c4 c17">. </span><span class="c4">Paris: Crapelet, 1837. For the Paris tax rolls of 1292, which list the occupation of women who are taxed. See also Archer (1995). Entries range from the marginal purse-maker (</span><span class="c4 c17">la saacière</span><span class="c4">) Jacqueline (taxed only 12 deniers), to the successful button-maker (</span><span class="c4 c17">la boutonnière</span><span class="c4">) Jehanne (taxed 16 sou), to “Dame Jehanne” who owned a large, profitable carpet and tapestry business (</span><span class="c4 c17">la tapicière</span><span class="c3">, taxed 6 livres) (pp. 40, 43, 51).</span></p><p class="c11"><span class="c4">Grape, Wolfgang. </span><span class="c4 c17">The Bayeux Tapestry: Monument to a Norman Triumph</span><span class="c3">. New York: Prestel-Verlag, 1994.</span></p><p class="c11"><span class="c4">Griffiths, Fiona. “‘</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/40472082/_LIKE_THE_SISTER_OF_AARON_Medieval_Religious_Women_as_Makers_and_Donors_of_Liturgical_Textiles&sa=D&ust=1597863595418000&usg=AOvVaw3gn1IevGj9PMKXQ7cggUix">Like the Sister of Aaron’. Medieval Religious Women as Makers and Donors of Liturgical Textiles</a></span><span class="c4">.” In Gert Melville and Anne Müller (eds). </span><span class="c4 c17">Female vita religiosa between Late Antiquity and High Middle Ages.</span><span class="c3"> Turnhout: Brepols, 2011, pp. 343-74.</span></p><p class="c11"><span class="c4">Gschwend, Annemarie Jordan. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/33655680/A_global_thimble_in_the_Renaissance._Regal_needlecases_sewing_implements_and_thimbles_from_Ceylon_for_Catherine_of_Austria_Queen_of_Portugal&sa=D&ust=1597863595419000&usg=AOvVaw1kjltfni2y4P-bctbHt9ej">A global thimble in the Renaissance. Regal needlecases, sewing implements and thimbles from Ceylon for Catherine of Austria, Queen of Portugal</a></span><span class="c4">.” </span><span class="c4 c17">Revista Museu </span><span class="c3">IV ser., no 22 (2015-16): 11-19.</span></p><p class="c11"><span class="c4">Hafter, Dary M. “Toward a Social History of Needlework Artists.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">2 no 2 (1981-82): 25-29.</span></p><p class="c11"><span class="c4">Harbeson, Georgiana Brown. </span><span class="c4 c17">American Needlework. The history of decorative stitchery and embroidery from the late 16th to the 20th century.</span><span class="c3"> New York: Coward-McCann, 1938.</span></p><p class="c11"><span class="c4">Henderson, Anna C. (ed) </span><span class="c4 c17">Making Sense of the Bayeux Tapestry: readings and reworkings</span><span class="c3">. Manchester: Manchester University Press, 2016. Includes Alexandra Lester-Makin, “The front tells the story, the back tells the history: a technical discussion of the embroidering of the Bayeux Tapestry.”</span></p><p class="c11"><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://medieval.webcon.net.au/&sa=D&ust=1597863595420000&usg=AOvVaw0lB23BDN_XzuvdAarIqgjr">Historical Needlework Resources</a></span><span class="c4"> (7</span><span class="c4 c21">th</span><span class="c4">-16</span><span class="c4 c21">th</span><span class="c3"> century; England, France, Germanic Lands, Scandinavia, Spain, Eastern Europe, The Middle East; with a section on Technique).</span></p><p class="c11"><span class="c4 c9">Huang, I-Fen. “Gender, Technical Innovation, and Gu Family Embroidery in Late-Ming Shanghai.” </span><span class="c4 c9 c17">East Asian Science, Technology and Medicine</span><span class="c4 c9"> no 36 (2012): 77-129. Includes the early 17</span><span class="c4 c9 c21">th</span><span class="c4 c9"> C embroiderer Han Ximeng.</span></p><p class="c11"><span class="c4">Jackson, Emily. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/historyofhandmad00jack&sa=D&ust=1597863595421000&usg=AOvVaw2ZgO-_GH70IpCXxJRZgqWu">A History of Hand-Made Lace</a></span><span class="c4 c17">.</span><span class="c3"> New York: Scribner’s Sons, 1900.</span></p><p class="c11"><span class="c4">Johnstone, Pauline. </span><span class="c4 c17">The Byzantine Tradition in Church Embroidery.</span><span class="c3"> Chicago: Argonaut, 1967.</span></p><p class="c11"><span class="c4 c13 c14">Katritzky, M.A. “Virtuous needleworkers, vicious apes: the embroideries of Mary Queen of Scots and Bess of Hardwick.” In Birgit Ulrike Münch et al. (eds). </span><span class="c4 c13 c14 c17">Künstlerinnen.</span><span class="c22 c4 c13 c14"> Petersberg, 2017, pp. 48-61.</span></p><p class="c11"><span class="c4">Koslin, Désirée G. “Embroidery.” In Katharina M. Wilson and Nadia Margolis (eds). </span><span class="c4 c17">Women in the Middle Ages: An Encyclopedia.</span><span class="c3"> Westport CT: Greenwood Press, 2004, Vol. I, pp. 311-15. </span></p><p class="c11"><span class="c4 c24">Kowaleski, Maryanne and Judith M. Bennett.“Crafts, Gilds, and Women in the Middle Ages: Fifty Years after Marian K. Dale</span><span class="c2">.</span><span class="c4 c24">” </span><span class="c2">Signs</span><span class="c19 c4"> 14 no 2 (1989): 474-88.</span></p><p class="c11"><span class="c4 c24">Kroos, Renate. </span><span class="c2">Niedersächsiche Bildstickerein des Mittelalters.</span><span class="c19 c4"> Berlin, 1970.</span></p><p class="c47"><span class="c4">B. L.“Lacemakers of Western Europe.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595422000&usg=AOvVaw1PxWVdXoS4b5qUTq3C_Z95">Heresies</a></span><span class="c4 c17"> </span><span class="c4">4</span><span class="c3"> (Spring 1978): 35-36.</span></p><p class="c12"><span class="c4">Labarge, Margaret Wade. “Stitches in Time: Medieval Embroidery in its Social Setting.” </span><span class="c4 c17">Florilegium</span><span class="c3"> 16 (1999): 77-96.</span></p><p class="c12"><span class="c4 c24">Lacey, Kay. “The Production of 'Narrow Ware' by Silkwomen in Fourteenth and Fifteenth Century England</span><span class="c2">.”</span><span class="c4 c24"> </span><span class="c2">Textile History</span><span class="c4 c24"> 18 no 2 (1987): 187-204.</span></p><p class="c12"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">Storia pittorica della Italia. Dal risorgimento delle belle arti fin presso al fine del XVIII secolo. </span><span class="c4">3</span><span class="c4 c21">rd</span><span class="c4"> ed. Vol. 4: </span><span class="c4 c17">Le Scuole Lombarde di Mantova, Modena, Parma, Cremona, e Milano. </span><span class="c4">Bassano: G. Remondini, 1809. The embroiderers Caterina Cantona, Antonia or Lodovica Pellegrini, Dorothea Aromatari and Arcangela Paladini, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D233&sa=D&ust=1597863595423000&usg=AOvVaw0YxDMWMTKhchNoL-yFIfpf">pp. 221-22</a></span><span class="c3">.</span></p><p class="c12"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">The History of Painting in Italy from the period of the revival of the fine arts to the end of the eighteenth century. </span><span class="c4">Trans. Thomas Roscoe. London: W. Simpkin and R. Marshall, 1828. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015073730783%26view%3D1up%26seq%3D294&sa=D&ust=1597863595424000&usg=AOvVaw3ZglLtXzzgmJe0SeNdaBzW">Vol. 4, p. 282</a></span><span class="c3">.</span></p><p class="c12"><span class="c4">Lester-Makin, Alexandra. </span><span class="c4 c17">The Lost Art of the Anglo-Saxon World. The Sacred and Secular Power of Embroidery.</span><span class="c3"> Oxford; Oxbow, 2019. Bibliography, pp. 231-43. “All documentary sources point to women being the sole producers of embroidery in England and Ireland during the early medieval period … Embroidery-workers can be split into two groups,” professionals who made a living at the craft, and “those of elite and royal circles. … In all documented cases embroiderers were held in high esteem” (pp. 113-14). See p. 114 for Ælfgyth and Leofgyth mentioned in the Domesday Book (William the Conqueror’s census of England and parts of Wales), completed in 1086. And pp. 114-15 for the inventory of the church at Ely in January 1134, where mention is made of Liveva (a “gold-worker,” that is, working with gold threads) and Ingrith, an embroiderer with experience in gold-work.</span></p><p class="c11"><span class="c4 c13 c97"><a class="c8" href="https://www.google.com/url?q=http://mdr-maa.org/resource/lexis-of-cloth-and-clothing-project/&sa=D&ust=1597863595425000&usg=AOvVaw07p50IROYWEi0f7vUTZSak">Lexis of Cloth and Clothing Project</a></span></p><p class="c11"><span class="c4 c14">Li, Yuhang. “Embroidering Guanyin: Constructions of the Divine through Hair.”</span><span class="c4 c14 c17"> East Asian Science, Technology, and Medicine</span><span class="c22 c4 c14"> 36 (2012): 131-66.</span></p><p class="c11"><span class="c4 c14">Li, Yuhang. </span><span class="c4 c14 c17">Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China</span><span class="c4 c14">. New York: Columbia University Press, 2020. Ch 3: “</span><span class="c4 c13 c91">Embroidering Guanyin with Hair: Efficacious Pain and Skill</span><span class="c22 c4 c14">.”</span></p><p class="c11"><span class="c4 c14">Lovén, Lena Larsson. “Textile Production, Female Work and Social Values in Athenian Vase Painting.” In Ann-Louise Shallin (ed). </span><span class="c4 c14 c17">Perspectives on Ancient Greece: Papers in Celebration of the 60th Anniversary of the Swedish Institute of Athens</span><span class="c22 c4 c14">. Stockholm, 2013, pp. 135-51.</span></p><p class="c11"><span class="c4 c24">Lowe, Nicola A. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/7839855/Womens_Devotional_Bequests_of_Textiles_in_the_Late_Medieval_English_Parish_Church_c.13501550&sa=D&ust=1597863595426000&usg=AOvVaw1Rwq3rnjF6XMBAeuJny8Rv">Women’s Devotional Bequests of Textiles in the Late Medieval English Parish Church, ca. 1350–1550</a></span><span class="c4 c24">.” </span><span class="c2">Gender and History</span><span class="c19 c4"> 22 no 2 (August 2010): 407-29.</span></p><p class="c47"><span class="c4 c24">Messent, Jan. </span><span class="c2">The Bayeux Tapestry Embroiderers’ Story</span><span class="c19 c4">. Thirsk: Madeira Threads, 1999.</span></p><p class="c11"><span class="c4 c24">Michael, M.A. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://yalebooksblog.co.uk/2016/12/03/english-medieval-embroidery-at-the-va-london-%25E2%2580%25A2-an-appreciation/&sa=D&ust=1597863595426000&usg=AOvVaw1OBAk_Xvd6ZKi2tC6nQrm_">English Medieval Embroidery at the V&A London. An Appreciation</a></span><span class="c4 c24">.” Yale University Press. Official London Blog (accessed 11 July 2020). One of the contributors to Browne et al., </span><span class="c2">English Medieval Embroidery </span><span class="c4 c24">(2016), on the exhibition. “</span><span class="c4 c29">women and men … made these objects, but it is clear that women played an important role in the making of embroidery during the Middle Ages.</span><span class="c4 c24"> </span><span class="c4 c29">Many women embroiderer’s names can be found in the thirteenth and fourteenth century records from </span><span class="c6 c4"><a class="c8" href="#id.a8so39fzwyev">Mabel of Bury St Edmunds</a></span><span class="c4 c29">, whose work so impressed the King Henry III that he had experts from the City of London judge the worth of her embroidery so that she should not be underpaid, to </span><span class="c6 c4"><a class="c8" href="#id.oxyy98gbj5t2">Christiana of Enfield</a></span><span class="c4 c29"> and Alyce Darcy in the fourteenth century. Even poor Alice Catour who was apprenticed as a girl in the shop of Elias Mympe, was beaten and cajoled and even given an illegally short contract, was protected by the laws of the City of London and her father sued Elias and was able to gain compensation on her behalf.</span><span class="c4 c24"> … </span><span class="c4 c29">The wealthy Rose Romayn, daughter of a Thomas Romayn, Mayor of London, is also typical of the way the merchant business classes of London could act as ‘middle-men’ for the supply of embroidery. Such embroidery, particularly for the Church, was one of the most expensive items that could be ordered by any prince or prelate in Europe at the time. Rose clearly acted on behalf of Queen Isabella, wife of Edward II in the supply of embroidery in one case, but as is so often the case with the super-rich, she had difficulty recouping her the money owed to her.</span><span class="c19 c4">”</span></p><p class="c11"><span class="c4 c24">Michael, M.A. “Creating Cultural Identity: </span><span class="c2">Opus anglicanum</span><span class="c4 c24"> and its Place in the History of English Medieval Art.” </span><span class="c2">Journal of the British Archaeological Association </span><span class="c4 c24">170 (2017): 30-60, at 31: “Women formed the majority of the makers of embroidered vestments in England during the 13</span><span class="c4 c24 c21">th</span><span class="c4 c24"> and 14</span><span class="c4 c24 c21">th</span><span class="c4 c24"> centuries … although the documents from the Great Wardrobe accounts of Edward III indicate that men and women were employed in almost equal numbers for various tasks, including quilting and sewing as well as embroidering, and more and more men are recorded as embroiders in the 15</span><span class="c4 c24 c21">th</span><span class="c19 c4"> century.” Points to the pattern of “women workers and male ‘middle men’ acting as agents and financiers” (p. 31) and the design was more often by men, the work by women and men (p. 32).</span></p><p class="c12 c13"><span class="c4">Modesti, Adelina. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/29294663/Nun_Artisans_Needlecraft_and_Material_Culture_in_the_Early_Modern_Florentine_Convent&sa=D&ust=1597863595428000&usg=AOvVaw1DMEXf5WBVSpQkiey60_y0">Nun Artisans, Needlecraft and Material Culture in the Early Modern Florentine Convent</a></span><span class="c4">.” </span><span class="c4 c17">Memorie Domenicane </span><span class="c3">132 no 46 (2015): 51-69.</span></p><p class="c12 c13"><span class="c4">Modesti, Adelina. “‘</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/37576531/_Nelle_mode_le_piu_novelle_The_latest_fashion_trends_textiles_clothing_and_luxury_fabrics_at_the_court_of_Grand_Duchess_Vittoria_della_Rovere_de_Medici_of_Tuscany&sa=D&ust=1597863595428000&usg=AOvVaw33Q-0NxudKr9GCBRfHEBit">Nelle mode le più novelle’: The latest fashion trends (textiles, clothing and luxury fabrics) at the court of Grand Duchess Vittoria della Rovere de” Medici of Tuscany</a></span><span class="c4">.” In Jill Bepler and Svante Norrhem (eds). </span><span class="c4 c17">Telling Objects. Contextualizing the Role of the Consort in Early Modern Europe.</span><span class="c3"> Wiesbaden: Harrossowitz Verlag, 2018.</span></p><p class="c11"><span class="c4">Moessner, Victoria Joan. “The medieval embroideries of Convent Wienhausen.” In Meredith P. Lillich (ed). </span><span class="c4 c17">Studies in Cistercian Art and Architecture. </span><span class="c3">Kalamazoo: Cistercian Publications, 1987, pp. 161-77.</span></p><p class="c11"><span class="c4">Morigia, Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_CU8AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595429000&usg=AOvVaw26CwM71ep6OjMM5DMxvDRw">La nobilità di Milano</a></span><span class="c4 c17">. </span><span class="c4">1</span><span class="c4 c21">st</span><span class="c3"> pub. 1595. Re-issued Milan, 1615, and 1619. A chapter on embroidery in Milan, executed by men and women, “Delli Huomini, e Donne, che nell virtù del ricamare sono eccellentii,” pp. 299-300 (5.18).</span></p><p class="c11"><span class="c4 c35">Nevinson, John L. </span><span class="c4 c35 c17">Catalogue of English Domestic Embroidery of the Sixteenth and Seventeenth Centuries</span><span class="c4 c35">. London: Victoria and Albert Museum, 1938.</span></p><p class="c11"><span class="c4">Ní Ghrádaigh, Jenifer. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/3799149/Mere_Embroiderers_Women_and_Art_in_Early_Medieval_Ireland&sa=D&ust=1597863595430000&usg=AOvVaw0u3JeW2Bdp_iJcWW4LJ0QI">Mere Embroiderers? Women and Art in Early Medieval Ireland</a></span><span class="c4">.” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c3">Vol. 1. Leiden: Brill, 2012, pp. 93-128.</span></p><p class="c11"><span class="c4 c17">Opus anglicanum: English Medieval Embroidery.</span><span class="c4"> Exh.cat. London: Victoria and Albert Museum, 1963. Some work was produced by laymen, some by nuns. It includes an altar frontal of c. 1290-1340 signed on the back by Sister Iohanna of Beverly (</span><span class="c4 c13 c17">Donna Johanna Beverlai monaca me fecit</span><span class="c4 c13">)</span><span class="c4">. “</span><span class="c4 c13">It is the only known piece of English medieval embroidery on which the maker's name is sewn” and the “fact that it is signed suggests an amateur worker rather than professional” according to the Victoria and Albert Museum, London. For the statement, and color reproductions, see </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O111536/frontal-band-unknown/&sa=D&ust=1597863595430000&usg=AOvVaw2-9EhOnsDWfnmEIKDmXqbO">here</a></span><span class="c3 c13">.</span></p><p class="c11"><span class="c4">Parker, Roszika. </span><span class="c4 c17">The Subversive Stitch: Embroidery and the Making of the Feminine. </span><span class="c3">London: Women’s Press, 1984. Reprinted London: Bloomsbury; I.B. Taurus, 2012.</span></p><p class="c11"><span class="c4">“Political Fabrications: Women’s Textiles in 5 Cultures.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595431000&usg=AOvVaw3PqreJjkzZLLdvuq-O7YCJ">Heresies </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595431000&usg=AOvVaw3PqreJjkzZLLdvuq-O7YCJ">4</a></span><span class="c3"> (Spring 1978): 28-35. Navajo, North-west Coast Chilkat Indian, New Zealand Maori, pre-conquest Peruvian, and Western European.</span></p><p class="c11"><span class="c4">Prost, Bernard and Henri Prost. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DPXw4h9RAQxUC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3Dmarion%26f%3Dfalse&sa=D&ust=1597863595432000&usg=AOvVaw19vJ0HdZP4YlZvSqJjdUbD">Inventaires mobiliers et extraits des comptes des Ducs de Bourgogne</a></span><span class="c4 c17">.</span><span class="c4"> Vol. 2: </span><span class="c4 c17">Philippe le Hardi 1378-1390.</span><span class="c3"> Paris: Ernest Leroux, 1908-13, p. 281 no 1624: 24 Jan 1387 payment to “Thomas Boudart et Marion, sa femme, pour la façon de la couverture d’unes heures, brodée d’or et de soye, et aussie la couverture d’un messel, ensamble la bource d’un corporal pour mons. le conte de Nevers.” Ie Thomas Boudart and his wife Marion are paid for making the cover of a Book of Hours in gold and silk, and also the cover of a missal for the count of Nevers.</span></p><p class="c11"><span class="c4">Ray, Meredith K. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4538937/Letters_and_Lace_Arcangela_Tarabotti_and_Convent_Culture_in_Seicento_Venice&sa=D&ust=1597863595432000&usg=AOvVaw1VinhuDCnpuQ3KDeAQQrkx">Letters and Lace: Arcangela Tarabotti and Convent Culture in Seicento Venice</a></span><span class="c4">.” In Julie D. Campbell and Anne R. Larsen (eds). </span><span class="c4 c17">Early Modern Women and Transnational Communities of Letters.</span><span class="c3"> Burlington VT: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Rocco, Patricia. “Maniera Devota, Mano Dommesca: Women’s Work and Stitching for Virtue in the Visual Culture of the Conservatori in Early Modern Bologna.” </span><span class="c4 c17">Italian Studies </span><span class="c4">70 (2015): 76-91. Also in her </span><span class="c4 c17">The Devout Hand. Women, Virtue, and Visual Culture in Early Modern Italy.</span><span class="c3"> Montreal: McGill-Queen’s University Press, 2017. Ch 3 “Stitching for Virtue: Women’s work in Embroidery for the Conservatori of Bologna.”</span></p><p class="c11"><span class="c4">Rosner, Isabella. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.listennotes.com/podcasts/sew-what-isabella-rosner-PisuTVBOkHq/&sa=D&ust=1597863595433000&usg=AOvVaw3qfwZw1QBeG8wVpS6iyZiA">Sew What?</a></span><span class="c3"> Podcasts on historic needlework.</span></p><p class="c11"><span class="c4">Schramm, Percy Ernst and Florentine Mutherich. </span><span class="c4 c17">Denkmale der deutschen Konige und Kaiser</span><span class="c3">. Exhib.cat. Munich: Prestel Verlag, 1962. Includes the 11th-C Sternmantel of Henry II, the 11th-C mantle of St. Kunigunde, and garments from 12th-C Norman Sicily.</span></p><p class="c11"><span class="c4">Scott, Philippa. </span><span class="c4 c17">The Book of Silk</span><span class="c3">. London: Thames and Hudson, 1993.</span></p><p class="c11"><span class="c4">Schuette, Marie and Sigrid Muller-Christiansen. </span><span class="c4 c17">A Pictorial History of Embroidery</span><span class="c3">. Trans. Donald King. New York: Frederick A. Praeger, 1964.</span></p><p class="c11"><span class="c4">Schulenburg, Jane Tibbetts. “Holy Women and the Needle Arts: Piety, Devotion, and Stitching the Sacred, ca. 500–1150.” In Katherine Allen Smith and Scott Wells (eds). </span><span class="c4 c17">Negotiating Community and Difference in Medieval Europe: Gender, Power, Patronage and the Authority of Religion in Latin Christendom</span><span class="c4">. Leiden: Brill, 2009, pp. 83-110. Examines sixth to mid-twelfth centuries. </span><span class="c4 c14">“Most of the names that have come down to us … are those of queens, noblewomen, and female religious … with a number recognized as popular saints. In some cases, however, it is difficult to establish whether the women to whom the embroideries are attributed actually made the embroidery ‘with their own hands’; or if they provide oversight or commissioned the work (p. 89). Discusses important women embroiderers named in documents, pp. 89-101: the sixth-century Irish saint Ercnat; the seventh-century abbess-saint Eustodiala in the monastery of Moyen-Moutiers that she built and adorned; the Welsh St Winifred (d.c.660); St Etheldreda (d. 679), queen and founding abbess of Ely; the founding abbess-saints of Eyck, Herlinda and Renilda (8</span><span class="c4 c21 c14">th</span><span class="c4 c14"> C) in their convent at Maaseyck; Queen Ermengard (d.851), wife of Lothar I, embroidered a silk pallium with the life of St Peter; Queen Judith, wife of Louis the Pious, for whom she wove and decorated a cloak so that “he might shine like a hero in the eyes of the people”; Ermentrude (d. 869), wife of Charles the Bald; the sister of that Charles, who held the monastery of St Stephen in Reims, where she embroidered a pillow for the relics of a saint that is considered “the earliest signed European embroidery” (852); Queen Emma donated a golden woven belt in the 9</span><span class="c4 c21 c14">th</span><span class="c4 c14"> C; Richlin made “with her own hands” a veil for St Gall; </span><span class="c6 c4"><a class="c8" href="#id.aigdp533uv57">Queen Aelfflaed</a></span><span class="c4 c14">; the recluse saint Wilborada (d.926) who made clothes and embroidered book covers; Gerberga, sister of Otto I embroidered the “Flag of War” (c.962); St Edith of Wilton (d.984) who designed as well as made her own alb, replacing the supplicant Mary Magdalene with a self-portrait; Aethelwynn, who lived near the church at Glastonbury and asked St Dunstan (d.988) to design a stole that she then embroidered in gold; Lady Elfflaed in 991 gave to Ely a hanging “woven upon and embroidered with the deeds of her husband”; the Saxon princess Hedwig (d. 994) embroidered vestments; Adelheid (d.1004), mother of a king; </span><span class="c6 c4"><a class="c8" href="#id.6rm5nvvf2oxy">Æthelswith</a></span><span class="c4 c14">; the empress-saint Cunegund/Kunigunde (d.1033), said to have embroidered a great mantle for her husband Henry II which remains in the Cathedral of Bamberg, and she also made a tunic for herself and built a monastery at Kaufungen that she furnished; her sister-in-law Gisela (d.1037) embroidered a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://mnm.hu/en/exhibitions/allando/coronation-mantle%23:~:text%3DOne%2520matchless%2520treasure%2520held%2520by,Bavaria%2520had%2520made%2520in%25201031.%26text%3DOn%2520the%2520back%2520of%2520the%2520mantle%2520is%2520a%2520Y%252Dshaped%2520cross.&sa=D&ust=1597863595434000&usg=AOvVaw2Hz7uCQA7xxQXby2NAF028">coronation robe </a></span><span class="c4 c14">for her husband Stephen of Hungary (1031), now in the Hungarian National Museum; Queen Emma (d.1052), wife of Ethelred II of Cnut, represented in the </span><span class="c4 c14 c17">Liber Eliensis </span><span class="c4 c14">as both an accomplished embroiderer and a generous donor of such; St Guda, Queen of Denmark (d.c.1055) built a monastery where she and the nuns embroidered; Lady Gita, mother of Queen Edith; Edith (c.1075), wife of king Edward the Confessor; Queen Matilda (d.1083), wife of William the Conqueror, a patron and generous donor of embroideries; St and Queen Margaret of Scotland (d.1093) established and superviesd an embroidery workshop in the royal palace; St Paulina of Thuringia (d.c.1107); the recluse </span><span class="c6 c4"><a class="c8" href="#id.kqsblr1d2ei1">Christina of Markyate</a></span><span class="c4 c14">; the German noblewoman Adela (c.1021). Notes that there were a few recorded male embroiderers including St Dunstan, considered an artist who wrote, painted, carved and embroidered. The embroidery work of these two dozen or so women, “mainly queens and abbesses … participated with or reinforced other acts of gendered saintly behavior such as virginity, industry, and generosity” (p. 101).</span></p><p class="c11"><span class="c4">Seeberg, Stefanie. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11482395/Women_as_Makers_of_Church_Decoration_Illustrated_Textiles_at_the_Monasteries_of_Altenberg_Lahn_Ruppertsberg_and_Heiningen_13th-14th._C._&sa=D&ust=1597863595435000&usg=AOvVaw0Y5zyxkGm7NKiXyPONfrK8">Women as Makers of Church Decoration: Illustrated Textiles at the Monasteries of Altenberg/Lahn, Rupertsberg, and Heiningen (13</a></span><span class="c6 c4 c21"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11482395/Women_as_Makers_of_Church_Decoration_Illustrated_Textiles_at_the_Monasteries_of_Altenberg_Lahn_Ruppertsberg_and_Heiningen_13th-14th._C._&sa=D&ust=1597863595436000&usg=AOvVaw1gt8uPXCDPI7eTyGWotNSV">th</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11482395/Women_as_Makers_of_Church_Decoration_Illustrated_Textiles_at_the_Monasteries_of_Altenberg_Lahn_Ruppertsberg_and_Heiningen_13th-14th._C._&sa=D&ust=1597863595436000&usg=AOvVaw1gt8uPXCDPI7eTyGWotNSV">-14</a></span><span class="c6 c4 c21"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11482395/Women_as_Makers_of_Church_Decoration_Illustrated_Textiles_at_the_Monasteries_of_Altenberg_Lahn_Ruppertsberg_and_Heiningen_13th-14th._C._&sa=D&ust=1597863595436000&usg=AOvVaw1gt8uPXCDPI7eTyGWotNSV">th</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11482395/Women_as_Makers_of_Church_Decoration_Illustrated_Textiles_at_the_Monasteries_of_Altenberg_Lahn_Ruppertsberg_and_Heiningen_13th-14th._C._&sa=D&ust=1597863595437000&usg=AOvVaw336AQYS1dbGza50f-aTuYt"> C).</a></span><span class="c4">” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c3">Vol. 1. Leiden: Brill, 2012, pp. 355-92.</span></p><p class="c11"><span class="c4">Seligman, G. Saville and Talbot Hughes. </span><span class="c4 c17">Domestic Needlework. Its Origins and Customs Throughout the Centuries.</span><span class="c3"> London: Country Life, 1926.</span></p><p class="c11"><span class="c4">Shakespeare, William. </span><span class="c4 c17">A Midsummer Night’s Dream </span><span class="c4">(1595/96). Helen: “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both on one sampler, sitting on one cushion, / Both warbling our song, both in one key, / As if our hands, our sides, voices and minds, / Had been incorporate. So we grew together, / Like to a double cherry, seeming parted, / But yet an union in partition, / Two lovely berries molded in one stem; / So with two seeming bodies but one heart, / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest. / And will you rent our ancient love asunder, / To join with men in scorning your poor friend?” (</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://shakespeare.folger.edu/shakespeares-works/a-midsummer-nights-dream/act-3-scene-2/&sa=D&ust=1597863595437000&usg=AOvVaw2lXKq_xQtNP2aMOjIPmXQF">III.ii.208-21</a></span><span class="c3">).</span></p><p class="c47 c68"><span class="c4">Simeon. Margaret. </span><span class="c4 c17">The History of Lace</span><span class="c3">. London: Staines and Bell, 1979.</span></p><p class="c12 c68"><span class="c4">Snodgrass, Mary Ellen. </span><span class="c4 c17">World Clothing and Fashion. An Encyclopedia of History, Culture, and Social Influence.</span><span class="c3"> 2 vols. New York: Routledge, 2015.</span></p><p class="c12 c68"><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.et-tu.com/soper/index.html&sa=D&ust=1597863595438000&usg=AOvVaw0KjQekZKQZPwco4U98uyxc">Soper Lane</a></span><span class="c3">, London (accessed 18 July 2020). On silkwomen.</span></p><p class="c11"><span class="c4">Staniland, Fay. </span><span class="c4 c17">Embroiderers.</span><span class="c3"> London: British Museum Press and Toronto: University of Toronto Press, 1991.</span></p><p class="c11"><span class="c4">Strocchia, Sharon. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/28210305/_Knowing_Hands_Nuns_and_the_Needle_Arts_in_Renaissance_Italy_in_Artiste_nel_chiostro._Produzione_artistica_nei_monasteri_femminili_in_eta_moderna_Florence_2015_ed._Sheila_Barker_with_Luciano_Cinelli_pp._31-52._Special_issue_of_Memorie_Domenicane_46_2015_&sa=D&ust=1597863595439000&usg=AOvVaw3aG-NEkzpLJOKw5Cmy__CX">Knowing Hands: Nuns and the Needle Arts in Renaissance Tuscany</a></span><span class="c4">.” </span><span class="c4 c17">Memorie Domenicane </span><span class="c3">132 no 46 (2015): 29-50.</span></p><p class="c12"><span class="c4">Sutton, Anne F. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.richardiii.net/downloads/Ricardian/2006_vol16_two_dozen_silkwomen_sutton.pdf&sa=D&ust=1597863595439000&usg=AOvVaw1Ys-Wp1swdwX_Dp50bo-hT">Two dozen and more silkwomen of fifteenth-century London</a></span><span class="c4">.” </span><span class="c4 c17">The Ricardian </span><span class="c3">16 (2006): 46-58.</span></p><p class="c11"><span class="c4">Swain, Margaret H. </span><span class="c4 c17">The Needlework of Mary Queen of Scots.</span><span class="c3"> New York: Reinhold, 1973.</span></p><p class="c11"><span class="c4">Szabo, John F. and Nicholas E. Kuefler. </span><span class="c4 c17">The Bayeux Tapestry: A Critically Annotated Bibliography.</span><span class="c4"> New York: Rowman and Littlefield, 2015. </span><span class="c13 c24 c52 c119"> </span></p><p class="c11"><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/religious-representations/creation-tapestry&sa=D&ust=1597863595440000&usg=AOvVaw1dxDIrv7Bqd1PwzZJIqrXy">Textile Research Center</a></span><span class="c4"> Leiden</span></p><p class="c11"><span class="c4">Tunstall, Alexandra. </span><span class="c4 c23">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/14992521/Beyond_Categorization_Zhu_Kerous_Tapestry_Painting_Butterfly_and_Camellia&sa=D&ust=1597863595440000&usg=AOvVaw0JEjsXb83zSi-b8Brc3n4J">Beyond Categorization: Zhu Kerou’s Tapestry Painting, ‘Butterfly and Camellia.’</a></span><span class="c4 c23">” </span><span class="c4 c9 c17">East Asian Science, Technology and Medicine</span><span class="c4 c9"> no 36 (2012): </span><span class="c22 c4 c23">39-76. The weaver and embroiderer Zhu Kerou flourished c.1127-61 during the Southern Song dynasty in China.</span></p><p class="c11"><span class="c4 c23">Turrill, Catherine. “</span><span class="c4 c23 c17">Compagnie</span><span class="c4 c23"> and </span><span class="c4 c23 c17">Discepole</span><span class="c4 c23">: The Presence of Other Women Artists at Santa Caterina da Siena.” In Jonathan Nelson (ed). </span><span class="c4 c23 c17">Suor Plautilla Nelli (1523-1588). The First Woman Painter of Florence</span><span class="c22 c4 c23">. Italian History and Culture, 6. Fiesole: Cadmo 2000, pp. 83-102, at p. 87. On “sewing, lace, luxury threads, specially prepared silks, and other fine fabric work for their subsidiary income” at Florentine convents. And their sculptures could also be supplied with expensive garments (p. 88).</span></p><p class="c11"><span class="c4 c24">Turrill, Catherine. “Parenti, clienti e conoscenti: the nun-artisans of Santa Caterina da Siena and their clients.” In Marcello Fantoni, Louisa C. Matthew and Sara F. Matthews Grieco (eds). </span><span class="c4 c23 c17">The Art Market in Italy 15th-17th Centuries; Il Mercato dell'Arte in Italia secc. XV-XVII</span><span class="c22 c4 c23">. Modena; Panini, 2003, pp. 95-103, at pp. 95-97 passim.</span></p><p class="c11"><span class="c4 c23">Varoli-Piazza, Rosalia (ed). </span><span class="c4 c23 c17">Interdisciplinary Approach to Studies and Conservation of Medieval Textiles</span><span class="c22 c4 c23">. Rome: Il Mondo 3 Edizioni, 1998. Includes 12th-C garments from Norman Sicily, a fragment of embroidered cloth from Messina, an 11th-C court scene, and a “Sicilian-Swabian” embroidery.</span></p><p class="c12"><span class="c4">Victoria and Albert Museum, London. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers&sa=D&ust=1597863595441000&usg=AOvVaw0hoMpgRzwnoOt3SUB3khwA">Embroidery: A history of needlework samplers</a></span><span class="c4">.” Begins with an Egyptian work of the 14-15</span><span class="c4 c21">th</span><span class="c4"> C.</span></p><p class="c11"><span class="c4">Watt, Melinda and Andrew Morrall. </span><span class="c4 c17">English Embroidery from the Metropolitan Museum of Art, 1580-1700. </span><span class="c3">New Haven: Yale University Press, 2008.</span></p><p class="c11"><span class="c4 c13 c23">Young, Bonnie. “Needlework by Nuns: A Medieval Religious Embroidery.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/metpublications/The_Metropolitan_Museum_of_Art_Bulletin_v_28_no_6_February_1970&sa=D&ust=1597863595442000&usg=AOvVaw3T_guR_fN1mY5NnQY4mWUr">The Metropolitan Museum of Art Bulletin</a></span><span class="c3">, n.s. 28 no 6 (Feb 1970): 263-77, fig. 1, 8-17. A late-14th-C German (Lower Saxony) embroidery.</span></p><a id="id.g0mpwgfjh8o"></a><h2 class="c1" id="h.azx4pro1zws4"><span>St. Etheldreda / </span><span class="c13 c29">Æthelthryth </span><span>(</span><span class="c13 c14">English; embroiderer; </span><span class="c7">c. 638-679)</span></h2><p class="c47"><span class="c4">Blake, E.O. (ed). </span><span class="c4 c17">Liber Eliensis.</span><span class="c3"> London: Royal Historical Society, 1962, p. 24.</span></p><p class="c12"><span class="c4">Fairweather, Janet. (trans). </span><span class="c4 c17">Liber Eliensis: a history of the Isle of Ely from the seventh century to the twelfth.</span><span class="c4"> Woodbridge: Boydell, 2005, p. 30: </span><span class="c3 c13">“being skilled in handiwork, she made with her own hands … by the technique of gold embroidery, an outstanding and famous piece of work.”</span></p><p class="c12"><span class="c4">Vogelsang, Willem. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/artists-designers-and-embroiderers/st-etheldreda-c-638-679&sa=D&ust=1597863595443000&usg=AOvVaw28IsQTm7gvLSV3KblK23JR">St Etheldreda</a></span><span class="c4">.” At </span><span class="c4 c17">Textile Research Centre </span><span class="c4">(accessed 11 July 2020). </span><span class="c4 c13">She “founded the double monastery of Ely in 672.</span><span class="c3">”</span></p><a id="id.lgvrn0nle294"></a><h2 class="c1 c16" id="h.s80f2gohh01l"><span class="c14">Herlinda and Renilda</span><span> (Flemish; sisters; abbess-saints; 8</span><span class="c21">th</span><span> </span><span>C); the extant Anglo-Saxon “Maaseik embroideries” of the 9</span><span class="c21">th</span><span class="c7"> C</span></h2><p class="c12"><span class="c4 c14">Noblewomen and sisters; founders of their Benedictine convent at Maaseyck; </span><span class="c4">represented by their biographer in legendary terms, as learned, and skilled in embroidery, weaving, and so on. Embroideries that survive at the church of St Catherine in that town, which incorporate “the oldest extant Western European embroidered pieces of fabric,” are traditionally attributed to the sisters, but they are probably of the 9</span><span class="c4 c21">th</span><span class="c3"> C, and Anglo-Saxon (Voglesang-Eastwood).</span></p><p class="c12"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/actasanctorum09unse/page/384/mode/2up&sa=D&ust=1597863595444000&usg=AOvVaw3VM0Gudb8RBRS23D1M-ETD">Acta Sanctorum, Martii</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/actasanctorum09unse/page/384/mode/2up&sa=D&ust=1597863595444000&usg=AOvVaw3VM0Gudb8RBRS23D1M-ETD">.</a></span><span class="c4 c14"> (1668). Vol. 3. </span><span class="c4 c23">Ed. J. Carnandet. Paris and Rome, 1865,</span><span class="c22 c4 c14"> p. 385 (March 22).</span></p><p class="c12 c13"><span class="c4">Budny, Mildred. “</span><span class="c4 c23">“The Anglo-Saxon Embroideries at Maaseik: Their Historical and Art-Historical Context.” </span><span class="c4 c23 c17">Academiae Analecta</span><span class="c22 c4 c23"> XLV (1984): 1-84.</span></p><p class="c47"><span class="c4">Budny, Mildred. “The Maaseik Embroideries.” </span><span class="c4 c17">Medieval World </span><span class="c3">4 (1992): 22-30. Early 9th C.</span></p><p class="c12"><span class="c4 c13 c23">Calberg, M. “Tissus et broderies attribués aux Saintes Harlinde et Relinde</span><span class="c4 c17">.</span><span class="c4">” </span><span class="c4 c17">Bulletin de la Société Royale d'Archéologie de Bruxelles</span><span class="c3"> (1951): 1-26.</span></p><p class="c12"><span class="c4 c13 c23">Coatsworth, Elizabeth. “Maaseik textiles.” In Owen-Crocker Gale, Elizabeth Coatsworth and Maria Hayward (eds.). </span><span class="c4 c17">Encyclopedia of Medieval Dress and Textiles of the British Isles, c. 450-1450</span><span class="c3">, Brill: Leiden, 2012, pp. 354-357.</span></p><p class="c12"><span class="c4">Heymans, H. </span><span class="c4 c13 c23">“De middeleeuwse stoffen te Maaseik.” </span><span class="c4 c17">Het Oude Land van Loon</span><span class="c3"> 38 (1983): 231-71.</span></p><p class="c12"><span class="c4">Schulenburg, Jane Tibbetts. “Holy Women and the Needle Arts: Piety, Devotion, and Stitching the Sacred, ca. 500–1150.” In Katherine Allen Smith and Scott Wells (eds). </span><span class="c4 c17">Negotiating Community and Difference in Medieval Europe: Gender, Power, Patronage and the Authority of Religion in Latin Christendom</span><span class="c4">. Leiden: Brill, 2009, pp. 83-110, at 91. They were, according to the </span><span class="c4 c17">vita,</span><span class="c3"> “carefully trained in every area of work such as is done by women’s hands, in various designs and in different styles; thus they attained a high standard of excellence in spinning, weaving, designing, and embroidering interlace in gold and flowers in silk.” Their work included short curtains for the altar.</span></p><p class="c12"><span class="c4">Stevens, Helen M. “Maaseik reconstructed: a practical investigation and interpretation of 8th-century embroidery techniques.” In Penelope Walton and John-Peter Wild (eds). </span><span class="c4 c17">Textiles in Northern Archaeology</span><span class="c3"> (NESAT III). London: Archetype Publications, 1987, pp. 57-60.</span></p><p class="c12 c88"><span class="c4 c23">Tweddle, Dominic and Mildred Budny. “The Maaseik Embroideries.” </span><span class="c4 c23 c17">Anglo-Saxon England </span><span class="c22 c4 c23">13 (1984): 65-96.</span></p><p class="c12 c88"><span class="c4 c23">Tweddle, Dominic and Mildred Budny. “The Early Medieval Textiles at Maaseik, Belgium.” </span><span class="c4 c23 c17">Antiquaries Journal</span><span class="c22 c4 c23"> 65 no 2 (1985): 353-89.</span></p><p class="c12"><span class="c4">Vogelsang-Eastwood, Gillian. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/religious-vestments-and-other-textiles/maaseik-embroideries&sa=D&ust=1597863595446000&usg=AOvVaw0frYxe2OcELLgyE-5GCBfM">Maaseik Embroideries</a></span><span class="c3">.” At Textile Research Centre (accessed 19 July 2020).</span></p><a id="id.uw7zk6k1ny9p"></a><h2 class="c1" id="h.i63htrfnyf8c"><span class="c7">Eanswitha (born in Hereford; embroiderer; active c. 800-20)</span></h2><p class="c12"><span class="c3">“Possibly the earliest recorded evidence for a named embroiderer” (Lester-Makin, p. 109).</span></p><p class="c12"><span class="c4">Birch, W. de Gray (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Duc1.b4311893%26view%3D1up%26seq%3D478&sa=D&ust=1597863595447000&usg=AOvVaw2TDJy9NsdUZ26ah1blA0GO">Cartularium Saxonicum</a></span><span class="c4 c17">: a collection of charters relating to Anglo-Saxon history.</span><span class="c3"> Vol. 1. London: Whiting and Co., 1885, pp. 426-27. Suggests a date of c. 802.</span></p><p class="c12"><span class="c4 c23">Churton,</span><span class="c38 c23"> </span><span class="c4 c23">Edward. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D6jyNnAf0ml4C%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595448000&usg=AOvVaw11uhZ6LzWd5VGYDd9wSo8B">The Early English Church</a></span><span class="c22 c4 c23">. London: Levey, Robson, and Franklyn, 1840, p. 128.</span></p><p class="c12"><span class="c4">Fell, C. </span><span class="c4 c17">Women in Anglo-Saxon England.</span><span class="c3"> London: British Museum, 1984, p. 42.</span></p><p class="c12"><span class="c4">Lester-Makin, Alexandra. </span><span class="c4 c17">The Lost Art of the Anglo-Saxon World. The Sacred and Secular Power of Embroidery.</span><span class="c3"> Oxford; Oxbow, 2019, pp. 109-10: She is “granted a life-long lease for a 200-acre farm at Hereford by Denewulf, Bishop of Worcester” [who held that office c.799-822] so that, in the words of the document “she mends, cleans, and adds to Worcester’s ecclesiastical vestments.” The work was extensive so she probably ran a workshop or school.</span></p><p class="c12"><span class="c4">Robertson, A.J. </span><span class="c4 c17">Anglo-Saxon Charters.</span><span class="c4"> 2</span><span class="c4 c21">nd</span><span class="c3"> ed. Cambridge: Cambridge University Press, 1956, p. 378.</span></p><a id="id.6rm5nvvf2oxy"></a><h2 class="c1" id="h.r9i2pd5lkcm3"><span class="c7">Æthelswith (born Ely; embroiderer and weaver; active 1023)</span></h2><p class="c12"><span class="c3">An unmarried, secular woman who lived in pious seclusion and produced gold embroidery and weaving with the help of young women, possibly in a school.</span></p><p class="c12"><span class="c4">Blake, E.O. (ed). </span><span class="c4 c17">Liber Eliensis.</span><span class="c3"> London: Royal Historical Society, 1962, pp. 158 and passim.</span></p><p class="c12"><span class="c4">Fairweather, Janet. (trans). </span><span class="c4 c17">Liber Eliensis: a history of the Isle of Ely from the seventh century to the twelfth.</span><span class="c3"> Woodbridge: Boydell, 2005, pp. 187-88 (2.88-89), 358 (3.50).</span></p><p class="c12"><span class="c4">Lester-Makin, Alexandra. </span><span class="c4 c17">The Lost Art of the Anglo-Saxon World. The Sacred and Secular Power of Embroidery.</span><span class="c3"> Oxford; Oxbow, 2019, pp. 112-13 (“ubi aurifrixorie et texturis secretius cum puellulis vacabat”). Her works included a chasuble of white fabric that she paid for.</span></p><p class="c12"><span class="c4">Schulenburg, Jane Tibbetts. “Holy Women and the Needle Arts: Piety, Devotion, and Stitching the Sacred, ca. 500–1150.” In Katherine Allen Smith and Scott Wells (eds). </span><span class="c4 c17">Negotiating Community and Difference in Medieval Europe: Gender, Power, Patronage and the Authority of Religion in Latin Christendom</span><span class="c4">. Leiden: Brill, 2009, pp. </span><span class="c4 c14">83-110, at 96.</span></p><a id="id.fq8nfef6sb1k"></a><h2 class="c1" id="h.mlz4sph2yk8n"><span class="c7">Edith of Wessex / Edgitha (English; embroiderer; c.1025-1075)</span></h2><p class="c12"><span class="c3">Wife of the English King Edward the Confessor 1045-66; the Domesday Book (a census of England and some of Wales, completed in 1068), reveals that she was the richest woman in England. The ostensible biography of her husband, which she commissioned, represents her as renowned for embroidery (“celebres et eximia et opera et picture altera erat Minerva”) and for having embroidered and bejeweled all of the king’s clothes.</span></p><p class="c12"><span class="c4">Barlow, Frank. (trans and ed). </span><span class="c4 c17">The Life of King Edward,</span><span class="c4"> </span><span class="c4 c17">who rests at Westminster.</span><span class="c4"> 2</span><span class="c4 c21">nd</span><span class="c4"> ed. London: Clarendon, 1962, pp. 14-15. A translation of the </span><span class="c4 c17">Vita Ædwardi Regis</span><span class="c3"> (c. 1067).</span></p><p class="c12"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992, pp. 147-48.</span></p><p class="c12"><span class="c4">Hicks, Carola. </span><span class="c4 c17">The Bayeux Tapestry: The Life of a Masterpiece. </span><span class="c3">London: Chatto & Windus, 2006. Suggests that Edith was patron of the tapestry as a ploy to secure herself a place in the new court. </span></p><p class="c12"><span class="c4">Lester-Makin, Alexandra. </span><span class="c4 c17">The Lost Art of the Anglo-Saxon World. The Sacred and Secular Power of Embroidery.</span><span class="c3"> Oxford: Oxbow, 2019, pp. 114, 118-20 passim.</span></p><p class="c12"><span class="c4 c13 c14">Stafford, Pauline. “Edith, Edward’s Wife and Queen.” In Richard Mortimer (ed). </span><span class="c4 c17">Edward the Confessor: The Man and the Legend</span><span class="c3">. Woodbridge: Boydell, 2009, pp. 119-30.</span></p><p class="c12"><span class="c4">Vogelsang, Willem. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/artists-designers-and-embroiderers/edgitha-wife-of-edward-the-confessor&sa=D&ust=1597863595451000&usg=AOvVaw2EzOlY0tPqXUeAQEy0HWPB">Edgitha, Wife of Edward the Confessor.</a></span><span class="c4">” At </span><span class="c4 c17">Textile Research Centre </span><span class="c3">(accessed 11 July 2020)</span></p><a id="id.kqsblr1d2ei1"></a><h2 class="c1" id="h.jsishbeco9r6"><span class="c7">Christina of Markyate (English; anchoress; embroiderer; c. 1096/98-c.1155)</span></h2><p class="c12"><span class="c4">An Anglo-Saxon recluse who at times supported herself by means of needlework. </span><span class="c22 c4 c13 c23">Eventually Christina came under the patronage of the abbot of St Albans and she was prioress of Markyate. Only a few examples of her work are documented, however, and nothing survives.</span></p><p class="c12"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992, p. 115.</span></p><p class="c12"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/gestaabbatummon00rilegoog/page/n160/mode/2up&sa=D&ust=1597863595451000&usg=AOvVaw1qCTxy1me77QQreiqxvgVW">Gesta Abbatum Monasterii Sancti Albani a Thoma Walsingham</a></span><span class="c4">. Ed. Henry Thomas Riley. Vol. l. London: Longmans, Green, Reader, and Dyer, 1867, p. 127: “mitras etiam tres, et sandalia operis mirifici, quae Domina Christiana, Priorissa de Markyate, diligentissime fecerat.” Ed. James Clark and trans. David Preest. </span><span class="c4 c17">Deeds of the Abbots of St Albans.</span><span class="c3"> Woodbridge: Boydell Press, 2019.</span></p><p class="c12"><span class="c4 c17">The Life of Christina of Markyate. </span><span class="c4">Ed. and trans. C.H.Talbot. 1</span><span class="c4 c21">st</span><span class="c3"> ed. 1959. Rev. ed. 1987. Toronto: University of Toronto Press in association with the Medieval Academy of America, 1998. An anonymous text written around the time of her death. See pp. 9, 161 (re 1136).</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.abdn.ac.uk/stalbanspsalter/english/essays/personalities.shtml&sa=D&ust=1597863595452000&usg=AOvVaw0Hisu2d0i-vXTbzEQyleKs">The Personalities. Christina</a></span><span class="c4">.” At </span><span class="c4 c17">St Alban’s Psalter </span><span class="c3">(website at the University of Aberdeen) (accessed 17 July 2020). “When Geoffrey [Geoffrey de Goreham (or Gorron), Abbot of St Albans] was supposed to travel to Rome in 1136 he begged Christina to make him a couple of vests ‘not for pleasure but to mitigate the discomfort of the journey.’ She was obviously a skilled needlewoman as she later embroidered three mitres and sandals of outstanding workmanship to be presented to Pope Adrian IV in 1155 (GA, 127).”</span></p><p class="c11"><span class="c4">Schulenburg, Jane Tibbetts. “Holy Women and the Needle Arts: Piety, Devotion, and Stitching the Sacred, ca. 500–1150.” In Katherine Allen Smith and Scott Wells (eds). </span><span class="c4 c17">Negotiating Community and Difference in Medieval Europe: Gender, Power, Patronage and the Authority of Religion in Latin Christendom</span><span class="c3">. Leiden: Brill, 2009, pp. 83-110, at 101.</span></p><a id="id.grje74wm9mn0"></a><h2 class="c1" id="h.bprale566xmq"><span class="c7">St Clare of Assisi (born Assisi; Clarissan nun; embroiderer; 1194-1253)</span></h2><p class="c12"><span class="c22 c4 c23">Friend of St Francis of Assisi, she founded the order of the Poor Clares/Clarissans, associated with the Franciscans and similarly devoted to poverty and humility. Canonized 1255. Patron saint of embroiderers and needleworkers. Like many female saints and religious role models, she is said to have excelled in needlework. According to contemporary accounts, she sewed altar cloths and vestments, and members of her order carried on the practice. What is known as “Assisi embroidery” probably originated with her or her order.</span></p><p class="c75 c16"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/actasanctorum36unse/page/n779/mode/2up&sa=D&ust=1597863595453000&usg=AOvVaw076QU_fB0xhtdHbtjv4Cbd">Acta Sanctorum, Augusti</a></span><span class="c4 c23 c17">.</span><span class="c4 c23"> (1735).</span><span class="c4 c23 c17"> </span><span class="c22 c4 c23">Vol. 2. Ed. J. Carnandet. Paris and Rome, 1867, pp. 739-68 on St Clare. See pp. 750, 757, 760 for very similar statements, the gist of which is translated in Armstrong below. These are testimonies collected in 1253-55 as part of the process of her canonization.</span></p><p class="c12"><span class="c4 c14">Armstrong, Regis J. (ed. and trans.). </span><span class="c4 c14 c17">The Lady: Clare of Assisi: Early Documents</span><span class="c4 c14">. 3rd ed. New York: New City Press, 2006, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.franciscantradition.org/clare-of-assisi-early-documents/the-acts-of-the-process-of-canonization/324-ca-ed-1-page-147%23ges:searchword%253Dplains%252Bhills%2526searchphrase%253Dall%2526page%253D1&sa=D&ust=1597863595453000&usg=AOvVaw1mHYqLzj07FRfiTgfsnT7E">p. 147 (11.32-34)</a></span><span class="c4 c14">. “</span><span class="c4 c13 c23">She spun [thread] so from her work she made corporals and altar linens for almost all the churches of the plains and hills around Assisi. </span><span class="c4">Asked how she knew these things, she replied that she saw her spinning. When the cloth was made and the sisters had sewn it, it was hand- delivered by the brothers to those churches and given to the priests who came there.”</span></p><a id="id.a8so39fzwyev"></a><h2 class="c1" id="h.urbgf140k780"><span class="c7">Mabel of Bury St Edmunds (English; embroiderer; active 1235-44; died after 1256)</span></h2><p class="c12"><span class="c4 c13 c29">Favoured by King Henry III (ruled 1216-72), for her name appears at least twenty times in records of work done for him, beginning with the commission of a chasuble and veil in 1239 and ending in 1245. In 1243 the king commissioned a standard to hang adjacent to an altar in Westminster Abbey, to depict Mary and John but she “would best know how to see to” it (“illud melius sciverit providere”; </span><span class="c4 c13 c29 c17">Close Rolls, </span><span class="c22 c4 c13 c29">vol. 5, p. 36). When he was in Bury St Edmonds in 1256 he honored her with a substantial gift of cloth and fur. Bury St Edmonds is in Suffolk, around 80 miles / 130 kms north-east of London, although much of her working life was probably spent closer to the court in London.</span></p><p class="c12 c56"><span class="c22 c4 c13 c29"></span></p><p class="c12"><span class="c38 c13 c29 c17 c64">Primary Sources</span></p><p class="c12"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/calendaroflibera01grea/page/478/mode/2up&sa=D&ust=1597863595455000&usg=AOvVaw0K_Tb4hhE9sE7PjAizFmUf">Calendar of the Liberate Rolls preserved in the Public Record Office. </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/calendaroflibera01grea/page/478/mode/2up&sa=D&ust=1597863595455000&usg=AOvVaw0K_Tb4hhE9sE7PjAizFmUf">Henry III. Vol. 1</a></span><span class="c4">. </span><span class="c4 c17">1226-1240. </span><span class="c4">London: His Majesty’s Stationery Office, 1916, pp. 479, 487, 496.</span></p><p class="c12"><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/stream/closerollsofreig04grea%23page/320/mode/2up&sa=D&ust=1597863595455000&usg=AOvVaw0fIyK_68dyQahA-_HuihGZ">Close Rolls of the Reign of Henry III preserved in the Public Record Office</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://archive.org/stream/closerollsofreig04grea%23page/320/mode/2up&sa=D&ust=1597863595455000&usg=AOvVaw0fIyK_68dyQahA-_HuihGZ">. Vol. 4</a></span><span class="c4 c13 c29">. </span><span class="c4 c13 c29 c17">1237-1242</span><span class="c4 c13 c29">. </span><span class="c3">London: His Majesty’s Stationery Office, 1911, pp. 321-22, 372.</span></p><p class="c12"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmiun.abh6499.0002.001%26view%3D1up%26seq%3D5&sa=D&ust=1597863595456000&usg=AOvVaw13A0wzJkGnFxVSWNchbtCC">Calendar of</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmiun.abh6499.0002.001%26view%3D1up%26seq%3D5&sa=D&ust=1597863595456000&usg=AOvVaw13A0wzJkGnFxVSWNchbtCC"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmiun.abh6499.0002.001%26view%3D1up%26seq%3D5&sa=D&ust=1597863595456000&usg=AOvVaw13A0wzJkGnFxVSWNchbtCC">the Liberate Rolls preserved in the Public Record Office. </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmiun.abh6499.0002.001%26view%3D1up%26seq%3D5&sa=D&ust=1597863595456000&usg=AOvVaw13A0wzJkGnFxVSWNchbtCC">Henry III. Vol. 2</a></span><span class="c4">. </span><span class="c4 c17">1240-1245. </span><span class="c3">London: His Majesty’s Stationery Office, 1930, pp. 8, 18, 38, 49, 84, 86, 101, 120-21, 215, 234, 278, 286.</span></p><p class="c12"><span class="c4 c5">Stacey, Robert C. (ed). </span><span class="c4 c17">Receipt and issue rolls for the twenty-sixth year of the reign of King Henry III, 1241-42</span><span class="c4">. Pipe Roll Society</span><span class="c4 c5">, new ser., 87 (1992)</span></p><p class="c12"><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/stream/closerollsofreig05grea%23page/n5/mode/2up&sa=D&ust=1597863595457000&usg=AOvVaw2iQG3m46kVprr1Q4637u7R">Close Rolls of the Reign of Henry III preserved in the Public Record Office</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://archive.org/stream/closerollsofreig05grea%23page/n5/mode/2up&sa=D&ust=1597863595457000&usg=AOvVaw2iQG3m46kVprr1Q4637u7R">. Vol. 5</a></span><span class="c4 c13 c29">. </span><span class="c4 c13 c29 c17">1242-1247. </span><span class="c4">London: His Majesty’s Stationery Office, 1916, pp. </span><span class="c22 c4 c13 c29">36, 206.</span></p><p class="c12"><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.35112103127165%26view%3D1up%26seq%3D294&sa=D&ust=1597863595458000&usg=AOvVaw2fxbYqyNWssCm708PDQ3Eq">Close Rolls of the Reign of Henry III preserved in the Public Record Office</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.35112103127165%26view%3D1up%26seq%3D294&sa=D&ust=1597863595458000&usg=AOvVaw2fxbYqyNWssCm708PDQ3Eq">. Vol. 9</a></span><span class="c4 c13 c29">. </span><span class="c4 c13 c29 c17">1254-1256. </span><span class="c3">London: His Majesty’s Stationery Office, 1931, p. 284.</span></p><p class="c12 c56"><span class="c3"></span></p><p class="c12"><span class="c38 c57 c17">Secondary Sources</span></p><p class="c12"><span class="c4 c13 c29">Christie, Archibald G.I. </span><span class="c4 c13 c29 c17">English Medieval Embroidery. </span><span class="c22 c4 c13 c29">Oxford: Clarendon, 1938, pp. 2, 33-34.</span></p><p class="c12"><span class="c4 c13 c14">Lancaster, R. Kent. “Artists, Suppliers and Clerks: The Human Factors in the Art Patronage of King Henry III.” </span><span class="c4 c17">Journal of the Warburg and Courtauld Institutes</span><span class="c4"> 35 (1972): 81-107, at 81, 83-85. “Except for those who became royal clerks and administrators, no other artist who served the King came so close to escaping the anonymity of the medieval craftsman as did Mabel.” She was “a completely independent producer … [who] may have had her own atelier, or assistants at least. Although the quantity of her production [for the king] seems entirely possible for a single individual.”</span></p><p class="c11"><span class="c4 c13 c14">Staniland, Kay. “Bury St Edmunds, Mabel of.” </span><span class="c4 c17">Oxford Dictionary of National Biography </span><span class="c4">online (posted 23 Sept 2004; accessed 10 July 2020). “That Mabel was a very skilled embroiderer is certain. It is possible that she may have been particularly skilled in the gold thread embroidery technique known as underside couching; by drawing the thread into the body of the silk a solid, yet flexible, ground was achieved. This is one of the notable techniques of English medieval embroidery (</span><span class="c4 c17">opus anglicanum</span><span class="c3">).”</span></p><a id="id.q0ef5d36yona"></a><h2 class="c1" id="h.231u3evu94uy"><span class="c7">Aalès (French; rug and tapestry maker; active 1292-1300)</span></h2><p class="c12"><span class="c4">Géraud, Hercule (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DYTwDAAAAYAAJ%26q%3Daaeles%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595459000&usg=AOvVaw2U6Cg2uzE0jcbADsMwp7ei">Paris sous Philippe-le-Bel</a></span><span class="c4 c17">. </span><span class="c3">Paris: Crapelet, 1837, p. 41. “Aalès, la tapicière, et Pierre, son fuiz” in the Rue de Vernueil were taxed in 1292.</span></p><p class="c12"><span class="c4">Archer, Janice Marie. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://repository.arizona.edu/handle/10150/187182?show%3Dfull&sa=D&ust=1597863595460000&usg=AOvVaw0al_UcwdLRvEOGi2jtOPCL">Working women in thirteenth-century Paris</a></span><span class="c3">.” Ph.D. University of Arizona, 1995, p. 295 “Aalès la tapiciere” appeared in the tax rolls of Paris in 1292, 1296, 1297, 1298, 1299 and 1300 but not in 1313.</span></p><a id="id.oxyy98gbj5t2"></a><h2 class="c1" id="h.2cuv0v2apgf6"><span class="c7">Christiana of Enfield (English; active c. 1300-05)</span></h2><p class="c11"><span class="c4">Davies. G. “Embroiderers and the Embroidery Trade.” In Browne, Clare et al. </span><span class="c4 c17">English Medieval Embroidery: opus anglicanum.</span><span class="c3"> Exhib. cat. London Yale University Press, 2016,</span></p><p class="c26"><span class="c3">pp. 41-48, at 42. Also mentions Maud of Canterbury.</span></p><p class="c12"><span class="c4">Wright, J. Robert. </span><span class="c4 c17">The Church and the English Crown 1305-1334. </span><span class="c3">Toronto: Pontifical Institute of Mediaeval Studies, 1980, p. 305. In 1303, an embroidered cope adorned with pearls was purchased from Christiana in London and delivered to Cardinal Peter of Spain in Rome.</span></p><a id="id.tulrq0x6unln"></a><h2 class="c1" id="h.8542cybnrdkk"><span class="c7">Roesia de Borford / Rose Burford (English; merchant; embroiderer; before c. 1280?-1329)</span></h2><p class="c26 c60"><span class="c4">Daughter, and wife, of men who were each a spice merchant and alderman; her father d. 1312, her husband in 1318; her will of 1329 showed considerable wealth. She is named in Judy Chicago’s </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/rose_de_burford&sa=D&ust=1597863595461000&usg=AOvVaw3_Hbe9CVjsm-d5CNfiU9kz">Dinner Party </a></span><span class="c4">(1974-79), in the Brooklyn Museum, New York. </span></p><p class="c26 c60"><span class="c4 c17">Calendar of Wills Proved and Enrolled in the Court of Hastings. London.</span><span class="c4"> Vol. 1: </span><span class="c4 c17">1258-1358. </span><span class="c4">London: Her Majesty’s Stationery Office, 1889. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.british-history.ac.uk/court-husting-wills/vol1/pp343-355%23anchorn17&sa=D&ust=1597863595461000&usg=AOvVaw3uyB6tIejaHCp1wItIwlZF">Will of Roesia de Borford</a></span><span class="c3">.</span></p><p class="c26 c60"><span class="c4">Devon, Frederick. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dumn.31951002101509b%26view%3D1up%26seq%3D285&sa=D&ust=1597863595462000&usg=AOvVaw00OT-DiSk0rkONJDAw8U0W">Issues of the Exchequer.</a></span><span class="c3"> London: John Murray, 1837, p. 133. On 17 May 1316 she was paid half of the 100 marks due her: “to Rose, the wife of John de Bureford, a citizen and merchant of London, by her own hands … for an embroidered cope for the choir, lately purchased from her to make a present to the Lord High Pontiff [Pope John XXII] from the Lady the Queen” [Isabella of France, wife of Edward II].</span></p><p class="c26 c60"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992, p. 378.</span></p><a id="id.pt3y2hcx5m8p"></a><h2 class="c1 c16" id="h.86e8h045qkj3"><span class="c7">Alice Claver (English; silkwoman; c.1425?-1489)</span></h2><p class="c12"><span class="c3">A successful London silkwoman and trader in silks, ribbons, laces and so on, who by 1480 was supplying king Edward IV, and later the coronations of Richard III and Henry VII. Bequests in her will went to women servants, and mostly to Katherine Champyon, probably a former assistant.</span></p><p class="c12"><span class="c4">On silkwomen (importers and workers of silk and metal threads) see Dale (1933), Sutton (2006), the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/professions-and-functions/silkwoman&sa=D&ust=1597863595462000&usg=AOvVaw1iLJ9Fl-gcmoXfQBsluUH7">Textile Research Centre</a></span><span class="c4">, Leiden, and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.et-tu.com/soper/index.html&sa=D&ust=1597863595463000&usg=AOvVaw0dYc_22ecto6EVRxUiBPNx">Soper Lane</a></span><span class="c3"> (accessed 18 July 2020).</span></p><p class="c12"><span class="c4">Benns, Elizabeth. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.et-tu.com/soper/silkwomen.html&sa=D&ust=1597863595463000&usg=AOvVaw3_KgHX_Cax5AQq3FVFVZOL">Alice Claver</a></span><span class="c3">.” Soper Lane (accessed 18 July 2020)</span></p><p class="c12"><span class="c4">Sutton, Anne F. “Alice Claver, Silkwoman (d. 1489).” In Caroline Barron and Anne F. Sutton (eds). </span><span class="c4 c17">Medieval London Widows 1300-1500.</span><span class="c3"> London: Hambledon Press, 1994, pp. 129-42. </span></p><p class="c12"><span class="c4">Sutton, Anne F. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.richardiii.net/downloads/Ricardian/2006_vol16_two_dozen_silkwomen_sutton.pdf&sa=D&ust=1597863595463000&usg=AOvVaw0ZIbCTS_1u4ASdfK4woGQp">Two dozen and more silkwomen of fifteenth-century London</a></span><span class="c4">.” </span><span class="c4 c17">The Ricardian </span><span class="c3">16 (2006): 46-58.</span></p><a id="id.lxay7f9y4tqk"></a><h2 class="c1" id="h.ss5wxi3tnkql"><span class="c7">Elizabeth Stokton (English; embroiderer and silkworker; active 1460-86)</span></h2><p class="c12"><span class="c3">An embroiderer and silkworker who shipped some of her work to Italy to be sold. Her first husband was a mercer but her second one, John Stockton became Lord Mayor of London and left a considerable estate to her (1473), which she did not manage well, even when she married for a third time, in 1474 to Gerard Canizioni/Gherardo Canigiani, a wealthy Italian mercer acting for the Medici company. One legal case concerned the embezzlement of cloth she had sent to Lucca.</span></p><p class="c12"><span class="c4">Benns, Elizabeth. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.et-tu.com/soper/silkwomen.html&sa=D&ust=1597863595464000&usg=AOvVaw07mw3gzfTB-2_l-rJtGBmE">Elizabeth Stockton</a></span><span class="c4">.</span><span class="c3">” Soper Lane (accessed 18 July 2020)</span></p><p class="c12"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992, p. 172.</span></p><p class="c12"><span class="c4">Thrupp, Sylvia L. </span><span class="c4 c17">The Merchant Class of Medieval London, 1300-1500.</span><span class="c3"> Ann Arbor, 1962, pp. 170, 368.</span></p><a id="id.6fxfchcbgl0b"></a><h2 class="c1" id="h.nvbii4d5129b"><span class="c7">Margaret Neville (English; Countess of Oxford; embroiderer; c.1442-1506/07)</span></h2><p class="c12"><span class="c3">Her husband (John de Vere) fled England in 1471 and for fourteen years she lived on charity and supported herself by sewing so she is an unusual case of an aristocratic woman who for some time was a semi-professional embroiderer.</span></p><p class="c12"><span class="c4 c13 c14">Cokayne, George Edward. </span><span class="c4 c17">The Complete Peerage. </span><span class="c4">Ed.</span><span class="c4 c17"> </span><span class="c3">H.A. Doubleday. Vol. 10. London: St. Catherine Press, 1945, pp. 239-44.</span></p><p class="c12"><span class="c4">Echols, Anne and Marty Williams. </span><span class="c4 c17">An Annotated Index of Medieval Women. </span><span class="c3">Princeton: Markus Wiener Publishers, 1992, p. 311.</span></p><p class="c12"><span class="c4">Fabyan, Robert (d.c.1512). </span><span class="c4 c17">The New Chronicle of England and France</span><span class="c3">. Ed. Henry Ellis. London: F.C. and J. Rivington, 1811, p. 663. Cited by several authors; but this seems to be an error. </span></p><p class="c12"><span class="c4">Gunn. S.J. “</span><span class="c4 c13 c14">Vere, John de, thirteenth earl of Oxford, 1442-1513.” </span><span class="c4 c17">Oxford Dictionary of National Biography</span><span class="c4"> (published online 23 Sept 2004, updated 3 January 2008; accessed 19 July 2020). “</span><span class="c4 c5">Philippe de Commines … reported that she became dependent on charity or on what she could earn by her needle</span><span class="c4">.” (There is no such report in his </span><span class="c4 c17">Memoirs</span><span class="c3">).</span></p><a id="id.jxsyni51zvg7"></a><h2 class="c1" id="h.n8453zbhtmsn"><span class="c7">Elizabeth Philip (English; embroiderer; c.1480/85?-c1536)</span></h2><p class="c12"><span class="c3">Embroiderer and silkwoman in London, making and trading in silk, clothing, and various decorative works for revels, jousts and pageants, with assistants. Clients included the household of Henry VIII.</span></p><p class="c12"><span class="c4">Salter, Elisabeth. </span><span class="c4 c17">Six Renaissance Men and Women. Innovation, Biography and Cultural Creativity in Tudor England, c. 1450-1560.</span><span class="c3"> Aldershot: Ashgate 2007, pp. 62-77.</span></p><p class="c12"><span class="c4">Vogelsang-Eastwood, Gillian. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/artists-designers-and-embroiderers/philip-elizabeth-died-c-1536&sa=D&ust=1597863595466000&usg=AOvVaw0Oaytvso1AsFsGpr7KwTCO">Philip, Elizabeth</a></span><span class="c4">.” At Textile Research Centre (25 June 2016; accessed 11 July 2020). “</span><span class="c4 c13 c29">Made and dealt in</span><span class="c4"> silk trimmings</span><span class="c4 c13 c29"> and accessories, as well as making embroidered costumes for court events over a period of at least 26 years.</span><span class="c4"> </span><span class="c4 c13 c23">In about 1518, ‘Mistress Philipps, embroideress’ was given an annuity of ten marks by the Duke of Buckingham, sharing it with a man called John Haslewood. She appeared often in the duke’s accounts in 1519. From 1519 onwards Elizabeth Philip and Christiana Warren regularly made items for the royal court, including silk ribbons, hoses, red silk cords, headdresses of damask gold, </span><span class="c3">embroideries, and so forth. She also provided silk items to Anne Boleyn, the second wife of King Henry VIII of England.”</span></p><a id="id.7qzp9c70z663"></a><h2 class="c1" id="h.gtiflb4kdg0r"><span class="c7">Margarita Barza; and Veronica Sala (probably born Milan; embroiderers; 16thC)</span></h2><p class="c11"><span class="c4">Morigia, Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_CU8AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595467000&usg=AOvVaw3D8wNOltl-Xp_2zmt4M-fT">La nobilità di Milano</a></span><span class="c4 c17">. </span><span class="c4">1</span><span class="c4 c21">st</span><span class="c3"> pub. 1595. Re-issued Milan, 1615, and 1619. In the chapter on embroidery in Milan, one short paragraph praises two women. In full: “Molte lodi si deveno dare à Mararita Barza, & a Veronica Sala, le quali nella virtù del ricamare sono eccellenti, & i ricami del’una, e dell’altra fano meravigliare i veditori, e gli’intelligenti di tal professione; e però l’opere loro sono in gran pregio tenute” (p. 299).</span></p><a id="kix.raaowwo9vu1o"></a><h2 class="c1" id="h.8lob9waqqt6b"><span class="c7">Caterina Cantona (born Milan; embroiderer; c. 1551/55-1629) and her young daughter Barbara (painter; embroiderer)</span></h2><p class="c30"><span class="c49 c22"></span></p><p class="c76"><span class="c38 c57 c17">Primary Sources</span></p><p class="c11"><span class="c4">Lomazzo, Giovanni Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/rimedigiopaololo00loma/page/114/mode/2up&sa=D&ust=1597863595468000&usg=AOvVaw3GDh-17oGYPPEkRzVo-Gei">Rime … divise in sette libri</a></span><span class="c4 c17">.</span><span class="c3"> Milan: Paolo Gottardo Pontio, 1587, p. 115, a poem on Catarina Cantona. Translated in Jacobs, p. 24. The last three lines: “treasured honours go to the great Cantona. In her weaving of ornamental and beautiful effigies, she put forth everything that one could say with pen and ink.”</span></p><p class="c11"><span class="c4">Lomazzo, Giovanni Paolo. </span><span class="c4 c17">Idea del tempio della pittura.</span><span class="c4"> Milan: Per Paolo Gottardo Pontio, 1590, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/gri_ideadeltempi00loma/page/n201/mode/2up&sa=D&ust=1597863595468000&usg=AOvVaw1QQ2-uYDhOYDQZfrUcq-Uy">pp. 166-67</a></span><span class="c4">. Caterina, after he discusses several male embroiderers. Jacobs, p. 166, mistakenly cites his </span><span class="c4 c17">Trattato </span><span class="c3">(1584).</span></p><p class="c11"><span class="c4">Lomazzo, Giovan Paolo. </span><span class="c4 c17">Idea of the Temple of Painting.</span><span class="c3"> (1590). Ed. and trans. Jean Julia Chai. University Park: Pennsylvania State University Press, 2013, pp. 172, 231 n. 67. Includes: Caterina, “noble lady of the city of Milan, and even nobler for her rare inventive genius and excellence in the art of embroidery on canvas and loose-woven cloth. She has never had rivals in this art, even among those from past times despite what poets recount about their fabulous Arachne. Among other excellent qualities in this art, she sewed with such skill that the stitch appeared identical on both sides, which is why, on account of its excellence, it is called the needle stitch of the great Cantona. With it, she made innumerable works of marvelous beauty for the greatest princesses, both foreign and Italian.” He then names several collectors and describes some of her work.</span></p><p class="c11"><span class="c4">Morigia, Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_CU8AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595469000&usg=AOvVaw0GYVFt9V17dUe_b_wWs6BD">La nobilità di Milano</a></span><span class="c4 c17">. </span><span class="c4">1</span><span class="c4 c21">st</span><span class="c3"> pub. 1595. Re-issued Milan, 1615, and 1619. See pp. 299-300 (5.18), which singles out Caterina Cantona in a chapter on embroidery. Then mentions her daughter Barbara, “è stupenda nel disegno, e con l’ago” (p.300). Barbara first appears at the end of a chapter on women painters in Milan (p. 282, 5.3). In full: “Degna di lode è la nobile e virtuosa Barbara Cantona; Questa fanciulla è stupenda, e miracolosa nel disegno, & s’ella persevere giudico ch’ella debba rinscire un eccellente pitrrice. Oltre che con l’Ago (in questa sua tenera età) và imitando divinamente la virtuosissima, e celebre sua madre.” Worthy of praise, the noble and virtuous Barbara Cantona. This young woman is stupendous, and miraculous in design; if she perseveres I deem that she will become an excellent painter. With the needle (at her tender age) she is divinely imitating her virtuous and celebrated mother.</span></p><p class="c11"><span class="c4">Sociacco, Benedetto [Benedicti Sociaci]. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DtY0aycq9LAMC%26pg%3DPA67%26lpg%3DPA67%26dq%3DBenedicti%2BSociaci%2Bcantona%26source%3Dbl%26ots%3DgGTYyP_Wj9%26sig%3DACfU3U3Ym0_hCX_yqij24xismVFLChB5XA%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwj_34zil7rqAhUBCM0KHaN_CaUQ6AEwAHoECAsQAQ%23v%3Donepage%26q%3Dcantona%26f%3Dfalse&sa=D&ust=1597863595469000&usg=AOvVaw0brnAZ6e2DyKzAFUgZX-37">Epigrammatum Libri Septem</a></span><span class="c4 c17">. </span><span class="c4">Milan: Typographia Cellegij Ambrosiani, 1616, p. 67 (8 lines of verse on Catherina Cantona). Jacobs, p. 166, mistakenly cites his </span><span class="c4 c17">Silvae & Opuscula Sacra </span><span class="c3">(Milan, 1612).</span></p><p class="c11"><span class="c4">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DAnna%2520felicita%26f%3Dfalse&sa=D&ust=1597863595470000&usg=AOvVaw2Y8IOQ7thm_uraWTly0DUF">L'Abecedario</a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DAnna%2520felicita%26f%3Dfalse&sa=D&ust=1597863595470000&usg=AOvVaw2Y8IOQ7thm_uraWTly0DUF"> pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, p. 112. Cites Lomazzo.</span></p><p class="c11 c56"><span class="c3"></span></p><p class="c11"><span class="c38 c57 c17">Secondary Sources</span></p><p class="c11"><span class="c4">Binaghi Olivari, Maria Teresa. “Il ricamo.” In G. Bora et al. (eds). </span><span class="c4 c17">Rabisch: Il grottesco nell’arte dell Cinquecento.</span><span class="c3"> Exh.cat. Milan: Skira, 1998, pp. 276-78.</span></p><p class="c11"><span class="c4">Jacobs, Fredrika H.</span><span class="c4 c17"> Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c3">New York: Cambridge University Press, 1997, pp. 23-24, 60, 63, 110-11, 121, 166.</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">Storia pittorica della Italia. Dal risorgimento delle belle arti fin presso al fine del XVIII secolo. </span><span class="c4">3</span><span class="c4 c21">rd</span><span class="c4"> ed. Vol. 4: </span><span class="c4 c17">Le Scuole Lombarde di Mantova, Modena, Parma, Cremona, e Milano. </span><span class="c4">Bassano: G. Remondini, 1809,</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D233&sa=D&ust=1597863595471000&usg=AOvVaw3zl8gfxItxKL8_4c7jX9-U"> </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D233&sa=D&ust=1597863595471000&usg=AOvVaw3zl8gfxItxKL8_4c7jX9-U">pp. 221-22</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">The History of Painting in Italy from the period of the revival of the fine arts to the end of the eighteenth century. </span><span class="c4">Trans. Thomas Roscoe. London: W. Simpkin and R. Marshall, 1828.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015073730783%26view%3D1up%26seq%3D294&sa=D&ust=1597863595472000&usg=AOvVaw025417JDV6GT_1Dd9tBmMr"> </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015073730783%26view%3D1up%26seq%3D294&sa=D&ust=1597863595472000&usg=AOvVaw025417JDV6GT_1Dd9tBmMr">Vol. 4, p. 282</a></span><span class="c3">. Caterina was “a noble Milanese lady” praised by Lomazzo.</span></p><p class="c11"><span class="c4">Mausoli, Silvia. “Caterina Cantoni e l’iconografia del drappo di Torino: Un’ipotesi interpretative.” In Flavia Fiori et al. (eds). </span><span class="c4 c17">Il Seicento a Ricamo. Dipingere con l’ago stendardi, drappi da arredo, paramenti liturgici.</span><span class="c3"> Comignago: Salvini TSL, 2015, pp. 18-35.</span></p><p class="c11"><span class="c4">Sanson, Helena (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DRr51DwAAQBAJ%26pg%3DPA88%26lpg%3DPA88%26dq%3Dcaterina%2Bcantona%26source%3Dbl%26ots%3DVVGkwJqltf%26sig%3DACfU3U1AxRA6oyxADEd3f_EMWGDqRg3irw%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwiI6KP2yPfpAhVSVTABHdICCscQ6AEwC3oECAgQAQ%23v%3Donepage%26q%3Dcaterina%2520cantona%26f%3Dfalse&sa=D&ust=1597863595473000&usg=AOvVaw0pz1GkTd9G1rxwNXWXrRKD">Isabella Sori. Ammaestramenti e ricordi; Difese; Panegirico</a></span><span class="c4 c17">.</span><span class="c3"> Cambridge: Modern Humanities Research Association (Critical Texts 48), 2018, p. 88: Caterina “worked for the Borromeo family in Milan, as well as for the courts of Florence, Vienna and Braunschweig, and for Catalina Micaela, Infanta of Spain, wife of Carlo Emanuele I of Savoy. In 1559, Caterina Cantona and the painter Sofonisba Anguissola were invited to the Spanish court by Philip II.”</span></p><a id="id.5q4mlq51rzxa"></a><h2 class="c1 c16" id="h.5ixwfkodp2es"><span class="c7">Three sisters from Ferrara (Italian; needleworkers; fl. early 17thC)</span></h2><p class="c12"><span class="c3">Whereas several late sixteenth- or seventeenth-century sources singled out Milan as a centre for excellent embroidery, Cristofano Bronzini at the Medici court in Florence (c.1615-22) heard of unnamed sisters in Ferrara, and one named woman renowned for weaving in Spain. </span></p><p class="c12"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595473000&usg=AOvVaw1S-9W8t7pPg5mkITtKy-w9">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c4">60 no 3 (2018): 404-35, at 430. In full: “In molte altre città, luoghi, e terre d’Italia infinite donne potrei annoverare che dell’invenzione, dissegno, pittura, or ricamo sono state e sono tuttavia veramente mirabili, ma basti per hora ramentar solamente le tre sorelle ferrarese (così per l’eccellenza loro nominate) che di ricami, et inventioni, con dissegno belissimo, trapassano i più periti che vi sieno; et fanno di seta e d’oro nobilissime tele di diverse imagini figurate; appresso alle quali (o misere Aragne) le tue sarebbono parute offuscate di nebulose macchie, sì come altra volta parvero quando con Pallade haveste ardire di lavorare a prova (di Aragne e Pallade, veggasi le Metamorphosi di Ovidio libro 6).” That is: “In many other cities, places, and lands of Italy infinite women, beyond count, have been and are still truly admirable in invention, drawing, painting, or embroidery. But it is enough for now to record only the three sisters from Ferrara (due to the excellence accorded them), who in embroideries, and inventions, with beautiful design, surpass the most expert practitioners. In silk and gold they make excellent fabrics of various figured images. In comparison (oh miserable Arachne) yours would have seemed clouded with nebulous spots, just as it seemed when you dared to work with Pallas (for Arachne and Pallas, see Ovid’s </span><span class="c4 c17">Metamorphoses </span><span class="c3">book 6).” The bibliographic reference is a little patronizing, possibly suggesting that Bronzini had female readers in mind.</span></p><a id="id.vafqnqjau85p"></a><h2 class="c1" id="h.yqgduchbm3aj"><span class="c7">Francisca de Jesús / Francesca di Giesù (Spanish; weaver; fl. early 17thC)</span></h2><p class="c12"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595474000&usg=AOvVaw33-2hVtwrmUP6ZRC-zRcjy">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c3">60 no 3 (2018): 404-35, at 406, 421, 430. Publishes Bronzini’s manuscript of 1615-22 on women artists. Translated into English, in full: “the Spanish woman from Toledo Francesca di Giesù, for if she had lived instead in ancient times, she would have been an even better match for Athena [than Arachne], because the most sharp and subtle geniuses of the present age admire in her talent for weaving damasks and brocades her stupendous works, creating in cloth that which a worthy painter could only barely express with a pen or with a paintbrush and panel.”</span></p><a id="id.53yw890vg51"></a><h2 class="c1" id="h.jz0riq7btpmq"><span>Katharina Rozee / Miss Rozee (born Leiden; embroiderer; 1632-1682)</span></h2><p class="c11"><span class="c4">Honig, Elizabeth Alice. “The Art of Being “Artistic”: Dutch Women’s Creative Practices in the 17</span><span class="c4 c21">th</span><span class="c4"> Century.” </span><span class="c4 c17">Woman’s Art Journal</span><span class="c3"> 22 no 1 (Fall 2001/Winter 2002): 31-39, at pp.</span></p><p class="c26"><span class="c3">33, 39.</span></p><p class="c11"><span class="c4">Houbraken, Arnold. </span><span class="c4 c17">De Groote Schouburgh der Nederlantsche konstschilders en schilderessen.</span><span class="c4"> 2nd ed. Amsterdam, 1718-21. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0290.php&sa=D&ust=1597863595475000&usg=AOvVaw2HUCUZiSq0AVPLKwkB4G-v">Vol. 1, pp. 262-63</a></span><span class="c3">, where she is “Juffrouw … [sic] Rosee.” From a little distance away, her embroideries of landscapes, flowers, animals, portraits and so on seemed to be done with paint, executed with a skilful brush. One example, of a landscape with an old tree trunk and a spider in its web fetched 500 guilders. This work was so astonishing (“dat het werk elk tot verwondering strekte”) that is was not surprising that the “common folk” (“gemeene volk”) said her work could do magic (“dat zy tooveren konde”). She was paid high prices for her valuable work, an example of which was in the collection of the Grand Duke of Florence (Cosimo III). Having seen several of her works, the court Michael Carré told Houbraken that in a portrait she did it seemed as though the flesh tones blended so well that it had been painted in oils.</span></p><p class="c11"><span class="c4 c13 c24">Huiskamp, Marloes. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Rozee&sa=D&ust=1597863595476000&usg=AOvVaw1sEWe6DpD5y4B6AiPOYGEq">Rozee, juffrouw</a></span><span class="c4 c13 c24">.” At </span><span class="c4 c17">Digitaal Vrouwenlexicon van Nederland</span><span class="c4">, under the aegis of </span><span class="c4 c17">Instituut voor Nederlandse Geschiedenis</span><span class="c3"> (posted 13 Jan 2014; accessed 27 June 2020).</span></p><p class="c11"><span class="c4">Russell, Margarita. “The Women Painters in Houbraken’s </span><span class="c4 c17">Groote Schouburgh</span><span class="c4">.” </span><span class="c4 c17">Women’s Art Journal </span><span class="c3">2 no 1 (Spring/Summer 1981): 7-11, at p. 8 and fig. 1.</span></p><p class="c11"><span class="c4 c13">Weyerman, Jacob Campo. </span><span class="c4 c13 c17">De levens-beschryvingen der Nederlandsche konstschilders en schilderessen</span><span class="c4 c13">. </span><span class="c4">’s Gravenhage: E. Boucquet, et al., 1729. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/delevensbeschryv02weye/page/290/mode/2up&sa=D&ust=1597863595477000&usg=AOvVaw2FZbqb1zcSOfaq6CQ5oMb3">Vol. 2, pp. 291-93</a></span><span class="c4">. </span><span class="c4 c13">Extract translated into English </span><span class="c4">in Julia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009.</span></p><a id="id.o61nj2hczl"></a><h2 class="c1" id="h.s9pvvrigudej"><span class="c7">Susanna Perwich (English; musical virtuoso; embroiderer; “amateur artist”; c. 1637-1661)</span></h2><p class="c12"><span class="c4">The coat of arms suggests that she was the maker of </span><span class="c4">an </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.lacma.org/node/248716&sa=D&ust=1597863595477000&usg=AOvVaw1P27AGFYemK9eT7HVVf9kt">embroidered cabinet</a></span><span class="c3"> in the Los Angeles County Museum of Art (1645-55); her parents ran a girls’ school where music and embroidery were central aspects of the curriculum. A similar cabinet in the Fitzwilliam Museum, Cambridge, may be from the same circle (Rosner).</span></p><p class="c12"><span class="c4 c13 c92">Batchiler, John. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/virginspatternin00batc/page/54/mode/2up&sa=D&ust=1597863595478000&usg=AOvVaw0UbVyoX9tavp9a0Bi-ilXC">The Virgins Pattern in the exemplary life and lamented death of Mrs. Susanna Perwich</a></span><span class="c4 c13 c92">. London: Simon Dover, 1661, pp. 7, 54-55.</span><span class="c3"> The author, probably her brother-in-law, praised her needlework “whether by silver, silks, straws, glass, wax, gums, or any other of the like kind, she was perfectly skilled in” (p. 7).</span></p><p class="c11"><span class="c4">Rosner, Isabella. “‘A Cunning Skill Did Lurk’: Susanna Perwich and the Mysteries of a Seventeenth-Century Needlework Cabinet.” </span><span class="c4 c17">Textile History </span><span class="c4">49 no 2 (2018): 140-63. A</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/finding-susanna-perwich-in-her-embroidered-cabinet/&sa=D&ust=1597863595478000&usg=AOvVaw2slwFfBPUy1puPx-OuZbp2"> </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/finding-susanna-perwich-in-her-embroidered-cabinet/&sa=D&ust=1597863595478000&usg=AOvVaw2slwFfBPUy1puPx-OuZbp2">shorter rendition, with colour images</a></span><span class="c4"> was posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">26 May 2020 (accessed 11 July 2020).</span></p><a id="id.z6yx2rp0o66l"></a><h2 class="c1" id="h.hh9am4eplt71"><span class="c7">Hannah Smith (English; embroiderer; “amateur artist”; c.1642-?)</span></h2><p class="c12"><span class="c4">A note she left inside </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://gallerysearch.ds.man.ac.uk/Detail/18930&sa=D&ust=1597863595479000&usg=AOvVaw0RGjboYhuvkin_-BHL5bkh">an embroidered casket</a></span><span class="c4"> records that Hannah made it in 1654-56, beginning the work when she was eleven. The object is in the Whitworth Art Gallery, University of Manchester, and the website reproduces </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://gallerysearch.ds.man.ac.uk/Detail/18931&sa=D&ust=1597863595479000&usg=AOvVaw0XOrGVJcVdLNGe19unwZof">her note</a></span><span class="c3">, transcribed here from Parker: “The yere of our Lord being 1657 if ever I have any thoughts about the time; when I went to Oxford; as It may be I may when I have forgotten the time to sarifi myself; I may Loock in this paper and find it. I went to Oxford in the yere of 1654 and my being there; near 2 yere; for I went in 1654 and I stayed there 1655 and I cam away in 1656; and I was almost 12 yers of ge; when I went and mad an end of my cabbinete; at Oxford … my cabinet was mad up in yere of 1656 at London [that is, it was assembled professionally]. I have ritten this; to sartifi my self; and those that shall enquire about it. Hannah Smith.”</span></p><p class="c12"><span class="c4">Ellis, Katy and Cordelia Warr. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://connectingcollections-manmel.com/hannah-smith-casket/&sa=D&ust=1597863595479000&usg=AOvVaw2Aq-ZPhC4zaTlEazDpHoME">Hanna Smith’s Casket</a></span><span class="c4">” and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://connectingcollections-manmel.com/hannah-smith-casket-long-text/&sa=D&ust=1597863595480000&usg=AOvVaw3SX9FlTDn5wzJWNX8CLrcT">further</a></span><span class="c3">, including links to other seventeenth-century caskets by anonymous makers (accessed 11 July 2020, at which time some of the links were broken).</span></p><p class="c11"><span class="c4">Frye, Susan. </span><span class="c4 c17">Pens and Needles: Women’s Textualities in Early Modern England.</span><span class="c3"> Philadelphia: University of Pennsylvania Press, 2010, p. 133 and fig. 20, which reproduces part of her note of 1657.</span></p><p class="c12"><span class="c4">Harris, Jennifer. </span><span class="c4 c17">A Closer Look at Hannah Smith’s Casket. </span><span class="c3">Manchester: The Whitworth Art Gallery, 1998.</span></p><p class="c12"><span class="c4">Hyde, Sarah. </span><span class="c4 c17">Exhibiting Gender. </span><span class="c4">Manchester: Manchester University Press, 1997, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DUzC8AAAAIAAJ%26pg%3DPA59%26lpg%3DPA59%26dq%3D%2522hannah%2Bsmith%2522%2Bembroidery%26source%3Dbl%26ots%3DdOs8CX5Egj%26sig%3DACfU3U0enQpbQXt-DoeMCFvJdLt8lbbCag%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjP4671ysXqAhWYXM0KHRTyCocQ6AEwEXoECAoQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595480000&usg=AOvVaw38t0BtaSndYe5RB-Wz1RWe">pp. 58-60</a></span><span class="c3">.</span></p><p class="c12"><span class="c4">Kendrick, Albert Frank. </span><span class="c4 c17">English Needlework. </span><span class="c4">London: A. & C. Black, 1933; 2</span><span class="c4 c21">nd</span><span class="c3"> ed. 1967 (p. 129 is cited by Parker).</span></p><p class="c11"><span class="c4">Parker, Roszika. </span><span class="c4 c17">The Subversive Stitch: Embroidery and the Making of the Feminine. </span><span class="c3">London: Women’s Press, 1984, pp. 87-88.</span></p><a id="id.s0y6um20m9ni"></a><h2 class="c1" id="h.gmmyglyfd5d0"><span class="c7">Helena Larsdotter Lindelia (probably born Eksjö; embroiderer; 1650??-1710)</span></h2><p class="c12"><span class="c4">Probably the daughter and sister of tailors; after her husband’s death in 1679, definitely by 1682, she earned an income by embroidering clerical textiles such as chasubles. Forty-one such vestments survive, a few of which are digitized on the Swedish version of the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://sv.wikipedia.org/wiki/Helena_Larsdotter_Lindelia&sa=D&ust=1597863595481000&usg=AOvVaw0taZA2rdNMdDIMI82bxYoF">Wikipedia entry</a></span><span class="c3">, along with links to other works.</span></p><p class="c12"><span class="c4 c13 c14">Alm, Göran (ed). </span><span class="c4 c13 c14 c17">Signums svenska konsthistoria</span><span class="c4 c13 c14">. Vol. 6: </span><span class="c4 c13 c14 c17">Barockens konst</span><span class="c4 c13 c14">, Lund: Signum, 1997</span><span class="c3">.</span></p><a id="id.7ui92n2ypksx"></a><h2 class="c1" id="h.7rcvrblopke9"><span class="c7">Margaretha Felicitas Walther (born Nuremberg; 1654-1698) with her sisters Maria Magdalena and Anna Maria (all embroiderers in silk)</span></h2><p class="c12"><span class="c4 c13 c23">Doppelmayr, Johann Gabriel. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DPlQxAQAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595482000&usg=AOvVaw3YCiIVQ045b6YXl6nm3y_Q">Historische Nachricht von den Nürembergischen Mathematics und Künstlerin</a></span><span class="c4 c13 c23 c17">. </span><span class="c22 c4 c13 c23">Nuremberg: Peter Conrad Monath and J.E. Adelbulnern, 1730, p. 253. She made flower embroideries with silk. An excellent artist, valued by royal and princely courts. Just on Margaretha.</span></p><p class="c12"><span class="c4 c13 c23">Grieb, Manfred H. (ed). </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DhoRcf4LFZUcC%26pg%3DPA1620%26lpg%3DPA1620%26dq%3DMargaretha%2BFelicitas%2BWaltherin%26source%3Dbl%26ots%3DlZ3aPovj7w%26sig%3DACfU3U0rVPrTCHAW-zdEPYHjHB9p-jSr4g%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwiLrbbawcbqAhUaCs0KHekwBpoQ6AEwAXoECAsQAQ%23v%3Donepage%26q%3DMargaretha%2520Felicitas%2520Waltherin%26f%3Dfalse&sa=D&ust=1597863595483000&usg=AOvVaw1xv3AuLR0g7dxiiAdLEoXS">Nürnberger Künstlerlexikon</a></span><span class="c4 c13 c23 c17">.</span><span class="c22 c4 c13 c23"> Vol. 1. Munich: K.G. Saur, 2007, p. 1620. Her sisters Maria Magdalena and Anna Maria also made silk embroideries.</span></p><p class="c12"><span class="c4 c13 c23">Tacke, Andreas (ed). </span><span class="c4 c13 c23 c17">‘Der Mahler Ordung und Gebräuch in Nürmberg.’ Die Nürnberger Maler(zunft)bücher ergänzt durch weitere Quellen, Genealogien und Viten des 16., 17 und 18. Jahrhunderts.</span><span class="c22 c4 c13 c23"> Munich: Deutscher Kunstverlag, 2001, p. 612 and family tree 50.</span></p><p class="c12"><span class="c4">Thieme, Ulrich and Felix Becker (eds). </span><span class="c4 c17">Allgemeines Lexikon der bildenden Künstler.</span><span class="c4"> Leipzig: E.A. Seemann, 1907-50. Vol. 35, p. 130.</span></p><a id="id.xznrw5gg6r78"></a><h2 class="c1" id="h.40gyudm77r0s"><span class="c7">Margaretha Helm / Helmin née Mainberger (born Deiningen; embroiderer; printmaker; 1659-1742)</span></h2><p class="c12"><span class="c4">Taught embroidery in Nuremberg; engraved plates of her embroidery designs which were issued in three volumes. See the website of the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/search/?listing_type%3Dimagetext%26offset%3D0%26limit%3D15%26narrow%3D1%26extrasearch%3D%26q%3Dmargaretha%2Bhelm%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595484000&usg=AOvVaw2y_XmvgcJjU-edCFVQHBOe">Victoria and Albert Museum</a></span><span class="c4">, London</span><span class="c4">, for a digitized sampling (searched by “Helm”). Two more works are included when the search is for “Helmin”, the feminine form of Helm: the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O229232/continuatio-der-kunst-und-flei-design-for-embroidery-helm-margaretha/&sa=D&ust=1597863595484000&usg=AOvVaw30XRzCMGuRLIsAmM9L7rUr">title page of the </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O229232/continuatio-der-kunst-und-flei-design-for-embroidery-helm-margaretha/&sa=D&ust=1597863595484000&usg=AOvVaw30XRzCMGuRLIsAmM9L7rUr">Continuato</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O220865/kunst-und-fleiss-ubende-nadel-design-for-embroidery-helm-margaretha/&sa=D&ust=1597863595484000&usg=AOvVaw2-bZCyKHU4mH00o913rZRQ">designs for shoes</a></span><span class="c4"> from </span><span class="c4 c17">Kunst-und Fleiss.</span><span class="c3"> Search that site also by the titles of the books for more images.</span></p><p class="c12"><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://reader.digitale-sammlungen.de//resolve/display/bsb10230371.html&sa=D&ust=1597863595485000&usg=AOvVaw3W1QW7wRK-3Y1KsFkMwWkX">Kunst- und Fleiss-übende Nadel Ergötzungen oder neu-erfundenes Neh- und Stick-Buch</a></span><span class="c4 c13 c23">. Nuremberg: Johann Christoph Weigel, c. 1725. Has fifty-two numbered plates. Open pages are photographed </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://commons.wikimedia.org/wiki/File:Embroidery_and_lace_pattern_book,_vol._1,_by_Margaretha_Helm,_Germany,_Nuremburg,_c._1720,_rag_paper_-_Royal_Ontario_Museum_-_DSC04416.JPG&sa=D&ust=1597863595485000&usg=AOvVaw0eek8-glBztt9kaIXXHxG6">here</a></span><span class="c4 c13 c23"> and</span><span class="c4 c13 c23"><a class="c8" href="https://www.google.com/url?q=https://artsandculture.google.com/asset/kunst-und-fleiss-%25C3%25BCbende-nadel-erg%25C3%25B6tzungen-oder-neu-erfundenes-neh-und-stick-buch/XQFULxAwFmoryw&sa=D&ust=1597863595485000&usg=AOvVaw3qsFyAHG5pC4ctXWS6TtTf"> </a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://artsandculture.google.com/asset/kunst-und-fleiss-%25C3%25BCbende-nadel-erg%25C3%25B6tzungen-oder-neu-erfundenes-neh-und-stick-buch/XQFULxAwFmoryw&sa=D&ust=1597863595486000&usg=AOvVaw1YoyNQa8RNthMJJQyTwx_l">here</a></span><span class="c22 c4 c13 c23">.</span></p><p class="c12"><span class="c4 c13 c23 c17">Fortgesetzer Kunst- und Fleiss-übender Nadel- auch Laden-Gewirck-Ergötzungen oder neu-erfundenen Neh und Stick-Buchs Anderer Theil. </span><span class="c22 c4 c13 c23">Nuremberg: Johann Christoph Weigel, c. 1725. Has fifty-one numbered plates.</span></p><p class="c12"><span class="c4 c13 c23 c17">Continuanto der Kunst- und Fleiss-übenden Nadel-Ergötzung oder des neu-ersonnenen besondern Nehe-Buchs Dritter Theil</span><span class="c4">.</span><span class="c22 c4 c13 c23"> Nuremberg: Johann Christoph Weigel, c. 1725. Has fifty-four numbered plates. </span></p><p class="c12"><span class="c4 c13 c23">Thunder, Moira.</span><span class="c4 c13 c23 c17"> </span><span class="c4 c13 c23">“Deserving Attention: Margaretha Helm’s Designs for Embroidery in the Eighteenth Century.” </span><span class="c4 c13 c23 c17">Journal of Design History </span><span class="c22 c4 c13 c23">23 no 4 (2010): 409-27.</span></p><p class="c12"><span class="c4">Vogelsang-Eastwood, Gillian. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/artists-designers-and-embroiderers/helm-margaretha-1659-1742&sa=D&ust=1597863595487000&usg=AOvVaw3oS0y9ELcEZabv1wlBy9G1">Helm, Margaretha</a></span><span class="c3">.” At Textile Research Centre (last modified 21 April 2017; accessed 11 July 2020).</span></p><a id="id.lj9r7z7dzdet"></a><h2 class="c1" id="h.14c3xq80wchz"><span class="c7">Martha Edlin (English; embroiderer; “amateur artist”; 1660-1725)</span></h2><p class="c12"><span class="c4">Her first work is an embroidered casket, signed and dated 1671 when she was eleven; contents include a miniature tea service in silver; a tiny silver box containing a doll’s dinner service; a pair of toy gloves that she probably made as a needlework exercise; </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artsandculture.google.com/asset/purse-edlin-martha/NgESmb3_IQxsRg?hl%3Den&sa=D&ust=1597863595487000&usg=AOvVaw0kwgh3Hld-VF3ZdG-Bj1Kr">a purse</a></span><span class="c4">; an ornamental swan consisting of silk, glass and silver wire; a bodkin and embroidered pin cushion as well as an embroidered needle holder; a manicure set; a silver medallion, a silver locket and another small silver object that was probably a locket; and a round embroidered box. See </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.vam.ac.uk/search/?offset%3D0%26limit%3D15%26narrow%3D%26extrasearch%3D%26q%3Dmartha%2Bedlin%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595488000&usg=AOvVaw2gh936SJMCngi2rj2lLVE5">here</a></span><span class="c4"> for further details on the contents. Passed down through the female line, other works of hers are also in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.vam.ac.uk/search/?offset%3D0%26limit%3D15%26narrow%3D%26extrasearch%3D%26q%3Dmartha%2Bedlin%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595488000&usg=AOvVaw2gh936SJMCngi2rj2lLVE5">Victoria and Albert Museum</a></span><span class="c4">, such as pin cushions, samplers, a jewellery case (1673), and a box of embroidered toys (or doll’s accoutrements). Her “dated embroidered objects form the most complete record we have of one person’s output in the seventeenth century, although professional contributions at any point in the work would certainly have been possible” (Watt). She </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://discovery.nationalarchives.gov.uk/details/r/e59e5417-75ca-4f0a-9101-1163cf3ae7e2&sa=D&ust=1597863595489000&usg=AOvVaw0Z1c8kACjFnSDCSCDwKPeL">married</a></span><span class="c4"> the apothecary Richard Richmond in 1681. Not in Benezit or the </span><span class="c4 c57 c17">Oxford Dictionary of National Biography.</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.vam.ac.uk/articles/martha-edlins-casket&sa=D&ust=1597863595489000&usg=AOvVaw0LVbVBabGphJrqaPCei1xR">Martha Edlin’s Casket</a></span><span class="c3">.” Victoria and Albert Museum, London, website (accessed 11 July 2020).</span></p><p class="c47"><span class="c4">Vogelsang, Willem. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://trc-leiden.nl/trc-needles/people-and-functions/artists-designers-and-embroiderers/edlin-martha-1660-1725&sa=D&ust=1597863595490000&usg=AOvVaw2sudwdSayOoki-bi0Zw_Q0">Edlin, Martha</a></span><span class="c3">.” At Textile Research Centre (accessed 11 July 2020).</span></p><p class="c12"><span class="c4">Watt, Melinda. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/226423&sa=D&ust=1597863595490000&usg=AOvVaw1y128DawWzShIOdmcf2Hmi">Casket</a></span><span class="c3"> with scenes from the Story of Solomon and the Queen of Sheba 1670s.” The website of the Metropolitan Museum of Art, New York (accessed 11 July 2020). This object in New York is signed “A.P.” and dated 1672. The maker may be Lady Ann Paulet, lady-in-waiting to Queen Mary II.</span></p><a id="id.yk5tr7up9xwv"></a><h2 class="c1 c16" id="h.49pfyrrvsvnq"><span class="c7">Anna Maria Schmilau née Niedemans (Swedish; tapestry artist; c. 1660??-1725)</span></h2><p class="c12"><span class="c4 c13 c24">From 1690 until it closed in 1693, she was the head of the tapestry school for women, the Tapetskolan vid Karlberg, in Stockholm. Several of their collaborative products are preserved in </span><span class="c4 c13 c14">the Swedish Royal Collection (</span><span class="c2 c13">Kungliga Husgerådskammaren</span><span class="c19 c4 c13">), Stockholm.</span></p><p class="c12"><span class="c4 c13 c14">Böttiger, John. </span><span class="c4 c13 c14 c17">Svenska statens samling af väfda tapeter; historik och beskrifvande förteckning. </span><span class="c4 c13 c14">Stockholm: Fröléen & Co., 1895</span><span class="c19 c4 c13">.</span></p><p class="c12"><span class="c4 c13 c14">Lilja, Gösta et al. </span><span class="c2 c13">Svenskt konstnärslexikon</span><span class="c19 c4 c13">. 5 vols. Malmö: Allhems Förlag, 1952-67. Vol. 5, p. 74.</span></p><a id="id.319qiysurjxn"></a><h2 class="c1 c13" id="h.87t5494zizd1"><span class="c7">Anna Maria Garthwaite (born in Leicestershire; textile designer, 1690-1763)</span></h2><p class="c12 c13"><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search%23!?q%3Danna%2520maria%2520garthwaite%26perPage%3D20%26searchField%3DAll%26sortBy%3DRelevance%26offset%3D0%26pageSize%3D0&sa=D&ust=1597863595493000&usg=AOvVaw1e2UKf5dCfw-SIkOW6mBYg">Five examples</a></span><span class="c4"> of fabric with patterns designed by her survive in the Metropolitan Museum, New York (dated between c. 1745-1752). A length of woven silk with a floral design is present in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.lacma.org/node/246417&sa=D&ust=1597863595493000&usg=AOvVaw1QDOm78sqtUm3rDd1wNci8">Los Angeles County Museum of Art</a></span><span class="c4">. Three dresses made of silk brocaded taffeta fabric she designed in 1742 are extant, one in the National Museum of Ireland, one in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.vam.ac.uk/search/?listing_type%3D%26offset%3D0%26limit%3D15%26narrow%3D%26extrasearch%3D%26q%3Dgarthwaite%2B1742%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595494000&usg=AOvVaw1hADlvwnR0LlVzEd7Wh_E-">Victoria and Albert Museum</a></span><span class="c4">, and one in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://web.archive.org/web/20080513124445/http:/www.albanyinstitute.org/collections/decorative/dress.htm&sa=D&ust=1597863595494000&usg=AOvVaw2d8fbDgR0_FKyZpA-Xx6Or">Albany Institute of History & Art</a></span><span class="c4">. Many of her drawings reside in the collection of the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/search/?listing_type%3D%26offset%3D0%26limit%3D15%26narrow%3D%26extrasearch%3D%26q%3DAnna%2BMaria%2BGarthwaite%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595495000&usg=AOvVaw0Wf8G9eWdbPG8fEi7ySSpG">Victoria and Albert Museum</a></span><span class="c4">, London, including a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O78126/papercut-garthwaite-anna-maria/&sa=D&ust=1597863595495000&usg=AOvVaw39jCg_46PAADSw6XU0dake">paper-cut picture</a></span><span class="c4"> dated 1707</span><span class="c3">.</span></p><p class="c11 c13"><span class="c4">Anishanslin, Zara. </span><span class="c4 c17">Portrait of a Woman in Silk: Hidden Histories of the British Atlantic World.</span><span class="c3"> New Haven: Yale University Press, 2016.</span></p><p class="c11 c13"><span class="c4 c13 c14">Rothstein, Natalie: </span><span class="c4 c17">Silk Designs of the Eighteenth Century: In the Collection of the Victoria and Albert Museum, London, With a Complete Catalogue</span><span class="c3">. London: Thames & Hudson, 1990.</span></p><p class="c11 c13"><span class="c4 c13 c14">Rothstein, Natalie: </span><span class="c4 c17">The Victoria and Albert Museum’s Textile Collection: Woven Textile Design in Britain to 1750</span><span class="c3">. London: Canopy Books, 1994.</span></p><p class="c11 c13"><span class="c4 c13 c14">Rothstein, Natalie: </span><span class="c4 c17">The Victoria and Albert Museum’s Textile Collection: Woven Textile Design in Britain 1750 to 1850</span><span class="c3">. London: Canopy Books, 1994.</span></p><p class="c11 c13"><span class="c4">Rothstein, N, K. A. “Garthwaite, Anna Maria.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c4">. vol. I. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 568-70.</span></p><a id="kix.3uhshst6ca8v"></a><h1 class="c77 c16 c66 c48" id="h.ae6r107lnnoe"><span>Women Artists: Printmaking </span><span class="c3">(Global)</span></h1><p class="c47"><span class="c4 c13 c14">Those women known to have practised only printmaking are listed in this section. For other artists who worked in more than one medium, see</span><span class="c4 c13 c14"> below for individual artists, including Anna van Bouckel, Elisabeth Sophie Chéron, Maddalena Corvina, Anna Folkema, </span><span class="c4">Catharina Elisabeth Heinecken, Margaretha Helm, </span><span class="c4">Anna Maria de Koker, </span><span class="c4 c13 c14">Maria de’ Medici, Teresa Del Pò, Properzia de’ Rossi, </span><span class="c4">Elisabetta Sirani, Catharina Sperling-Heckel, Maria Strick, Anna Maria Thelott, Annamaria Vaiani, Mayken Verhulst Bessemeers,</span><span class="c22 c4 c13 c14"> Virginia Vezzi, and Maria de Wilde. </span></p><p class="c47 c39"><span class="c22 c4 c13 c14">Forms of printing were underway in China before the eighth century, and other Asian regions also developed printing techniques well before Europe, but there is little scholarship on the gendered aspects of the industry outside premodern Europe (see Mendoza, and Barker, below). In any part of the world, nuns may have been involved in printing images and texts but that too is largely an area for future research.</span></p><p class="c31 c39"><span class="c22 c4 c13 c14"></span></p><p class="c11"><span class="c4">Albricci, G. “Donne incisori nei secoli XVI e XVII. Notizie su Properzia de’ Rossi, Annamaria Vaiani, Veronica Fontana, Teresa del Po, Diana Scultori, Elisabetta Sirani.” </span><span class="c4 c17">I quaderni del conosciatore di stampe </span><span class="c4">19 (1973): 20-25.</span></p><p class="c12 c88"><span class="c4 c13 c14">Alexander, David. “Printmakers.” In </span><span class="c4">Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. I, Chicago: Fitzroy Dearborn Publishers, 1997, pp. 61-66.</span></p><p class="c11"><span class="c4 c9">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595499000&usg=AOvVaw3g3_8Yn5Bg2_2yeeVzud9t">The First Biography of Artemisia Gentileschi</a></span><span class="c4 c9">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c9 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c4 c9">60 no 3 (2018): 404-35, at 409-10, 431. Publishes Bronzini’s manuscript of 1615-22 on women artists, which includes a section on China, drawing on </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DA2ZUAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595500000&usg=AOvVaw2CGbcXJ2VRp6e4lSURfmRc">an Italian version (1586, p. 22)</a></span><span class="c4 c9"> (“di lavorar di rilievo, & d’intaglio”)</span><span class="c4 c9"> of Juan González de Mendoza (below). In Bronzini’s phrase, ““lavoro di rilievo e d’intaglio,” that is, “in China there are the women .. [who] demonstrate excellence in … relief and in intaglio.”</span></p><p class="c47 c88"><span class="c4 c13 c14">Brodsky, Judith. “Some notes on women printmakers.” </span><span class="c4 c13 c14 c17">Art Journal</span><span class="c22 c4 c13 c14"> 35 no 4 (1976): 374-77.</span></p><p class="c12"><span class="c4 c13 c14">Brodsky, Judith. “Rediscovering women printmakers, 1550-1850.” </span><span class="c4 c13 c14 c17">Counterproof </span><span class="c22 c4 c13 c14">1 (Summer 1979): 1-13.</span></p><p class="c12"><span class="c4 c13 c14 c17">‘Dames Gaan Voor’: De Vrouw in de prentkunst, 1500-1800. </span><span class="c22 c4 c13 c14">[‘Ladies first’: Women in printmaking, 1500-1800]. Exh.ct. Rotterdam: Museum Boymans-van Beuningen, 1975.</span></p><p class="c12"><span class="c4 c13 c14">Ellet, Elizabeth Fries Lummis. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DLsBBAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595501000&usg=AOvVaw1CvhKLmpNproiA0_81c2Di">Women Artists In All Ages and Countries</a></span><span class="c4 c13 c17">. </span><span class="c22 c4 c13 c14">New York: Harper and Brothers, 1859, pp. 43-44. Other than Diana Mantuana, she mentions only one other engraver: “The wife of the famous engraver, Marc Antonio Raimondi, also engraved on copper.”</span></p><p class="c12"><span class="c4 c13 c14">Establés Susán, Sandra. </span><span class="c4 c13 c14 c17">Diccionario de mujeres impresoras y libreras de España e Iberoamérica entre los siglos XV y XVIII.</span><span class="c22 c4 c13 c14"> Zaragoza: Prensas de la Universidad de Zaragoza, 2018. Dictionary of women printers and booksellers from Spain and Latin America, who were often widows of men in the trade or otherwise had family connections. See, for instance, “Basilea, Isabel de,” pp. 204-07 for the first woman printer in Spain (1500-1562). See the “Índice de lugares y cronológico,” pp. 548-62 for names of the women arranged chronologically by place.</span></p><p class="c12"><span class="c4 c13 c24">Garone Gravier, Marina. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://core.ac.uk/download/pdf/38982773.pdf&sa=D&ust=1597863595502000&usg=AOvVaw3Do8X16baOkikZPc3zQi9T">Impresoras hispanoamericanas: un estado de la cuestión</a></span><span class="c4 c13 c24">.” </span><span class="c2 c13">Boletín de la Real Academia de Buenas Letras de Barcelona</span><span class="c19 c4 c13"> 51 (2007): 451-71. See for women as owners of typographic print presses and print shops in South America.</span></p><p class="c12"><span class="c4 c13 c24">Garone Gravier, M. and A. Corbeto López (eds). </span><span class="c2 c13">Muses de la imprenta. La dona i les arts del llibre. Segles XVI-XIX.</span><span class="c19 c4 c13"> Barcelona: Museu Diocesà de Barcelona, 2009.</span></p><p class="c12"><span class="c4 c13 c14">Harvey-Lee, Elizabeth. </span><span class="c4 c13 c14 c17">Mistresses of the Graphic Arts: Famous and Forgotten Women Printmakers, c. 1550-c. 1950</span><span class="c4 c13 c14">. Dealer’s catalogue. North Aston, Oxford, 1995. See </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://elizabethharvey-lee.com/catalogues/catalogues_15_mistresses.htm&sa=D&ust=1597863595503000&usg=AOvVaw3oa-UZSifVkzjG0D9xR8Yu">summary, with a list of all artist’s names in the catalogue</a></span><span class="c22 c4 c13 c14">.</span></p><p class="c11"><span class="c4">Latham, Helen. “Dominican Nuns and the Book Arts in Renaissance Florence: The Convent of San Jacopo di Ripoli, 1224-1633.” Ph.D. diss. Texas Woman’s University, 1986.</span></p><p class="c12"><span class="c4 c13 c14">Lincoln, Evelyn. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/27733092/Making_a_Good_Impression_Diana_Mantuanas_Printmaking_Career&sa=D&ust=1597863595504000&usg=AOvVaw0eQp3E3l6S1p7C2eyYP0XB">Making a Good Impression: Diana Mantuana’s Printmaking Career.</a></span><span class="c4 c13 c14">” </span><span class="c4 c13 c14 c17">Renaissance Quarterly</span><span class="c22 c4 c13 c14"> 50 (Winter 1997): 1101-47. On academia.edu</span></p><p class="c12"><span class="c4 c13 c14">Lincoln, Evelyn. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4112461/Invention_Origin_and_Dedication_Republishing_Womens_Prints_in_Early_Modern_Italy&sa=D&ust=1597863595505000&usg=AOvVaw2JF8X55M2rYBlqJ01b_DrO">Invention, Origin, and Dedication: Republishing Women’s Prints in Early Modern Italy</a></span><span class="c4 c13 c14">.” In Mario Biagioli, Peter Jaszi and Martha Woodmansee (eds). </span><span class="c4 c13 c14 c17">Making and Unmaking Intellectual Property. Creative Production in Legal and Cultural Perspective. </span><span class="c22 c4 c13 c14">Chicago: University of Chicago Press, 2011, pp. 339-57.</span></p><p class="c11"><span class="c4 c13 c14">Markey, Lia. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17551994/_The_Female_Printmaker_and_the_Culture_of_the_Reproductive_Print_Workshop_in_Paper_Museums_The_Reproductive_Print_in_Europe_1500-1800&sa=D&ust=1597863595506000&usg=AOvVaw137XNRW-gcsaAAEKxto_fv">The Female Printmaker and the Culture of the Reproductive Print Workshop</a></span><span class="c4 c13 c14">.” In Rebecca Zorach and Elizabeth Rodini. </span><span class="c4 c13 c14 c17">Paper Museums. The Reproductive Print in Europe, 1500-1800.</span><span class="c22 c4 c13 c14"> Chicago: David and Alfred Smart Museum of Art, 2005, pp. 51-73. Focuses on Diana Mantuana, Geronima Parasole, Isabella Parasole, and Magdalena de Passe.</span></p><p class="c11"><span class="c4 c9">de Mendoza, Juan González. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D7elwgP0B3CoC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Dsnippet%26q%3DRibera%26f%3Dfalse&sa=D&ust=1597863595506000&usg=AOvVaw1X0TLWlTWXh1XLWrVANG00">Historia de las cosas más notables, ritos y costumbres del gran reyno de la China</a></span><span class="c4 c9">. Rome: Bartholome Grassi, 1585, p. 23. Chinese women </span><span class="c4 c9">“usan de dibuxo, y mazoneria.”</span></p><p class="c11"><span class="c4 c13 c14">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://kvk.bibliothek.kit.edu/view-title/index.php?katalog%3DKUNST_HATHI%26url%3Dhttp%253A%252F%252Fcatalog.hathitrust.org%252FRecord%252F100789792%253Ftype%25255B%25255D%253Dtitle%2526lookfor%25255B%25255D%253DCatalogue%252520d%2525E2%252580%252599une%252520collection%252520unique%252520de%252520dessins%25252C%252520gravures%252520et%252520eaux-fortes%252520compos%2525C3%2525A9s%252520ou%252520ex%2525C3%2525A9cut%2525C3%2525A9s%252520par%252520des%252520femmes.%2526ft%253D%26signature%3DS1glBdEWeU5YvHyQzH5_RVvk2JxUhSxV41zrgPkVC8M%26showCoverImg%3D1&sa=D&ust=1597863595507000&usg=AOvVaw1tif91Y4GO-zMNSEiQL4FS">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou exécutés par des femmes.</a></span><span class="c22 c4 c13 c14"> Amsterdam: Ellerman, Hams, 1884.</span></p><p class="c11"><span class="c4 c13 c14">Reed Frederick, Amy. “Reclaiming Reproductive Printmaking.” In Elizabeth Sutton (ed). </span><span class="c4 c13 c14 c17">Women Artists and Patrons in the Netherlands 1500-1700. </span><span class="c22 c4 c13 c14">Amsterdam: Amsterdam University Press, 2019, pp. 143-56.</span></p><p class="c11"><span class="c4">Roberts, Ann M. “Convents. Before the Council of Trent (1545-63).” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. I. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 21-23, at p. 23: several 15th-C German convents supplied and sold prints, though it is not known if the nuns also cut the blocks; the Dominican convent at San Jacopo di Ripoli in Florence printed around seventy books in 1470-1484, mainly devotional texts, but also a few secular works.</span></p><p class="c11"><span class="c4">Urbini, Silvia. “Women Engravers in Bologna.” In Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614.</span><span class="c3"> Washington, DC: National Museum of Women in the Arts, 1998, p. 147.</span></p><p class="c11"><span class="c4">Viljoen, Madeleine C. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/41702727/Henrietta_Louisa_Koenens_Amsterdam_Collection_of_Women_Artists&sa=D&ust=1597863595509000&usg=AOvVaw28PN_4wBAM1_828iOpvQeL">Henrietta Louisa Koenen’s (1830-81) Amsterdam Collection of Women Printmakers</a></span><span class="c4">.” In Ruth E. Iskin and Britany Salsbury (eds). </span><span class="c4 c17">Collecting Prints, Posters and Ephemera. Perspectives in a Global World.</span><span class="c3"> London: Bloomsbury, 2000, pp. 27-43.</span></p><p class="c11"><span class="c4">Weitenkampf, Frank (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015031199436%26view%3D1up%26seq%3D1&sa=D&ust=1597863595510000&usg=AOvVaw26aZe6CVPR6-LGJKemkSOS">Catalogue of a Collection of Engravings, Etchings and Lithographs by Women. Exhibited at The Grolier Club.</a></span><span class="c4 c17"> </span><span class="c3">New York: Grolier Club, 1901.</span></p><a id="id.9g4m8x4lm4h2"></a><h2 class="c1" id="h.r29hc3qnl8ku"><span>Diana Mantuana / Diana Scultori / Diana Ghisi (born Mantua; engraver; c. 1547-1612)</span></h2><p class="c11"><span class="c4">Albricci, G. “Donne incisori nei secoli XVI e XVII. Notizie su Properzia de’ Rossi, Annamaria Vaiani, Veronica Fontana, Teresa del Po, Diana Scultori, Elisabetta Sirani.” </span><span class="c4 c17">I quaderni del conosciatore di stampe </span><span class="c3">19 (1973): 20-25.</span></p><p class="c11"><span class="c4">Baglione, Giovanni Battista. </span><span class="c4 c17">Le vite de’ pittori, scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a tempi di Papa Urbino Ottavo nel 1642. </span><span class="c4">Rome: Andrea Fei, 1642, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t04x6tw5m%26view%3D1up%26seq%3D70&sa=D&ust=1597863595511000&usg=AOvVaw1jNyr-0W2d91ec8gW7d3P0">pp. 48-49</a></span><span class="c3">. In the life of her first husband, the architect Francesco Volterra.</span></p><p class="c11"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595512000&usg=AOvVaw2pEYsIJ_GOMyoSlFOa3yZj">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c3">60 no 3 (2018): 404-35, at 411, 430. Publishes Bronzini’s manuscript of 1615-22 on women artists, including the painter and engraver “Diana Mantovana.” He owned two of her prints.</span></p><p class="c11"><span class="c4">Bellini, Paolo (ed). </span><span class="c4 c17">L’opera incisa di Adamo e Diana Scultori. </span><span class="c4">Vicenza: Neri Pozza, 1991. Rev: Valeria Pagani. </span><span class="c4 c17">Print Quarterly </span><span class="c3">9 no 1 (March 1992): 72-87.</span></p><p class="c11"><span class="c4">Boorsch, Suzanne and J.T. Spike. </span><span class="c4 c17">Italian Artists of the Sixteenth Century. </span><span class="c3">Illustrated Bartsch, XXXI. New York: Abaris, 1986.</span></p><p class="c11"><span class="c4">Feinberg, Alice M. “Diana Ghisi: Italian Printmaker 1530-1590.” </span><span class="c4 c17">Feminist Art Journal </span><span class="c3">4 no. 3 (1975): 28-30.</span></p><p class="c11"><span class="c4">Calidonna, Isabella. “Un’inedita incisione di Diana Scultori: chiarimenti per una biografia.” </span><span class="c4 c17">Grafica d’arte </span><span class="c3">27 no 106 (April-June 2016): 2-7.</span></p><p class="c11"><span class="c4">Girondi, Giiulio. “Diana Mantovana’s Virgin and Child with St John the Baptist.” </span><span class="c4 c17">Print Quarterly </span><span class="c3">29 no 3 (2012): 297-99.</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">Storia pittorica della Italia. Dal risorgimento delle belle arti fin presso al fine del XVIII secolo. </span><span class="c4">3</span><span class="c4 c21">rd</span><span class="c4"> ed. Vol. 4: </span><span class="c4 c17">Le Scuole Lombarde di Mantova, Modena, Parma, Cremona, e Milano. </span><span class="c4">Bassano: G. Remondini, 1809, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D30&sa=D&ust=1597863595514000&usg=AOvVaw3C6n8uUCuAn-hl5och2QCg">p. 18</a></span><span class="c3">. Daughter of Gio.Batista Mantovano, “celebre per le sue incisioni.”</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">The History of Painting in Italy from the period of the revival of the fine arts to the end of the eighteenth century. </span><span class="c4">Trans. Thomas Roscoe. London: W. Simpkin and R. Marshall, 1828. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015073730783%26view%3D1up%26seq%3D35&sa=D&ust=1597863595515000&usg=AOvVaw3xPeuKZtO7CIgBrOVvjlpa">Vol. 4, p. 23</a></span><span class="c3">. “Celebrated for her fine engravings.”</span></p><p class="c46 c48"><span class="c4">Lincoln, Evelyn. “Mantuana [Mantovana; Ghisi; Scultori] Diana.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 914-16.</span></p><p class="c46 c48"><span class="c4">Lincoln, Evelyn. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/27733092/Making_a_Good_Impression_Diana_Mantuanas_Printmaking_Career&sa=D&ust=1597863595516000&usg=AOvVaw02M2E9nc9b1SpdcEPdO2pt">Making a Good Impression: Diana Mantuana’s Printmaking Career</a></span><span class="c4">.” </span><span class="c4 c17">Renaissance Quarterly</span><span class="c3"> 50 (Winter 1997): 1101-47. On academia.edu</span></p><p class="c46 c48"><span class="c4">Lincoln, Evelyn. </span><span class="c4 c17">The Invention of the Italian Renaissance Printmaker.</span><span class="c3"> New Haven: Yale University Press, 2000.</span></p><p class="c46 c48"><span class="c4 c13 c14">Lincoln, Evelyn. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4112461/Invention_Origin_and_Dedication_Republishing_Womens_Prints_in_Early_Modern_Italy&sa=D&ust=1597863595517000&usg=AOvVaw2gxsc8ExVuhe_jaYwlG-Ne">Invention, Origin, and Dedication: Republishing Women’s Prints in Early Modern Italy</a></span><span class="c4 c13 c14">.” In Mario Biagioli, Peter Jaszi and Martha Woodmansee (eds). </span><span class="c4 c13 c14 c17">Making and Unmaking Intellectual Property. Creative Production in Legal and Cultural Perspective. </span><span class="c22 c4 c13 c14">Chicago: University of Chicago Press, 2011, pp. 339-57, at pp. 344-46, 352-54. On academia.edu</span></p><p class="c11"><span class="c4 c13 c14">Markey, Lia. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17551994/_The_Female_Printmaker_and_the_Culture_of_the_Reproductive_Print_Workshop_in_Paper_Museums_The_Reproductive_Print_in_Europe_1500-1800&sa=D&ust=1597863595517000&usg=AOvVaw2KcKnc2H8dx5_pSL8-AEO3">The Female Printmaker and the Culture of the Reproductive Print Workshop</a></span><span class="c4 c13 c14">.” In Rebecca Zorach and Elizabeth Rodini. </span><span class="c4 c13 c14 c17">Paper Museums. The Reproductive Print in Europe, 1500-1800.</span><span class="c22 c4 c13 c14"> Chicago: David and Alfred Smart Museum of Art, 2005, pp. 51-73, at pp. 54-56, and also entries at pp. 64-67.</span></p><p class="c11"><span class="c4 c13 c14">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595518000&usg=AOvVaw3S_sGmeZ6KiFmPGlHri42S">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c13 c14 c17">.</span><span class="c22 c4 c13 c14"> Amsterdam: F. Muller, 1884, p. 22.</span></p><p class="c46 c48"><span class="c4">Nicolson, Elisabeth. “Diana Scultori.” In Vera </span><span class="c4 c24">Fortunati et al. </span><span class="c2">Italian Women Artists: from Renaissance to Baroque</span><span class="c19 c4">. Milan: Skira, 2007, pp. 126-34.</span></p><p class="c46 c48"><span class="c4 c24">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595585000&usg=AOvVaw0IZ7xt6V02lT7E9ROL-OQk">L'Abecedario</a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595586000&usg=AOvVaw345PwvmDn_F448K0oCrJnq"> pittorico</a></span><span class="c19 c4">. Bologna: Costantino Pisarri, 1704, p. 131.</span></p><p class="c11"><span class="c4">Pagani, Valeria. “A </span><span class="c4 c17">lunario</span><span class="c4"> for the years 1584-1586 by Francesco da Volterra and Diana Mantovano.” </span><span class="c4 c17">Print Quarterly</span><span class="c3"> 8 no 2 (1991): 140-45.</span></p><p class="c11"><span class="c4">Peranda, Giovanni Francesco. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D44dCAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3Dvolterra%26f%3Dfalse&sa=D&ust=1597863595587000&usg=AOvVaw2pt2n-NvgMczZ-RObBP0r9">Lettere</a></span><span class="c4 c17">.</span><span class="c4"> Venice: Barezzo Barezzi, 1630. (1601; reprinted many times), pp. 83-84. “Dà lode ad alcune opera d’una donna, e li dà certo ordine.” Thanks her husband Francesco Volterra for the gift of her engraving of the </span><span class="c4 c17">Feast of the Gods,</span><span class="c3"> after Giulio Romano’s fresco in Mantua.</span></p><p class="c11"><span class="c4">Peters, Emily. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://risdmuseum.org/manual/292_diana_mantuana_renaissance_engraver&sa=D&ust=1597863595588000&usg=AOvVaw27j8yF4GYXWN3FDTrGPtsG">Diana Mantuana, Renaissance engraver.</a></span><span class="c4">” Rhode Island School of Design Museum, 29 January 2015. Focuses on </span><span class="c4 c17">Atilius Regulus in a Barrel,</span><span class="c3"> c. 1570.</span></p><p class="c11"><span class="c4">Strutt, Joseph. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DB14OAAAAQAAJ%26pg%3DPA302%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595588000&usg=AOvVaw3C6tOQ199vqtMiUTbCqM-Z">A Biographical Dictionary of Engravers.</a></span><span class="c4 c17"> </span><span class="c3">London: Robert Faulder, 1785. Vol. 1, p. 334.</span></p><p class="c11"><span class="c4">Urbini, Silvia. “Diana Scultori (aka Ghisi).” In Vera </span><span class="c4 c24">Fortunati et al. </span><span class="c2">Italian Women Artists: from Renaissance to Baroque</span><span class="c19 c4">. Milan: Skira, 2007, pp. 126-33.</span></p><p class="c11"><span class="c4 c24">Vasari, Giorgio. </span><span class="c2">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4 c24">(1568) Ed. Gaetano Milanesi. 9 vols. Florence: Sansoni, 1878-85 (rpt 1973). </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/levitedepieccel11milagoog/page/n496/mode/2up&sa=D&ust=1597863595589000&usg=AOvVaw0NwqopVXqC_VVfhoL3HZW7">Vol. 6, p. 490</a></span><span class="c19 c4">. After mentioning her father’s two sons (Vasari is mistaken about one of the men named): there is a “cosa più maravigliosa, una figliuola chiamata Diana intagliata anch’ella tanto bene, che è cosa maravigliosa; ed io che ho veduto lei, che è molto gentile e graziosa fanciulla, e l’opere sue che sono bellissime, ne sono restato stupefatto.” </span></p><p class="c11"><span class="c4">Vasari, Giorgio.</span><span class="c38"> </span><span class="c4 c17">Lives of the Most Eminent Painters, Sculptors, and Architects by Giorgio Vasari. </span><span class="c4">Trans. Gaston du C. de Vere. London: Medici Society, 1912-15. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Duc1.c2854083%26view%3D1up%26seq%3D86&sa=D&ust=1597863595590000&usg=AOvVaw3Q9UqrI2-aR92Mp6-FyJYb">Vol. 8, p. 42</a></span><span class="c4">: “what is even more astonishing, a daughter, called Diana, who also engraves so well that it is a thing to marvel at; and I who saw her, a very gentle and gracious girl, and her works, which are most beautiful, was struck with amazement.” Vasari met her in Mantua in 1566, when she was nineteen.</span></p><p class="c11"><span class="c4">Zentai, L. “Portrait inconnu de Diana Scultori.” </span><span class="c4 c17">Bulletin du Musée Hongrois des Beaux Arts </span><span class="c3"> 62-63 (1984): 43-51.</span></p><a id="kix.rfo7i3yofv1h"></a><h2 class="c95 c16 c66 c48" id="h.4bjs4xrnc2yh"><span class="c7">Barbara van den Broeck (born Antwerp; printmaker; c.1558/60-c.1590)</span></h2><p class="c62 c16"><span class="c4 c5">Produced engravings after the work of her father Crispin. For five examples in the British Museum see </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/term/BIOG20961&sa=D&ust=1597863595591000&usg=AOvVaw2YafSt6z5DscXcIImh8CXb">here</a></span><span class="c4 c5">, and others at the Museum Boijmans, Rotterdam collection </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.boijmans.nl/en/collection/artists/3356/barbara-van-den-broeck&sa=D&ust=1597863595592000&usg=AOvVaw011TJHIaUKuSmtIjQVfk-C">here</a></span><span class="c22 c4 c5">.</span></p><p class="c62 c16"><span class="c4 c13 c24">Hollstein et al. </span><span class="c2 c13">Dutch and Flemish Etchings, Engravings and Woodcuts, ca.1450-1700.</span><span class="c19 c4 c13"> Vol. 3. Amsterdam: Hertzberger, 1950, p. 222.</span></p><p class="c33 c16"><span class="c4 c5">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://kvk.bibliothek.kit.edu/view-title/index.php?katalog%3DKUNST_HATHI%26url%3Dhttp%253A%252F%252Fcatalog.hathitrust.org%252FRecord%252F100789792%253Ftype%25255B%25255D%253Dtitle%2526lookfor%25255B%25255D%253DCatalogue%252520d%2525E2%252580%252599une%252520collection%252520unique%252520de%252520dessins%25252C%252520gravures%252520et%252520eaux-fortes%252520compos%2525C3%2525A9s%252520ou%252520ex%2525C3%2525A9cut%2525C3%2525A9s%252520par%252520des%252520femmes.%2526ft%253D%26signature%3DS1glBdEWeU5YvHyQzH5_RVvk2JxUhSxV41zrgPkVC8M%26showCoverImg%3D1&sa=D&ust=1597863595593000&usg=AOvVaw29QsFf7Og4CMJVGfB32cn3">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composes ou executes par des femmes</a></span><span class="c0">.</span><span class="c22 c4 c5"> Amsterdam: Ellerman, Hams, 1884, p. 8.</span></p><p class="c16 c33"><span class="c4 c5">Strutt, Joseph. </span><span class="c0">A Biographical Dictionary of Engravers. </span><span class="c4 c5">London: Robert Faulder, 1785. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DB14OAAAAQAAJ%26pg%3DPA302%23v%3Donepage%26q%3DBroeck%26f%3Dfalse&sa=D&ust=1597863595594000&usg=AOvVaw2AFKh9qCCvKtLoL2QOY_AZ">Vol. 1, p. 148</a></span><span class="c22 c4 c5">.</span></p><p class="c33 c16 c56"><span class="c22 c4 c5"></span></p><a id="id.8uzvw37nvfvr"></a><p class="c25"><span class="c38 c9">Isabella / Elisabetta / Isabetta Parasole</span><span class="c7"> (born Rome; printmaker, c.1570-1620) and sister-in-law Geronima Parasole</span></p><p class="c11"><span class="c3">Wife, mother and sister-in-law to printmakers. Produced woodcuts for patterns books about lace and needle lace.</span></p><p class="c11"><span class="c4">Baglione, Giovanni Battista. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t04x6tw5m%26view%3D1up%26seq%3D316&sa=D&ust=1597863595595000&usg=AOvVaw3mRy2JohdtvI5Dl18XRDTY">Vita di Lionardo, Isabella, e Bernardino Parasoli</a></span><span class="c4">.</span><span class="c4">” In his </span><span class="c4 c17">Le vite de’ pittori, scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a tempi di Papa Urbino Ottavo nel 1642. </span><span class="c3">Rome: Andrea Fei, 1642, pp. 394-95.</span></p><p class="c11"><span class="c4">Giles, Laura M. “A Woodcut Design by Antonio Tempesta.” In </span><span class="c4 c17">Festschrift für Konrad Oberhuber.</span><span class="c3"> Milan: Electa, 2000, pp. 176-79. See for Geronima Parasole’s inscribed and dated portrait in the Accademia di San Luca, Rome (1512).</span></p><p class="c11"><span class="c4">Lincoln, Evelyn. “Parasole, Isabella.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1068-70.</span></p><p class="c11"><span class="c4">Lincoln, Evelyn. “Models for Science and Craft: Isabella Parasole’s Botanical and Lace Illustrations.” </span><span class="c4 c17">Visual Resources</span><span class="c3"> 17 no 1 (2001): 1-35. On academia.edu</span></p><p class="c11"><span class="c4 c13 c14">Lincoln, Evelyn. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4112461/Invention_Origin_and_Dedication_Republishing_Womens_Prints_in_Early_Modern_Italy&sa=D&ust=1597863595597000&usg=AOvVaw3MUl1L9EZQM5-eHYQ14CBl">Invention, Origin, and Dedication: Republishing Women’s Prints in Early Modern Italy</a></span><span class="c4 c13 c14">.” In Mario Biagioli, Peter Jaszi and Martha Woodmansee (eds). </span><span class="c4 c13 c14 c17">Making and Unmaking Intellectual Property. Creative Production in Legal and Cultural Perspective. </span><span class="c22 c4 c13 c14">Chicago: University of Chicago Press, 2011, pp. 339-57, at pp. 347, 350-53, which also discusses her sister-in-law Geronima Parasole. On academia.edu</span></p><p class="c11"><span class="c4 c13 c14">Markey, Lia. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17551994/_The_Female_Printmaker_and_the_Culture_of_the_Reproductive_Print_Workshop_in_Paper_Museums_The_Reproductive_Print_in_Europe_1500-1800&sa=D&ust=1597863595598000&usg=AOvVaw0iU5wKpnY1PQHMWee0X9uM">The Female Printmaker and the Culture of the Reproductive Print Workshop</a></span><span class="c4 c13 c14">.” In Rebecca Zorach and Elizabeth Rodini. </span><span class="c4 c13 c14 c17">Paper Museums. The Reproductive Print in Europe, 1500-1800.</span><span class="c22 c4 c13 c14"> Chicago: David and Alfred Smart Museum of Art, 2005, pp. 51-73, at pp. 56-58 for Isabella, and Geronima Parasole. On academia.edu</span></p><p class="c11"><span class="c4 c13 c14">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595599000&usg=AOvVaw1SEY-brmQIDdwF2uLo7WK9">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c13 c14 c17">.</span><span class="c22 c4 c13 c14"> Amsterdam: F. Muller, 1884, pp. 48-49 for three prints by Geronima Parasole.</span></p><p class="c11"><span class="c4">Murphy, Caroline P. “Elisabetta Catanea Parasole.” In Vera </span><span class="c4 c24">Fortunati et al. </span><span class="c4 c17">Italian Women Artists: from Renaissance to Baroque</span><span class="c3">. Milan: Skira, 2007, pp. 194-97.</span></p><p class="c11"><span class="c4">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595600000&usg=AOvVaw3avgwubSd3am8KVXdmQFma">L'Abecedario</a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595600000&usg=AOvVaw3avgwubSd3am8KVXdmQFma"> pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, p. 250.</span></p><p class="c47"><span class="c4">Parasole, Isabella Catanea. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/355099&sa=D&ust=1597863595601000&usg=AOvVaw0yBKfz0ZXDf4pOyunrl4dx">Studio delle virtuose dame</a></span><span class="c4 c5">. Rome: Antonio Facchetti, 1597. </span></p><p class="c12"><span class="c4">Parasole, Isabella. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/355098&sa=D&ust=1597863595601000&usg=AOvVaw1pA0ZEj9C5KlbM4LcgyOAq">Pretiosa gemma delle virtuose donne</a></span><span class="c4 c17">.</span><span class="c3"> Venice: Lucchino Gargano, 1600. A book of lace patterns.</span></p><p class="c11"><span class="c4">Parasole, Isabella. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://kvk.bibliothek.kit.edu/view-title/index.php?katalog%3DARCHIVE_ORG%26url%3Dhttp%253A%252F%252Farchive.org%252Fdetails%252FParasole1616TeatroMET%26signature%3DwTEp7Q_oWdDLn4Izgc1Kr6hFImZ7pko-wVvRiYcsTwo%26showCoverImg%3D1&sa=D&ust=1597863595602000&usg=AOvVaw3lQ80Tl4a6ujA-63Omjs17">Teatro delle nobili et virtuose donne, dove si reppresentano varii disegni di lavori novamente Inventati et disegnati da Elisabetta Catanea Parasole Romana</a></span><span class="c4 c17">.</span><span class="c3"> Rome: Lucrentia de Supperiori, 1616.</span></p><a id="id.phcum4p6u6e2"></a><h2 class="c1" id="h.6ig8b7assl6m"><span class="c7">Magdalena van de Passe (born Cologne; active in Utrecht; printmaker, 1600-1638)</span></h2><p class="c12"><span class="c4">Daughter of the notable engraver Crispin van de Passe (c.1564-1637), and sister of brothers in the same field (Crispin II, Simon and Willem) who also assisted her father; for nineteenth months, the wife of the artist Frederick van Bevervoordt until he died in 1635; in the early 1630s taught </span><span class="c6 c4"><a class="c8" href="#kix.rpzchashv21f">Anna Maria Schurman</a></span><span class="c4"> engraving. When only fourteen, she signed two plates in the series </span><span class="c4 c17">The Seven Wonders of the World</span><span class="c4">: </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://hdl.handle.net/10934/RM0001.collect.160805&sa=D&ust=1597863595603000&usg=AOvVaw1woL3zaiu32z34aysBjtH_">The Pyramids of Egypt</a></span><span class="c4 c17"> </span><span class="c4">and </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://hdl.handle.net/10934/RM0001.collect.160804&sa=D&ust=1597863595603000&usg=AOvVaw2seb-utQN6fkBy7g_bhysW">The Lighthouse of Alexandria</a></span><span class="c4"> (1614). The </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/search?keyword%3DMagdalena%26keyword%3Dvan%26keyword%3Dde%26keyword%3DPasse&sa=D&ust=1597863595604000&usg=AOvVaw3P_XmTATda59aDmaj9LAur">British Museum</a></span><span class="c4"> holds a range of her work, including engravings of the </span><span class="c4 c17">Four Seasons </span><span class="c4">after designs by her father, and other examples after the work of her brother Willem. Her signed </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/object/P_Sheepshanks-7458&sa=D&ust=1597863595604000&usg=AOvVaw0jRh6CKNoTfn9HTvTcTTBB">Death of Procris</a></span><span class="c4 c17">,</span><span class="c4"> after a painting by Adam Elsheimer,</span><span class="c4 c17"> </span><span class="c4">was dedicated to Rubens, and the pendant, </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/object/P_Sheepshanks-7457&sa=D&ust=1597863595605000&usg=AOvVaw2_wjXAilHOGzKDQ8-XQnyM">Salmacis and Hermaphroditus</a></span><span class="c4">, signed and dated 1623, was dedicated to the writer and poet Jacob Cats. As Veldman (2014) pointed out, such dedications, and the pictorial sources she used, indicate that she was well-connected in Utrecht’s cultural circles. In 1630, her brother Simon issued </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://hdl.handle.net/10934/RM0001.collect.161023&sa=D&ust=1597863595605000&usg=AOvVaw1lsj72JSWOCubxekPQccoW">a portrait of her at the age of 30</a></span><span class="c4">, lauding her as “</span><span class="c4 c13">Sculptrix Celeberrima</span><span class="c3">.”</span></p><p class="c12"><span class="c4">Franken, Daniel. </span><span class="c4 c17">L’oeuvre gravé des van de Passe: catalogue raisonné des estampes de Chrispijn senior et junior, Simon, Willem, Magdalena et Chrispijn III van de Passe.</span><span class="c3"> Amsterdam: Hissink, 1975.</span></p><p class="c12"><span class="c4 c13">Hollstein, F.W.H. </span><span class="c4 c17">Dutch and Flemish etchings, engravings, and woodcuts, ca. 1450-1700</span><span class="c3">. Vol. 16. Amsterdam/Roosendaal, 1974), pp. 211-25.</span></p><p class="c11 c13"><span class="c4 c13">Kloek, Els, Catherine Peters Sengers and Esther Tobé. </span><span class="c4 c13 c17">Lexicon van Noord-Nederlandse kunstenaressen, circa 1550-1800.</span><span class="c4 c13"> Hilversum: Verloren, 1998, pp. 157-58.</span></p><p class="c46 c48"><span class="c4">Lessmann, Sabina. “Zur Präenz der Künstlerin Magdalena van de Passe.” In Irene Franken and Christiane Kling-Mathey (eds). </span><span class="c4 c17">Köln der Frauen.</span><span class="c3"> Cologne, 1992, pp. 233-40.</span></p><p class="c46 c48"><span class="c4">Lessmann, Sabina. “Passe, Magdalena van de.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1076-78.</span></p><p class="c11"><span class="c4 c13 c14">Markey, Lia. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17551994/_The_Female_Printmaker_and_the_Culture_of_the_Reproductive_Print_Workshop_in_Paper_Museums_The_Reproductive_Print_in_Europe_1500-1800&sa=D&ust=1597863595608000&usg=AOvVaw14JPrqsUGpqOTT4ppS7nJx">The Female Printmaker and the Culture of the Reproductive Print Workshop</a></span><span class="c4 c13 c14">.” In Rebecca Zorach and Elizabeth Rodini. </span><span class="c4 c13 c14 c17">Paper Museums. The Reproductive Print in Europe, 1500-1800.</span><span class="c22 c4 c13 c14"> Chicago: David and Alfred Smart Museum of Art, 2005, pp. 51-73, at pp. 58-60. On academia.edu</span></p><p class="c11"><span class="c4 c13 c14">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595608000&usg=AOvVaw3etpq8jrvPdDcAQeoe9p11">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c13 c14 c17">.</span><span class="c22 c4 c13 c14"> Amsterdam: F. Muller, 1884, pp. 49-50.</span></p><p class="c47 c13"><span class="c4 c13 c14">Orenstein, Nadine. “Who took the king of Sweden to bed?” </span><span class="c4 c13 c14 c17">Print Quarterly</span><span class="c22 c4 c13 c14"> 8 (1991): 44-47.</span></p><p class="c46 c48"><span class="c4">Reed Frederick, Amy. “Reclaiming Reproductive Printmaking.” In Elizabeth Sutton (ed). </span><span class="c4 c17">Women Artists and Patrons in the Netherlands 1500-1700. </span><span class="c3">Amsterdam: Amsterdam University Press, 2019, pp. 143-56.</span></p><p class="c46 c48"><span class="c4">Sandrart, Joachim von.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=http://www.deutschestextarchiv.de/book/view/sandrart_academie0102_1675/?hl%3DHoratio%26p%3D241&sa=D&ust=1597863595610000&usg=AOvVaw378Ok1SQLtm4Ue6Az4BeyH"> </a></span><span class="c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.deutschestextarchiv.de/book/view/sandrart_academie0102_1675/?hl%3DHoratio%26p%3D241&sa=D&ust=1597863595610000&usg=AOvVaw378Ok1SQLtm4Ue6Az4BeyH">L’Academia Todesca. della Architectura, Scultura & Pittura: Oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste</a></span><span class="c4 c17">. </span><span class="c4">Nuremberg, 1675. Vol. 2, Book 3, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://ta.sandrart.net/en/text/519?item%3Dauto17334%23auto17334&sa=D&ust=1597863595610000&usg=AOvVaw2gr8Ly6EZ9I8yZNx38VLMM">pp. 295</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://ta.sandrart.net/en/text/586?item%3Dauto19288%23auto19288&sa=D&ust=1597863595611000&usg=AOvVaw2AsQU-b2NVQw7-F0M0679u">357</a></span><span class="c4">. Esp “worinnen sie dann treflich zugenommen und viel ruhmwürdiges sonderlich nach des Adam Elzheimers Gemälden Procriti Tod und sehr viel Landschaften in Kupfer gebracht.” That is, she was a skilled and well-known engraver, especially due to her rendition of the </span><span class="c4 c17">Death of Procris </span><span class="c3">after a painting by Adam Elsheimer, and she engraved many landscapes.</span></p><p class="c46 c48"><span class="c4">van der Stighelen, Katlijne. “‘Et ses artistes mains [...].’ De kunstzinnigheid van Anna Maria van Schurman.” In Mirjam de Baar et al. (eds). </span><span class="c4 c17">Anna Maria van Schurman (1607-1678). Een uitzonderlijk geleerde vrouw</span><span class="c3">. Zutphen, 1992, pp. 61-74.</span></p><p class="c11"><span class="c4">Thieme, Ulrich and Felix Becker (eds). </span><span class="c4 c13 c14 c17">Allgemeines lexikon der bildenden künstler von der antike bis zur gegenwart</span><span class="c4 c13 c14">. Leipzig: W. Engelmann, 1932. Vol. 26, p. 282.</span></p><p class="c46 c48"><span class="c4">Tibiletti, Thea. </span><span class="c4 c17">Magdalena de Pas: sculptrix celeberrima.</span><span class="c4"> Olivone: Fondazione Jacob-Piazza, 1997. This booklet of 39 pages is also available as “Magdalena de Pas: ‘sculptrix celeberrima’.” </span><span class="c4 c17">Quaderni Bleniesi</span><span class="c3"> 4 (1997): 7-39.</span></p><p class="c46 c48"><span class="c4">Veldman, Ilja M. </span><span class="c4 c17">Crispijn de Passe and his progeny (1564-1670): a century of print production. </span><span class="c3">Rotterdam: Sound & Vision, 2001.</span></p><p class="c46 c48"><span class="c4 c13">Veldman, Ilja. “Passe, de family.” </span><span class="c4 c13 c17">Grove Art Online.</span><span class="c4 c13"> Updated 1 March 2005. Includes a section on Magdalena.</span></p><p class="c46 c48"><span class="c4">Veldman, Ilia. “Zuid-Nederlandse schilders in het fonds van prentuitgever Crispijn de Passe.” In Katlijne van der Stighelen (ed). </span><span class="c4 c17">Munuscula amicorum. Contributions on Rubens and his colleagues in honour of Hans Vlieghe. </span><span class="c3">Turnhout: Brepols, 2006. Vol. 2.</span></p><p class="c46 c48"><span class="c4">Veldman, Ilja M. “Magdalena de Passe: een ‘inborst door Pallas gevormd’.” </span><span class="c4 c17">Oud Utrecht</span><span class="c3"> 82 (2009): 66-69.</span></p><p class="c46 c48"><span class="c4">Veldman, Ilja. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Passe&sa=D&ust=1597863595613000&usg=AOvVaw1PBjb4HFbYNdNhXzl944i6">Passe, Magdalena de</a></span><span class="c4">.” </span><span class="c4 c13 c24">At </span><span class="c4 c17">Digitaal Vrouwenlexicon van Nederland</span><span class="c4">, under the aegis of </span><span class="c4 c17">Instituut voor Nederlandse Geschiedenis</span><span class="c3"> (posted 13 Jan 2014; accessed 26 June 2020). Includes information that she printed on fabric, especially house or sleeping caps of linen, receiving a three-year, country-wide privilege (license) to do so on 26 March 1630. Subjects included Protestant rulers and victories; none survive. See Orenstein.</span></p><p class="c46 c48"><span class="c4 c13">Walpole, Horace. “Madalen Pass.” In his </span><span class="c4 c13 c17">Anecdotes of painting in England</span><span class="c4 c13">. Strawberry Hill: Thomas Farmer, 1763. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t5n903s2p%26view%3D1up%26seq%3D303&sa=D&ust=1597863595615000&usg=AOvVaw0z3UBdYZamVmVfdJ7mUtvQ">Vol. 3, p. 25</a></span><span class="c4 c13">. The only female printmaker in his section on engravers. In full: “I find nothing of her work but a very scarce little head in my own collection, representing the lady Katherine, at that time marchioness, afterwards duchess, of Buckingham, with a feather fan. It is slightly finished, but very free.” For the engraving, surrounded by a border from a separate plate by her brother Willem de Passe, c. 1618-23, see </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/object/P_P-1-279&sa=D&ust=1597863595615000&usg=AOvVaw0llQ-5c8takvfDrot32OoQ">P,1.279 in the British Museum</a></span><span class="c4">.</span></p><a id="kix.f4728zomt39q"></a><h2 class="c1" id="h.xladf1x5nth4"><span class="c7">Theresa Maria Coriolano (born Bologna; printmaker; 1620-1671)</span></h2><p class="c47"><span class="c3">Daughter of the engraver Bartolomeo Coriolano; pupil of Elisabetta Sirani</span></p><p class="c12"><span class="c4 c13 c14">Bryan, Michael. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dhvd.32044033928060%26view%3D1up%26seq%3D239%26q1%3Dcoriolano&sa=D&ust=1597863595617000&usg=AOvVaw0G_CFR-M9HwvbFZlEJ9H0T">Dictionary of Painters and Engravers, Biographical and Critical</a></span><span class="c4 c17">. </span><span class="c4">(1813) Rev. ed. </span><span class="c22 c4 c13 c14">London: H.G. Bohn, 1849, p. 183. She “etched a small plate of the Virgin, half-length, with the infant Jesus.”</span></p><p class="c12"><span class="c4 c13 c14">Crespi, Luigi. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DHVhcAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595618000&usg=AOvVaw1_ybbSKC6hkXaSrBdyW17r">Vite de’ Pittori Bolognesi non descritte nella Felsina pittrice</a></span><span class="c4 c13 c14 c17">. </span><span class="c22 c4 c13 c14">Rome: M. Pagliarini, 1769, p. 157.</span></p><p class="c12"><span class="c4">Malvasia, Carlo Cesare. </span><span class="c4 c17">Felsina Pittrice, vite de pittori bolognesi. </span><span class="c4">2 vols. Bologna: Erede di Domenico Barbieri, 1678. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t18k89g4c%26view%3D1up%26seq%3D497&sa=D&ust=1597863595619000&usg=AOvVaw2upePNPyDGuBIotkpkgpXj">Vol. 2, p. 487</a></span><span class="c3">: “intagliatore di stampe di legno.”</span></p><p class="c12"><span class="c4">Orlandi, Pellegrino Antonio.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DLaura%2520Bernasconi%2520%26f%3Dfalse&sa=D&ust=1597863595619000&usg=AOvVaw1due4zWR9l5yQbl99tkkPp"> </a></span><span class="c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DLaura%2520Bernasconi%2520%26f%3Dfalse&sa=D&ust=1597863595620000&usg=AOvVaw0AbpWS_cDqNCMxZECpj9Fe">L'Abecedario pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, p. 352. “intaglio tante belle opera di Guido Reni, allevata nel disegno dal Padre, perfezionossi nella pittura, sotto quella gran Donna d’Elisabetta Sirani.”</span></p><p class="c12 c56"><span class="c3"></span></p><a id="kix.5sf42y82dnkt"></a><h2 class="c1" id="h.frqbds25i3t5"><span>Geertruydt Roghman (born Amsterdam; printmaker, 1625-after 1657)</span></h2><p class="c11"><span class="c4">Mother was the daughter of a painter; father was an engraver; sister of the painter and draughtsperson </span><span class="c4 c13 c14">Roelant and of the engraver </span><span class="c6 c4 c13"><a class="c8" href="#id.q6b38vemtl8h">Magdalena</a></span><span class="c4 c13 c14">. She etched some of the fourteen plates for </span><span class="c4 c13 c14 c17">Plaisante Lantschappen </span><span class="c4 c13 c14">drawn by Roelant</span><span class="c4 c13 c14 c17">,</span><span class="c4 c13 c14"> and issued five plates from her own drawings, interior scenes of women at work, all of which are held in the </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/en/search?q%3DGeertruydt%2520Roghman%26v%3D%26s%3D%26ondisplay%3DFalse%26ii%3D0%26p%3D3&sa=D&ust=1597863595621000&usg=AOvVaw2C2tJXXkvr4OjpK_xlx_Va">Rijksmuseum</a></span><span class="c22 c4 c13 c14">.</span></p><p class="c11"><span class="c4 c13 c14">Bleyerveld, Yvonne. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/RoghmanGeertruid&sa=D&ust=1597863595622000&usg=AOvVaw1_4Zpl07MogwBh-LgAc2Z6">Roghman, Geertruydt</a></span><span class="c4 c13 c14">.” At </span><span class="c2 c13">Digitaal Vrouwenlexicon van Nederland</span><span class="c4 c13 c24">, under the aegis of </span><span class="c2 c13">Instituut voor Nederlandse Geschiedenis</span><span class="c4 c13 c24"> (</span><span class="c22 c4 c13 c14">posted 13 January 2014; accessed 27 June 2020).</span></p><p class="c11"><span class="c4 c13 c24">Hollstein et al. </span><span class="c4 c13 c14 c17">Dutch and Flemish Etchings, Engravings and Woodcuts, ca.1450-1700.</span><span class="c22 c4 c13 c14"> Vol. 20. Amsterdam: Hertzberger, 1978, pp. 53-60.</span></p><p class="c11"><span class="c4 c13 c14">de Jongh, Eddy and Ger Luijten. </span><span class="c4 c13 c14 c17">Spiegel van alledag. Nederlandse genreprenten 1550-1700</span><span class="c4 c13 c14">. Exhib.cat. Amsterdam: Rijksmuseum, 1997, pp. 268-271. Trans. Michael Hoyle as </span><span class="c4 c13 c14 c17">Mirror of Everyday Life: Genreprints in the Netherlands, 1550-1700.</span></p><p class="c11"><span class="c4">Kloek, Els, Catherine Peters Sengers and Esther Tobé. </span><span class="c4 c17">Vrouwen en kunst in de Republiek. Een Overzicht</span><span class="c3">. Hilversum: Verloren, 1998, pp. 160-61.</span></p><p class="c11"><span class="c4">Moffitt Peacock, Martha. “Geertruydt Roghman and the female perspective in 17</span><span class="c4 c21">th</span><span class="c4">-century Dutch genre imagery.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">14 no 2 (1993-94): 3-10.</span></p><p class="c11"><span class="c4">Moffitt Peacock, Martha. “Roghman, Geertruydt.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1190-92.</span></p><p class="c11"><span class="c4">Moffitt Peacock, Martha. “Domesticity in the public sphere.” In Jane L. Carroll and Alison G. Stewart (eds). </span><span class="c4 c17">Saints, Sinners and Sisters. Gender and Northern Art in Medieval and Early Modern Europe.</span><span class="c3"> Burlington, VT: Ashgate, 2003, pp. 44-68.</span></p><p class="c11"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595624000&usg=AOvVaw29o5tmXNjgzDUwlNqc4ZMC">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 56.</span></p><p class="c11"><span class="c4 c13">Peacock, Martha. “Geertruydt Roghman and the Female Perspective in 17th-Century Dutch Genre Imagery.” </span><span class="c4 c17">Woman's Art Journal </span><span class="c3">14 no 2 (1993-1994): 3-10.</span></p><p class="c12"><span class="c4">Russell, Margarita. “The Women Painters in Houbraken’s </span><span class="c4 c17">Groote Schouburgh</span><span class="c4">.” </span><span class="c4 c17">Women’s Art Journal </span><span class="c3">2 no 1 (Spring/Summer 1981): 7-11, at p. 8.</span></p><p class="c12 c13"><span class="c4 c13 c51">Van der Stighelen, Katlijne and Miraim Westen. </span><span class="c4 c17">Elck zijn waerom: vrouwelijke kunstenaars in België en Nederland 1500-1950</span><span class="c3">. Gent: Ludion, 1999, pp. 178-80.</span></p><p class="c11"><span class="c4">Stone-Ferrier, Linda A. </span><span class="c4 c17">Dutch Prints of Daily Life: Mirrors of Life or Masks of Morals?</span><span class="c4"> Spencer Museum of Art, 1983, pp. 59-61 no. 7, Geertruydt Roghman’s </span><span class="c4 c17">Woman Spinning</span><span class="c3"> (before 1650).</span></p><p class="c11"><span class="c4 c13 c51">Thieme, Ulrich and Felix Becker. </span><span class="c4 c17">Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. </span><span class="c3">Leipzig: Engelmann, 1934. Vol. 28, p. 517.</span></p><a id="id.49nal77f68hs"></a><h2 class="c1 c16" id="h.5l6ubis21v38"><span class="c7">Maria Boorkens / Boortens (born ‘s Gravenhage; etcher; 1626-1678)</span></h2><p class="c12"><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/en/search?p%3D1%26ps%3D12%26involvedMaker%3DMaria%2520Boortens%26st%3DObjects%26ii%3D0&sa=D&ust=1597863595627000&usg=AOvVaw0nal3tyHn6Yuf9xaCIkYu9">Two of her etchings</a></span><span class="c3">, both after Rembrandt, are in the Rijksmuseum, Amsterdam.</span></p><p class="c12"><span class="c4">Huiskamp, Marloes. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/bwn1880-2000/DVN/lemmata/data/Boortens&sa=D&ust=1597863595627000&usg=AOvVaw36QqwWUtEaomewsQEiixR8">Boortens, Maria</a></span><span class="c4">.” At </span><span class="c2 c13">Digitaal Vrouwenlexicon van Nederland</span><span class="c4 c13 c24">, under the aegis of </span><span class="c2 c13">Instituut voor Nederlandse Geschiedenis</span><span class="c4 c13 c24"> (</span><span class="c3">posted 13 January 2014; accessed 17 June 2020).</span></p><p class="c11"><span class="c4">Kloek, Els, Catherine Peters Sengers and Esther Tobé. </span><span class="c4 c17">Vrouwen en kunst in de Republiek. Een Overzicht</span><span class="c3">. Hilversum: Verloren, 1998, p. 133.</span></p><p class="c11"><span class="c4">Middleton-Wake, Charles Henry. </span><span class="c4 c17">A</span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t22c1kf00%26view%3D1up%26seq%3D339%26q1%3D1658%2520fecit&sa=D&ust=1597863595629000&usg=AOvVaw0a8FKqK-3lKQV8o4pUJbkV"> descriptive catalogue of the etched work of Rembrandt van Ryhn</a></span><span class="c4 c17">.</span><span class="c4"> London: J. Murray,</span><span class="c4 c17"> </span><span class="c4">1878, p. 273.</span><span class="c38"> </span><span class="c4">Notes that one impression of her etching </span><span class="c4 c17">Beggars at the Door,</span><span class="c3"> after Rembrandt, has her signature and the date 1658 written in ink.</span></p><a id="id.qihxx3r4am0"></a><h2 class="c1" id="h.h4mxptvvqo8q"><span class="c7">Claudine Bouzonnet-Stella (born Lyon; printmaker; 1636-1697) and her sister Antoinette (born Lyon; printmaker; 1641-1676)</span></h2><h2 class="c47 c66" id="h.kah3l0arzo8d"><span class="c22 c4 c41">Daughters of a goldsmith, and all the siblings were artists in the print trade.</span></h2><p class="c11"><span class="c4 c17">Benezit Dictionary of Artists</span><span class="c4">. Published online 31 Oct 2011. “Claudine Stella was apprenticed to her uncle Jacques de Stella. She did drawing and painting but gave up painting for engraving which she preferred and taught to her two sisters. She did both burin engravings and etchings, mostly after Poussin and Jacques Stella. With her supple, fluid approach, she was unsurpassed in her ability to render the colour and genius of Poussin, as well as the more affected talent of Stella. In her will dated 1693, she lists the plates she engraved besides her early works; a grand total of 125.” And “Antoinette Stella studied under her uncle Jacques de Stella and her elder sister Claudine Bouzonnet. She did burin engravings and particularly etchings. Besides her early works, her sister Claudine records the following works by Antoinette: </span><span class="c4 c17">Triumph of Emperor Sigismund</span><span class="c4"> after Giulio Romano; a series of 25 etchings (1675) after drawings done in Mantua by Antoine Stella; </span><span class="c4 c17">Romulus and Remus Found by the Shepherds</span><span class="c4">, after the same (1675); a plate representing </span><span class="c4 c17">Twenty Saints</span><span class="c3">; and 2 series of 11 and 22 plates for books of hours.”</span></p><p class="c12"><span class="c4 c41">Félibien, André.</span><span class="c4 c41"><a class="c8" href="https://www.google.com/url?q=https://gallica.bnf.fr/ark:/12148/btv1b86267968/f5.item&sa=D&ust=1597863595631000&usg=AOvVaw2BPSSHc1cO4OMiG37iTCRV"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://gallica.bnf.fr/ark:/12148/btv1b86267968/f5.item&sa=D&ust=1597863595631000&usg=AOvVaw2BPSSHc1cO4OMiG37iTCRV">Noms de peintres les plus célèbres et les plus connus anciens et moderns.</a></span><span class="c6 c4"> </span><span class="c4 c41">Paris, 1679. After naming the sisters Claudine and Françoise</span><span class="c4"> </span><span class="c4 c41">he notes a third, “</span><span class="c4">Antoinette, qui estoit la plus jeuen, & qui est morte depuis peu, qui a grave d’aprés Jules Romain” (p. 79). He is referring to her prints after a stucco frieze in the Palazzo del Te, Mantua by Giulio Romano. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://nmwa.org/art/collection/entrance-emperor-sigismond-mantua/&sa=D&ust=1597863595632000&usg=AOvVaw3RbMg9GC-wZiSrDT5yE0L5">One sheet</a></span><span class="c4"> is held by the National Museum of Women in the Arts, Washington DC, but the series of twenty-five, and other prints by her, are </span><span class="c4">in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/search?keyword%3DAntoinette%26keyword%3DBouzonnet-Stella&sa=D&ust=1597863595632000&usg=AOvVaw3zKndQg6e-_FZD8sFXuwg9">British Museum</a></span><span class="c4">. The National Gallery of Art, Washington DC also holds some of her prints but digital images are not yet online: check </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.nga.gov/collection/artist-info.31517.html&sa=D&ust=1597863595633000&usg=AOvVaw28SfzEBWRwPOeZbSKWq11o">here</a></span><span class="c3">. Her sister Claudine was the publisher.</span></p><p class="c12"><span class="c4 c41">Guiffrey, J. J. “Testament et inventaire .. de Claudine Bouzonnet Stella.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DeKkaAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595633000&usg=AOvVaw0gVSBRACz74nn0KaNlK3Eb">Nouvelles archives de l’art francais </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DeKkaAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595634000&usg=AOvVaw0Zx_7_Kt8vA07pW2Yv43Bc">5</a></span><span class="c22 c4 c41"> (1877): 1-117.</span></p><p class="c12"><span class="c4 c41">Houbraken, Arnold. </span><span class="c4 c41 c17">De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen.</span><span class="c4 c41"> 3 vols. 's Gravenhage: J. Swart, C. Boucquet, and M.Gaillard, 1753. First published 1718-21. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0148.php?q%3Dpropertia%23hl2&sa=D&ust=1597863595634000&usg=AOvVaw1Qqz2r8FnShxxgUZFA_NTI">Vol. 1, p. 312</a></span><span class="c22 c4 c41">: “Claudia Stella onverbeterlyk in koper deed” ie Claudia Stella (mistaking the publisher Claudine with her sister?) excels in works on copper.</span></p><p class="c12"><span class="c4">Mariette, Pierre-Jean. </span><span class="c4 c17">Abecedario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes. Ouvrage publié d'après les manuscrits autographes, conservés au cabinet des Estampes de la Bibliothèque impériale, et annoté par MM. Ph. de Chennevières et A. de Montaiglon</span><span class="c4">. Paris: J.-B. Dumoulin, 1851-1853. Relevant passages are </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://siefar.org/dictionnaire/fr/Antoinette_Bouzonnet-Stella/Pierre-Jean_Mariette&sa=D&ust=1597863595635000&usg=AOvVaw2key5ToKH-sR5Oh3u72fsb">here</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Massari, Stefania. </span><span class="c4 c17">Giulio Romano pinxit et delineavit.</span><span class="c3"> Rome: Fratelli Palombi, 1993, pp. 249-71.</span></p><p class="c11"><span class="c4 c13 c14">Mulherron, Jamie. “Claudine Bouzonnet, Jaques Stella, and the </span><span class="c4 c17">Pastorales</span><span class="c4">.” </span><span class="c4 c17">Print Quarterly</span><span class="c3"> 25 no 4 (2008): 293-307. </span></p><p class="c11"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595636000&usg=AOvVaw09JAlSzUyESvI2WrKZVlb2">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 65.</span></p><a id="id.6454kxg1k2at"></a><h2 class="c1 c13" id="h.1i2yxxr2yjl"><span>Magdalena Roghman (born Amsterdam; printmaker; 1637-1669/89)</span></h2><p class="c12 c13"><span class="c4">Sister of printmaker </span><span class="c6 c4"><a class="c8" href="#kix.a7tl8t334i6d">Geertruydt</a></span><span class="c4"> and of draughtsperson and painter Roelant; married 1669. Only two engravings are known, both in </span><span class="c4 c13 c14">Jan Bara’s book </span><span class="c4 c17">Herstelde vorst, ofte Geluckigh ongeluck</span><span class="c4">, Amsterdam: Lodowijck Spillebout, 1650. One is a signed </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.let.leidenuniv.nl/Dutch/Ceneton/Facsimiles/BaraVorst1650/source/BaraVorst165001.htm&sa=D&ust=1597863595637000&usg=AOvVaw3Ym7BdSUabvYoRFecmdI9h">engraving of books</a></span><span class="c4"> on the title page, adapted in reverse from Roemer Visscher’s emblem book </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/nl/collectie/BI-1893-3539-36&sa=D&ust=1597863595638000&usg=AOvVaw32rCcFfVujp1NYdoqJSxw7">Sinnepoppen</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/nl/collectie/BI-1893-3539-36&sa=D&ust=1597863595638000&usg=AOvVaw32rCcFfVujp1NYdoqJSxw7"> </a></span><span class="c4">of 1614. The other is the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.let.leidenuniv.nl/Dutch/Ceneton/Facsimiles/BaraVorst1650/source/BaraVorst165003.htm&sa=D&ust=1597863595639000&usg=AOvVaw1N2cFd3-izXGdlKMWyxbA7">signed frontispiece</a></span><span class="c3">, showing a dramatic stage scene.</span></p><p class="c12 c13"><span class="c4 c13 c14">Bleyerveld, Yvonne. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/RoghmanMagdalena&sa=D&ust=1597863595639000&usg=AOvVaw1ucRfa1W-xPAFD3KKIHTVT">Roghman, Magdalena</a></span><span class="c4 c13 c14">.” At </span><span class="c2 c13">Digitaal Vrouwenlexicon van Nederland</span><span class="c19 c4 c13">,</span></p><p class="c20 c13"><span class="c4 c13 c24">under the aegis of </span><span class="c2 c13">Instituut voor Nederlandse Geschiedenis</span><span class="c4 c13 c24"> (</span><span class="c22 c4 c13 c14">posted 13 January 2014;</span></p><p class="c20 c13"><span class="c22 c4 c13 c14">accessed 27 June 2020).</span></p><p class="c11 c13"><span class="c4 c13 c24">Hollstein et al. </span><span class="c4 c13 c14 c17">Dutch and Flemish Etchings, Engravings and Woodcuts, ca.1450-1700.</span><span class="c22 c4 c13 c14"> Vol. 20. Amsterdam: Hertzberger, 1978, pp. 65-66.</span></p><a id="kix.7i3c77ke3no2"></a><h2 class="c1" id="h.o08nkbk60abe"><span>Isabella Piccini (born Venice; nun; printmaker; 1644?-1735</span></h2><p class="c11"><span class="c4 c13 c14">Alexander, David. “Printmakers.” In </span><span class="c4">Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c4">. vol. I, Chicago: Fitzroy Dearborn Publishers, 1997, pp. 61-66, at p. 61: “daughter of an engraver of the second rank, Jacopo Piccini. She became a nun, using her skills, such as they were [sic], to engrave portraits of eminent Italians for G. B. Fabri’s </span><span class="c4 c17">Conchilia celeste </span><span class="c3">(Venice, 1690), as well as a number of religious prints; some of these are important because they were distributed by Antonio Remondini, whose inexpensive prints reached all over Europe.”</span></p><p class="c11"><span class="c4 c13 c14">Bagatti, Bellarmino. “Un’artista francescana del bulino: Suor Isabella Piccini (1646-1732).” </span><span class="c4 c13 c14 c17">Studi francescani </span><span class="c4 c13 c14">3</span><span class="c4 c13 c21 c14">rd</span><span class="c22 c4 c13 c14"> ser, 3 no 28 (1931)</span></p><p class="c11"><span class="c4 c13 c14">Cocchiara, Francesca. </span><span class="c4 c13 c14 c17">Il libro illustrato veneziano del Seicento: con un repertorio dei principali incisori e peintre-graveurs.</span><span class="c22 c4 c13 c14"> Padua: Il prato casa editrice, 2010, pp. 116-28.</span></p><p class="c11"><span class="c4 c13 c14">Di Vaio, Luisa. “Suor Isabella Piccini.” </span><span class="c4 c13 c14 c17">Grafica d’Arte </span><span class="c22 c4 c13 c14">14 no 53 (2003): 8-13.</span></p><p class="c11"><span class="c4 c13 c14">Gosen, Vittoria. </span><span class="c4 c13 c14 c17">Isabella Piccini.</span><span class="c22 c4 c13 c14"> Mirano: Eidos, 2002.</span></p><p class="c11"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595642000&usg=AOvVaw0CcAMkdMlwy4UKY_wuTZLx">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 51.</span></p><p class="c11"><span class="c4">Sénéchal, Philippe. “Justus Sadeler Print Publisher and Art Dealer in Early Seicento Venice.” </span><span class="c4 c17">Print Quarterly </span><span class="c3">7 no 1 (1990): 22-35.</span></p><p class="c11"><span class="c4">Valcanover, Anna Francesca. “Contributi ad una storia del libro illustrato Veneto: suor Isabella Piccini.” </span><span class="c4 c17">Biblioteche venete </span><span class="c3">ns 4 no 1 (1985): 29-48.</span></p><a id="kix.atcb1xz3jigg"></a><h2 class="c1" id="h.7vtivfbl9r4p"><span>Madeleine Masson (born Paris; printmaker; c.1646-1713)</span></h2><p class="c12"><span class="c3">Daughter of the engraver Antoine Masson, in 1660 she married the engraver Nicolas Habert, and she engraved historical portraits.</span></p><p class="c47"><span class="c4">Herluison, H. </span><span class="c4 c17">Artistes Orléanais. </span><span class="c4">Orléans: H. Herluison, 1863, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/bub_gb_BXgOAAAAYAAJ/page/n39/mode/2up&sa=D&ust=1597863595644000&usg=AOvVaw3OrFb4rz3ZJQw0PTt457n2">p. 39</a></span><span class="c3">.</span></p><p class="c12"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595645000&usg=AOvVaw0Cm-txRv_BQULzZpPP6CH_">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 42.</span></p><a id="kix.7vf0tgidgfzg"></a><h2 class="c1" id="h.3994a1canmjx"><span>Johanna Sibylla Küsel / married name Kraus (born Augsburg; printmaker; 1650-1717)</span></h2><p class="c12"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595645000&usg=AOvVaw0Cm-txRv_BQULzZpPP6CH_">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 36.</span></p><p class="c12"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/stream/duroyousontrepre00feli%23page/n6/mode/1up&sa=D&ust=1597863595646000&usg=AOvVaw1d1kgiHJoIgGdNh4fke-PJ">Tapisseries du Roy, ou sont representez les Quatre Elemens et les Quatre Saisons</a></span><span class="c4 c17">.</span><span class="c3"> Augsburg: Jacob Koppmayer, 1687. The first four double plates (the Elements) are signed “Johanna Sybylla Krausen, eine gebohrne Küslen fecit.” The French text by André Felibien describes eight tapestry designs of Charles Le Brun, and the engravings are copies of those made by Le Clerc (first printed in 1670).</span></p><a id="kix.amer6jsgg0jp"></a><h2 class="c1 c16" id="h.afxbbcjk6ty3"><span>Veronica Fontana (born Parma; printmaker, primarily in woodcuts; 1651-1690</span></h2><p class="c12"><span class="c4">Her work includes the woodcut illustrations in Lorenzo Legati, </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t7dr4608w%26view%3D1up%26seq%3D7&sa=D&ust=1597863595647000&usg=AOvVaw3USwRRBoLtLrUUwjejFUtg">Museo Cospiano</a></span><span class="c4">, Bologna: Giacomo Monti, 1677, featuring various </span><span class="c4 c17">naturalia </span><span class="c4">and collectables such as hieroglyphics (p. 166), Aztec images (pp. 192, 477), weaponry, an ancient bronze mirror engraved with the </span><span class="c4 c17">Birth of Athena</span><span class="c4"> (p. 313), figurines of naked men and a gladiator (pp. 468, 495, 497) and of Jove, Mercury, Hercules (pp. 487, 490, 494), and the signed woodcut of a naked male </span><span class="c4 c17">Bacchante </span><span class="c4">(p. 499; dated 1675). For another woman producing prints of antiquities, including male nudes, see </span><span class="c6 c4"><a class="c8" href="#id.6oj13grz53v8">Maria de Wilde</a></span><span class="c4"> (in 1700 and 1703), and from prints or drawings in the case of </span><span class="c6 c4"><a class="c8" href="#id.6sxlnmnii5wo">Catharina Backer</a></span><span class="c3"> (c. 1720?).</span></p><p class="c11"><span class="c4">Albricci, G. “Donne incisori nei secoli XVI e XVII. Notizie su Properzia de’ Rossi, Annamaria Vaiani, Veronica Fontana, Teresa del Po, Diana Scultori, Elisabetta Sirani.” </span><span class="c4 c17">I quaderni del conosciatore di stampe </span><span class="c3">19 (1973): 20-25.</span></p><p class="c11"><span class="c4">Malvasia, Carlo Cesare. </span><span class="c4 c17">Felsina Pittrice, vite de pittori bolognesi. </span><span class="c4">2 vols. Bologna: Erede di Domenico Barbieri, 1678. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Ducm.5319441470%26view%3D1up%26seq%3D153&sa=D&ust=1597863595648000&usg=AOvVaw3VPLZna9miqq8TDUXw1dyd">Vol. 1, p. 131</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595649000&usg=AOvVaw1kV6NHgUqaKTcRDnTcc2Y_">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 20 credits her with a woodcut portrait of the painter Annibal Carracci.</span></p><p class="c11"><span class="c4">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595650000&usg=AOvVaw29WGrSo2I_Q2bI9RjElZTJ">L'Abecedario</a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595650000&usg=AOvVaw29WGrSo2I_Q2bI9RjElZTJ"> pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, p. 260.</span></p><p class="c11"><span class="c4">Ragg, Laura.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/cu31924020692624/page/n9/mode/2up&sa=D&ust=1597863595650000&usg=AOvVaw37yuheXoZgTi1o_1f__5CC"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/cu31924020692624/page/n9/mode/2up&sa=D&ust=1597863595651000&usg=AOvVaw1L1Xk-mMEvcBIFMcZsp63s">Women Artists of Bologna</a></span><span class="c4 c17">. </span><span class="c3">London: Methuen and Co., 1907, p. 242.</span></p><p class="c11"><span class="c4">Rocco, Patricia. </span><span class="c4 c17">The Devout Hand. Women, Virtue, and Visual Culture in Early Modern Italy.</span><span class="c3"> Montreal: McGill-Queen’s University Press, 2017. Ch. 5.</span></p><p class="c12"><span class="c4">Strutt, Joseph. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DszrPIotrMmIC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595652000&usg=AOvVaw0chkxvcAstSVJ9rrAtY8gf">A Biographical Dictionary of Engravers</a></span><span class="c4 c17">. </span><span class="c3">London: Robert Faulder, 1785. Vol. 1, p. 302.</span></p><p class="c11"><span class="c4">Urbini, Silvia. “Women Engravers in Bologna.” And “Veronica Fontana.” In Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614.</span><span class="c3"> Washington, DC: National Museum of Women in the Arts, 1998, pp. 147-49.</span></p><a id="kix.11hmc0211cgw"></a><h2 class="c1" id="h.cbapzndf55j1"><span>Susanna Maria von Sandrart (born Nuremberg; printmaker, 1658-1716)</span></h2><p class="c12"><span class="c4 c13 c23">Doppelmayr, Johann Gabriel. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DPlQxAQAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595653000&usg=AOvVaw1qoqfNxGKeE-tK1nkclVqB">Historische Nachricht von den Nürembergischen Mathematics und Künstlerin</a></span><span class="c4 c13 c23 c17">. </span><span class="c4 c13 c23">Nuremberg: Peter Conrad Monath and J.E. Adelbulnern, 1730, p. 268.</span></p><p class="c12"><span class="c4 c44">Krempel, Lore. </span><span class="c4 c44 c17">Susanna Maria Sandrart und ihr Famille: eine Nürnberger Kupferstecherin und Zeichnerin im Zeitalter der Barock.</span><span class="c22 c4 c44"> Frankfurt: Buchhändler-Vereinigung, 1980.</span></p><p class="c11"><span class="c4 c24">Lessmann, Sabina (1993). “Susanna Maria von Sandrart: Women Artists in 17th-Century Nurnberg.” </span><span class="c2">Woman's Art Journal</span><span class="c4 c24"> 14 no 1 (1993): 10-14.</span></p><p class="c11"><span class="c4 c24">Lessmann, Sabina. </span><span class="c2">Susanna Maria von Sandrart (1658-1716). Arbeitsbedingungen einer nürnberger Grafikerin im 17. Jahrhundert</span><span class="c19 c4">. Hildesheim: Georg Olms Verlag, 1991.</span></p><p class="c11"><span class="c4 c24">Lessmann, Sabina. “Sandrart, Susanna Maria von.” In Delia Gaze (ed). </span><span class="c2">Dictionary of Women Artists</span><span class="c19 c4">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1230-31.</span></p><p class="c11"><span class="c4 c13 c14">Markey, Lia. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17551994/_The_Female_Printmaker_and_the_Culture_of_the_Reproductive_Print_Workshop_in_Paper_Museums_The_Reproductive_Print_in_Europe_1500-1800&sa=D&ust=1597863595654000&usg=AOvVaw1iae2CpA0BK0Zyva5cwnDk">The Female Printmaker and the Culture of the Reproductive Print Workshop</a></span><span class="c4 c13 c14">.” In Rebecca Zorach and Elizabeth Rodini. </span><span class="c4 c13 c14 c17">Paper Museums. The Reproductive Print in Europe, 1500-1800.</span><span class="c22 c4 c13 c14"> Chicago: David and Alfred Smart Museum of Art, 2005, pp. 51-73, at p. 60: translates some of her autobiographical statement, in which she says that after exercising her “natural talent for the graphic arts” and working on copperplates for her father’s business “this activity was then interrupted when in 1683 I was married to my first husband, … Because of the heavy demands of housekeeping I then had to give up this work completely.”</span></p><p class="c11"><span class="c4 c13 c14">Muller, Frederik. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595655000&usg=AOvVaw09P0LNdfBueAuWu-sb0vdP">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c13 c14 c17">.</span><span class="c22 c4 c13 c14"> Amsterdam: F. Muller, 1884, p. 58.</span></p><p class="c11"><span class="c4 c13 c14">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595656000&usg=AOvVaw3Tc7R_h8Q9rZAe6hr0jaDi">L'Abecedario pittorico</a></span><span class="c22 c4 c13 c14">. Bologna: Costantino Pisarri, 1704, p. 349.</span></p><p class="c11"><span class="c4 c24">Paas, John Roger (ed). </span><span class="c2">Susanna Maria von Sandrart.</span><span class="c19 c4"> Hollstein’s German Engravings, Etchings and Woodcuts, 1400-1700. Vol. 41. Rotterdam: Sound and Vision, 1995.</span></p><p class="c11"><span class="c4 c24">Sporhan-Krempel, L. “Susanna Maria Sandrart und ihre Familie.” </span><span class="c2">Archiv für Geschichte des Buchwesens</span><span class="c4 c24"> 21 (1980): cols. 965-1004.</span></p><a id="kix.avts6at83mj4"></a><h2 class="c1" id="h.8gq31fbi5aet"><span>Toinette / Antoinette Larcher (born Paris; printmaker; 1685-1725)</span></h2><p class="c12"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595657000&usg=AOvVaw0QKg-H2NmaM_PixsqGQN7a">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c4"> Amsterdam: F. Muller, 1884, p. 37. Lists her etching and engraving of </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/817139&sa=D&ust=1597863595658000&usg=AOvVaw31T56yJlG9ZfB2bwRrj0KQ">Judith standing with her foot on the head of Holofernes</a></span><span class="c3">, inscribed as after Raphael, though the painting is now understood to be by Giorgione.</span></p><a id="kix.is4j884x0784"></a><h2 class="c1" id="h.7bxtjmktyi3f"><span>Marie-Madeleine / Louise-Magdeleine Horthemels / married name Cochin (born Paris; printmaker; 1686-1767) and her sisters Marie-Nicole (1689-after 1745) and Marie-Anne-Hyacinthe</span></h2><p class="c12"><span class="c4">In 1713, she married the engraver Charles-Nicolas Cochin the Elder, and others on both sides of the family (including her sisters Marie-Nicole and Marie-Anne-Hyacinthe, and her son) were also printmakers. She produced over sixty signed copper engravings. Works by her or her sisters are held in such repositories as the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/search?keyword%3DHorthemels&sa=D&ust=1597863595658000&usg=AOvVaw3e-GTxDeR3di6B53nE_Lhh">British Museum</a></span><span class="c4">, and the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/en/search?q%3DHorthemels%26v%3D%26s%3D%26ondisplay%3DFalse%26ii%3D1%26p%3D1&sa=D&ust=1597863595659000&usg=AOvVaw0Tw-xU1kjTz-6Xo9AW6azW">Rijksmuseum</a></span><span class="c3">.</span></p><p class="c12"><span class="c4 c17">Allgemeines Künstlerlexikon.</span><span class="c3"> 10 vols. Munich: Saur, 1999-2000. Vol. 5.</span></p><p class="c12"><span class="c4">Luez, Philippe and Christine Gouzi. </span><span class="c4 c17">Port-Royal ou l’abbaye de papier. Madeleine Horthemels, 1686-1767.</span><span class="c4"> Exh.cat. </span><span class="c3 c13">Montigny-le-Bretonneux: YvelineÉd., 2011</span></p><p class="c12"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595660000&usg=AOvVaw1YBpwnWNvS0dfUh2MEs_yr">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, p. 26.</span></p><p class="c11"><span class="c4">Poulson, Elizabeth. “Louise-Magdeleine Horthemels: Reproductive Engraver.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">6 no 2 (Autumn 1985-Winter 1986): 20-23.</span></p><a id="id.j689j1oq51ow"></a><h2 class="c1" id="h.s9velifafyxg"><span>Suzanne Silvestre (born Paris; printmaker; 1694-before 1738)</span></h2><p class="c12"><span class="c4">The </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.rijksmuseum.nl/en/search?q%3DSuzanne%2520Silvestre%26v%3D%26s%3D%26ondisplay%3DFalse%26ii%3D0%26p%3D1&sa=D&ust=1597863595661000&usg=AOvVaw0vpMfRgrAoFgr6E5xt3rLq">Rijksmuseum</a></span><span class="c4"> holds several of her prints, though few are digitized. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/search?keyword%3DSuzanne%26keyword%3Dsilvestre&sa=D&ust=1597863595661000&usg=AOvVaw1Qk9S0G2cBwXJpiOR1AXoC">Six prints and one drawing</a></span><span class="c3"> are in the British Museum.</span></p><p class="c12"><span class="c4">Muller, Frederik. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DVv0GAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595662000&usg=AOvVaw30dSHSTK7IwHYhjiJ5bj9h">Catalogue d’une collection unique de dessins, gravures et eaux-fortes composés ou éxecutés par des femmes</a></span><span class="c4 c17">.</span><span class="c3"> Amsterdam: F. Muller, 1884, pp. 62-63.</span></p><p class="c11"><span class="c4">Nagler, G.K. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DPozrAAAAMAAJ%26pg%3DPA414%26lpg%3DPA414%26dq%3DSusanne%2BSilvestre%26source%3Dbl%26ots%3DPr7in14Vnq%26sig%3DACfU3U3cCke4z6AA7sVq48fJV3oeJf-4MA%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwi116X7q4zqAhVBCc0KHbHwDrsQ6AEwB3oECAwQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595663000&usg=AOvVaw1RQpjrTb0W-AviwnHEjN2C">Neues allgemeines Künstler-Lexicon</a></span><span class="c4 c17">.</span><span class="c4"> Vol. 16. Munich: E. A. Fleischmann, 1846, p. 414.</span></p><a id="id.u2rr5cgsnash"></a><h1 class="c77 c66" id="h.cxbq9bwya0dv"><span>Women Artists: Sculpture and Metalworking </span><span class="c3">(Global)</span></h1><p class="c12"><span class="c4">Only women exclusively acknowledged as sculptors are listed immediately below. For women who worked in other media as well, see the main list below for individual practitioners such as </span><span class="c6 c4"><a class="c8" href="#id.a61e7z7atsx1">Quntillia Amaltea</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#kix.7awe8s3dx2r0">Maria de Dominici</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="#id.3ept5msmb4n7">Anna Felicitas Neuberger</a></span><span class="c4">, and the non-existent </span><span class="c6 c4"><a class="c8" href="#id.zevmap6velvi">Sabina von Steinbach</a></span><span class="c3">. </span></p><p class="c12"><span class="c4">Training in goldsmithery could lead to work in other fields, due to exercise of the fundamental skill of drawing (see </span><span class="c6 c4"><a class="c8" href="#id.rvsh3vuuysel">Cornelia Cnoop</a></span><span class="c4">; </span><span class="c6 c4"><a class="c8" href="#id.xi01mpgwegl5">Susanna Mayr</a></span><span class="c4">; </span><span class="c6 c4"><a class="c8" href="#id.6ljmvahidjjk">Anna Maria Werner</a></span><span class="c4">, for example</span><span class="c4">), and in some cases the background was conducive to the treatment of metal plates in printmaking (see the cases of </span><span class="c6 c4"><a class="c8" href="#id.qihxx3r4am0">Claudine Bouzonnet-Stella and her sister Antoinette</a></span><span class="c4">; </span><span class="c6 c4"><a class="c8" href="#id.vg4laf7z6wvp">Catharina Sperling-Heckel</a></span><span class="c4">). The printmaker and miniaturist </span><span class="c6 c4"><a class="c8" href="#id.vl5idurc12uq">Anna Maria Thelott </a></span><span class="c3">was the daughter of a man who was both an engraver and an instrument maker.</span></p><p class="c12"><span class="c4">Practising women gold- and silversmiths include </span><span class="c6 c4"><a class="c8" href="#id.x0dhxm5rfite">Elizabeth Godfrey</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.ln1un59goz4t">Elizabeth Haselwood</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#kix.ecz82d2po2z7">Sarah Holaday</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#kix.qxv4znhmvpln">Maria van Lommen</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.e25nbpm46es3">Mary Roode</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.v13ny56fkigm">Alice Sheene</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="#id.p0bta3je7vei">Anne Tanqueray</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Avery, Victoria. ‘Due incomparabili domzelle’: Catarina and Anna Castelli, sister bell-makers in 18th-century Venice.” In Machtelt Israëls and Louis Waldman (eds). </span><span class="c4 c17">Renaissance Studies in Honor of Joseph Connors.</span><span class="c4"> Florence: Villa I Tatti, 2013.</span><span class="c3"> Vol. 1, pp. 654-70. In a text of c. 1754, both parents are said to be in the same profession, and “several young girls now profit under them, taking their place in this tiring work, which astonishes all who lovingly admire such prodigious talent produced solely by women of that rank.” A watercolour of the same date depicts three women at work in a bell foundry (the oldest woman is presumably their mother), and a later watercolour shows a bell they cast in 1763 for the Cathedral of Chioggia (figs. 1-2). Caterina (1708-85) and Anna (1710-90) fostered twelve female orphans and bequeathed money to continue that support, as well as to preserve the chapel (“chiesetta”) built inside their home for those girls. Although the sisters were born a little later than 1700, the essay is included here because the mother was born in the seventeenth century, and the essay publishes useful archival and visual records of women successful in such an occupation. See also Barron below.</span></p><p class="c11"><span class="c4">Barron, Caroline M. “Johanna Hill (d. 1441) and Johanna Sturdy (d. c. 1460), Bell-Founders.” In Caroline Barron and Anne F. Sutton (eds). </span><span class="c4 c17">Medieval London Widows 1300-1500.</span><span class="c3"> London: Hambledon Press, 1994, pp. 99-111. Johanna Hill produced at least twelve bells in one year (May 1440-May 1441), and her foundry also made brass and latten (akin to brass) goods such as candlesticks. Johanna Sturdy oversaw the production of at least fourteen bells. The surviving bells “bear witness, both visually and aurally, to the entrepeneurial skill and managerial ability of artisan widows in fifteenth-century London.”</span></p><p class="c11"><span class="c4">Geddes, Jane. “Medieval women in the heavy metal industries.” In Amanda Devonshire and Barbara Wood (eds). </span><span class="c4 c17">Women in Industry and Technology from Prehistory to the Present Day. Current Research and the Museum Experience. Proceedings from the 1994 WHAM [Women, Heritage and Museums] conference. </span><span class="c4">London: Museum of London 1996</span><span class="c3">, pp. 96-104.</span></p><p class="c11"><span class="c4 c5">Glanville</span><span class="c4">, Philippa</span><span class="c4 c5"> and </span><span class="c4">Jennifer Faulds Goldsborough. </span><span class="c4 c17">Women Silversmiths, 1685–1845</span><span class="c4">. </span><span class="c4 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3"> New York: Thames and Hudson, 1990.</span></p><p class="c11"><span class="c4">Morgan, Nigel. “England. Metalwork.” </span><span class="c4 c17">Grove Art Online.</span><span class="c4"> Revised 14 July 2004; accessed 2 July 2020. “</span><span class="c4 c5">During the early 18th century a number of </span><span class="c4">women goldsmiths were active in London, including </span><span class="c6 c4"><a class="c8" href="#id.v13ny56fkigm">Alice Sheene</a></span><span class="c4"> (</span><span class="c4 c17">fl</span><span class="c4 c5"> 1700-</span><span class="c0">c.</span><span class="c4 c5"> 1715), </span><span class="c6 c4 c13"><a class="c8" href="#id.av658uaoy5n3">Sarah Holaday</a></span><span class="c4 c5"> (</span><span class="c4 c17">fl</span><span class="c4 c5"> 1719-</span><span class="c0">c.</span><span class="c4 c5"> 1740), and </span><span class="c6 c4 c13"><a class="c8" href="#id.e25nbpm46es3">Mary Rood</a></span><span class="c4 c5"> (</span><span class="c4 c17">fl</span><span class="c4 c5"> 1721). Many were of Huguenot origin, for example </span><span class="c6 c4 c13"><a class="c8" href="#id.1mqinfu4psel">Anne Tanqueray</a></span><span class="c4 c5"> (1691-1733), wife of David Tanqueray and daughter of David Willaume.</span><span class="c3">”</span></p><p class="c11"><span class="c4">Ormsbee, Thomas Hamilton. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.collectorsweekly.com/articles/the-women-silversmiths-of-england/&sa=D&ust=1597863595667000&usg=AOvVaw12Sf1_4Zbd1CqkkXDhG6-F">The Women Silversmiths of England</a></span><span class="c4">.” </span><span class="c4 c17">American Collector </span><span class="c4">(May 1938). Published online by </span><span class="c4 c17">Collectors Weekly. </span><span class="c3">3 April 2009 (accessed 2 July 2020).</span></p><p class="c11"><span class="c4">Pliny the Elder. </span><span class="c4 c17">Natural History </span><span class="c4">(written c. 77 CE). 35.40.147-48. Trans. H. Rackham. Cambridge: Harvard University Press, 1968, Vol. 9, pp. 368-71. Mentions six female artists, one of whom was both a painter and a sculptor, Iaia of Cyzicus (her paintings included a self-portrait and she was also an engraver or carver of ivory; “penicillo pinxit et cestro in ebore”). Pliny also notes that the potter Butades/Dibutades of Sicyon invented portraiture in clay relief on the basis of a profile drawing made by his daughter of her beloved’s shadow: 35.43.151 (pp. 370-73). Simply “maiden” (κόρᾱ</span><span class="c4 c24">,</span><span class="c4"> </span><span class="c4 c14">kórā</span><span class="c3">, in Greek), she is sometimes referred to as Kora or Callirhoe.</span></p><p class="c11"><span class="c4">Quin, Sally. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595669000&usg=AOvVaw3a8DOel5ZeAQGKqvVDlJ5u">Describing the Female Sculptor in Early Modern Italy: An Analysis of the </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595669000&usg=AOvVaw3a8DOel5ZeAQGKqvVDlJ5u">vita</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595669000&usg=AOvVaw3a8DOel5ZeAQGKqvVDlJ5u"> of Properzia de’ Rossi in Giorgio Vasari’s </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595670000&usg=AOvVaw08LtDa9vD5azR7Aj7gX4-f">Lives</a></span><span class="c4">.” </span><span class="c4 c17">Gender and History</span><span class="c3"> 24 no 1 (April 2012): 134-49.</span></p><p class="c11"><span class="c4">Rosenberg, Marc. </span><span class="c4 c17">Der Goldschmiede Merkzeichen</span><span class="c4">. 4 vols. Frankfurt-am-Main: Frankfurter verlagsanstalt a.-g, 1922-28. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/rosenberg1922bd1&sa=D&ust=1597863595670000&usg=AOvVaw3-Uoc0lc8o_pthTL6XWMc6">Vol. 1 (1922)</a></span><span class="c4">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/rosenberg1923bd2&sa=D&ust=1597863595670000&usg=AOvVaw2qx6xoUa_CrbukirMBCdfL">Vol. 2 (1923)</a></span><span class="c4">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/rosenberg1925bd3&sa=D&ust=1597863595671000&usg=AOvVaw2TexzGkFcsh9PIZJTRV9DD">Vol. 3 (1925)</a></span><span class="c4">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/rosenberg1928bd4&sa=D&ust=1597863595671000&usg=AOvVaw249V1yzViq1ToZ_S6o_TuP">Vol. 4 (1928)</a></span><span class="c3">. A major compendium of hallmarks, so worth searching for women’s names.</span></p><p class="c12"><span class="c4">Sterckx, Marjan. “Pride and Prejudice: Eighteenth-century Women Sculptors and their Material Practices.” In Jennie Batchelor and Cora Kaplan (eds). </span><span class="c4 c17">Women and Material Culture, 1660-1830.</span><span class="c3"> New York: Palgrave Macmillan, 2007, pp. 86-102. Includes women born before 1700.</span></p><p class="c12"><span class="c4">Turrill, Catherine. “</span><span class="c4 c17">Compagnie</span><span class="c4"> and </span><span class="c4 c17">Discepole</span><span class="c4">: The Presence of Other Women Artists at Santa Caterina da Siena.” In Jonathan Nelson (ed). </span><span class="c4 c17">Suor Plautilla Nelli (1523-1588). The First Woman Painter of Florence</span><span class="c4">. Italian History and Culture, 6. Fiesole: Cadmo 2000, pp. 83-102, at pp. 86-87: “Suor Cristina de’ Medici and other skilled workers in gold and silver at Santa Maria delle Murate, whose luxury products had been condemned by Savonarola in the late fifteenth century. Although a silver dossal made by Suor Cristina is said to have included bas-relief images of the </span><span class="c4 c17">Annunciation</span><span class="c4"> and </span><span class="c4 c17">Last Supper,</span><span class="c3"> most of the items from Le Murate, being fabricated from gold and silver wire or thread, belong to the kind of skilled handicraft that is more often associated with female convents in Florence during this period.” A footnote mentions that the nuns there also molded figures in plaster.</span></p><p class="c11"><span class="c4 c14">Vollkommer, Rainer. “Greek and Roman Artists.” In Clemente Marconi (ed). </span><span class="c4 c14 c17">The Oxford Handbook of Greek and Roman Art and Architecture. </span><span class="c4 c14">Oxford: Oxford University Press, 2015.</span><span class="c4 c14 c17"> </span><span class="c22 c4 c14">Small section on “Female Artists,” chiefly “painters in the Hellenistic period and goldsmiths in the Roman Imperial period,” the latter “documented by funerary inscriptions.”</span></p><p class="c12"><span class="c4 c5">Weale, W.H.J. “Documents inédits sur les enlumineurs de Bruges.” </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DgvQ_RwRQTAwC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595672000&usg=AOvVaw3LyoGA1er-xWJLxmUmuiat">Le Beffroi </a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DgvQ_RwRQTAwC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595672000&usg=AOvVaw3LyoGA1er-xWJLxmUmuiat">4</a></span><span class="c4 c5"> (1872-73): 238-337, at 329. In the years 1495-99, one of the members of the guild primarily made up of people in the book trade was “Griekin, selversmit.” Perhaps she specialized in clasps and other metal decorations for book bindings.</span></p><a id="id.oo54qhmhw9u1"></a><h2 class="c1 c16" id="h.gj36ib8amb9w"><span>Pellegrina Mazzoni née </span><span class="c13 c14">degli Agazzi</span><span class="c7"> (sculptor; first wife of the sculptor Guido Mazzoni; c.1460?-c.1510/1515)</span></h2><p class="c12"><span class="c3">Since Vedriani in 1662, some authors state that Isabella Discalzi, wife of the sculptor Guido Mazzoni (c.1450-1518), was also a sculptor, along with his unnamed daughter. However, she was the second wife and, given the dates, the fellow sculptor mentioned by Gaurico in 1504 was the first wife Pellegrina.</span></p><p class="c12 c56"><span class="c3"></span></p><p class="c12"><span class="c38 c57 c17">Primary Sources</span></p><p class="c12"><span class="c4">Gaurico, Pomponio. </span><span class="c4 c17">De Sculptura.</span><span class="c4"> (first published in 1504). Ed. Paolo Cutolo. Naples: Edizioni Scientifiche Italiane, 1999, pp. 247, 292 n. 10. Gaurico noted that Mazzoni was famous, and had recently gone to France with numerous works; “uxor etiam eius finxit et filia,” that is, his wife and daughter also modelled those works. Gaurico was from the kingdom of Naples, and Mazzoni worked in that city’s court circles from 1489-96, so the humanist’s reference to recent events suggests that his knowledge was gained from personal connections. Because Gaurico situates the work of the two women in the workshop </span><span class="c4 c17">before </span><span class="c3">the move to France, he must be recording the work of the first wife, Pellegrina, who died after they went to France in 1496 (for the chronology see Verdon, pp. xxxi-ii).</span></p><p class="c12"><span class="c4">Lancillotti, Tommasino. “Cronaca.” In </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D5kUsAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595674000&usg=AOvVaw3-2AHrv2LTTfCBPTjT8tBc">Monumenti di storia patria delle provincie modenesi</a></span><span class="c4 c17">.</span><span class="c4"> Vol. 2. Parma: Pietro Fiaccadori, 1862. This city chronicler of Modena is “a highly accurate reliable reporter, who probably knew Mazzoni personally” (Verdon, p. 107).</span><span class="c38"> </span><span class="c3">On 7 June 1507, he noted that “Misser Gui di Mazon dito di Paganin vene de Franza a Modena, che za 18 ani fa non ge mai stato in Modena se non in questo di” (p. 22), that is, Guido visited his home town of Modena from France, after being away for 18 years. He had indeed lived in Naples from early 1489 (Verdon, p. xxxi), then France.</span></p><p class="c12"><span class="c4">Venturi, Adolfo. “Fonte dimenticata di Storia artistica: Il </span><span class="c4 c17">Catalogo </span><span class="c4">di Tommaso Lancilotto.” </span><span class="c4 c17">L’Arte </span><span class="c4">25 no 1 (Jan-Feb 1922): 27-33, at pp. 30-31. The relevant passage is reprinted in Verdon, pp. 311-12. Publishes a copy made by the chronicler Giovanni Battista Spaccini (1570-1636) of Lancillotti’s notes of 1543, interpolated with annotations from Vasari. The document notes that “Pellegrina de Discalzi” died in France, that Isabella was one of the heirs, and that the first wife was a sculptor: “M. Guido e M. Pellegrina in tempo di sua vita fecero bellissi lavori in diversi luoghi,” that is, in her lifetime </span><span class="c4 c17">they</span><span class="c3"> fashioned beautiful works in various locations.</span></p><p class="c12"><span class="c4 c13 c14">Vedriani, Lodovico. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D8kGtyO_P79AC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595674000&usg=AOvVaw1HdvOQ-buvh-JXKNtHPS3v">Raccolta de'pittori, scultori, et architetti Modonesi più celebri</a></span><span class="c4 c13 c14">. Modena: Solitani Stampator Ducale, 1662, pp. 32-34. Aware of the sculptor’s will drawn up in 1518, Vedriani names the second wife (“nuovo moglie, e fu una Madonna Isabella”) but not the first, yet proceeds to discuss “Isabella Discalzi” and Mazzoni’s anonymous daughter as sculptors, who worked in terracotta (as did Mazzoni). The text lacks specifics, instead lauding women in general, and the superiority of sculpture over painting, without pointing to actual works of art. The text cites Borghini and Bartoli, that is, the theoretical discussion of the merits of painting and sculpture in Raffaello Borghini’s</span><span class="c4 c13 c14"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/riposodiraffaell00borg&sa=D&ust=1597863595675000&usg=AOvVaw2rH_aq0nrLklmqS5bLVyjz"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/riposodiraffaell00borg&sa=D&ust=1597863595675000&usg=AOvVaw2rH_aq0nrLklmqS5bLVyjz">Il Riposo</a></span><span class="c4 c13 c14 c17"> </span><span class="c4 c13 c14">(1584), and Daniello Bartoli, </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DHv5bAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595675000&usg=AOvVaw0hvllU3NnNutUJ8qf734Hz">Ricreatione del Savio.</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DHv5bAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595675000&usg=AOvVaw0hvllU3NnNutUJ8qf734Hz"> </a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DHv5bAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595676000&usg=AOvVaw22Gv8_OpeXWw2OkSFuZ_ij">In discorso con la natura e con dio</a></span><span class="c4 c13 c14 c17"> </span><span class="c4 c13 c14">(Milan: Lodovico Monza, 1660), probably thinking of the Jesuit’s chapter on painting, pp. 338-52 (2.4), which is theoretical and theological, and does not name any practitioners.</span></p><p class="c12"><span class="c4">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595676000&usg=AOvVaw06qq1MkGCSCz9QFBWYieum">L'Abecedario</a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595676000&usg=AOvVaw06qq1MkGCSCz9QFBWYieum"> pittorico</a></span><span class="c4">. Bologna: Costantino Pisarri, 1704, p. 250. In full: “Isabella Discalzi moglie del Famoso Guido Mazzoni Scultore Modonese, come si è detto, apprese dal marito l’arte della scultura, e perfettamente formava figure dì terra cotta: fu celebrate dal </span><span class="c4 c17">Guarrico,</span><span class="c4"> e da altri Scrittori. </span><span class="c4 c17">Vidriani fol. 33.</span><span class="c3">”</span></p><p class="c12"><span class="c4">Tiraboschi, Girolamo.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t9t16jw6h%26view%3D1up%26seq%3D5&sa=D&ust=1597863595677000&usg=AOvVaw3F8XbTrMTp5p3lg8ex0avW"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t9t16jw6h%26view%3D1up%26seq%3D5&sa=D&ust=1597863595677000&usg=AOvVaw3F8XbTrMTp5p3lg8ex0avW">Notizie de’ pittori, scultori, incisori e architetti.</a></span><span class="c4 c17"> </span><span class="c3">Modena: Società tipografica, 1786, pp. 106, 113-14, 255-61, esp pp. 259-61. Cites Gaurico, Lancillotti, Vasari, Vedriani, and Spaccini’s copy of Lancillotti’s notes (see Venturi). He is clear that Pellegrina died in France, that she was the wife noted by Gaurico, and that the daughter must have pre-deceased Mazzoni.</span></p><p class="c12 c56"><span class="c3"></span></p><p class="c12"><span class="c38 c57 c17">Secondary Sources</span></p><p class="c12"><span class="c4 c17">Benezit Dictionary of Artists </span><span class="c4">online. “Discalzi, Pellegrina.” Published online 31 Oct 2011. “</span><span class="c4 c5">Died </span><span class="c3">c. 1515, in France.”</span></p><p class="c12"><span class="c4">Jacobs, Fredrika H.</span><span class="c4 c17"> Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c3">New York: Cambridge University Press, 1997, p. 166: “Isabella Mazzoni … Second wife of and assistant to Guido Mazzoni.” Cites Gaurico and Vedriani.</span></p><p class="c12"><span class="c4 c13 c14">Milanesi, Gaetano. In Giorgio </span><span class="c4">Vasari. </span><span class="c4 c17">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4">(1568) Ed. Gaetano Milanesi. Florence: Sansoni, 1878. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/levitedepieccel12milagoog/page/n482/mode/2up&sa=D&ust=1597863595678000&usg=AOvVaw0uTQnOwgzBpqopFWECv4ew">Vol. 2, p. 474 n. 2</a></span><span class="c3">. Citing Tiraboschi, the editor is clear that Pellegrina was a sculptor and that she died in France (“in Francia, perdè la moglie, Pellegrina Discalzi; la quale, attese all’arte e nei lavori di plastica ajutò il marito”).</span></p><p class="c12"><span class="c4">Ticozzi, Stefano. </span><span class="c4 c13 c14 c17">Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d'ogni età e d'ogni nazione</span><span class="c4">. Milan: Presso Gaetano Schiepatti, 1830. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D0ownAAAAMAAJ%26q%3Dmazzoni%23v%3Donepage%26q%3Ddiscalzi%26f%3Dfalse&sa=D&ust=1597863595679000&usg=AOvVaw3MGke3PW6BgYel_x4LNQIw">Vol. 1, p. 416</a></span><span class="c3">. In full: “Discalzi (Isabella) moglie dello scultore Modenese Guido Mazzoni, fioriva negli ultimi anni del quindicesimo secolo, e probabilmente fu aiuto dello sposo in diversi lavori fatti in patria, e forse nel regno di Napoli ed in Francia dove fu condotto da Carlo VIII. Ebbe ancora una figlia initiate nelle pratiche della scultura, e da immatura morte rapita alla gloria dell’arte. Ma è cosa veramente spiacevole che di queste coltissime scultrici non rimangano opera, nè sicure memorie di quelle che uscirono dalle gentili loro mani.” There is little more than an elaboration of Gaurico and Vedriani here, with the implication that Ticozzi was not aware that Mazzoni married twice because he names the wife as Isabella.</span></p><p class="c12"><span class="c4 c13 c14">Verdon, Timothy. </span><span class="c4 c13 c14 c17">The Art of Guido Mazzoni.</span><span class="c4 c13 c14"> New York: Garland, 1978. His first wife, the well-born Pellegrina degli Agazzi, whom he married before January 1478 (when she was a young lady, </span><span class="c4 c13 c14 c17">adolescentem</span><span class="c22 c4 c13 c14">), was still alive in May 1485 but she died in France, when Guido was there almost continuously from October 1496 to June 1516 (pp. xxx, xxxi, xxxii, 6, 234, 311). The second wife Isabella was an heir when Guido made his will on 9 July 1518, and the document does not mention any surviving children, nor anything about her inheriting his workshop (pp. 292-98). Gaurico’s passage is cited, but without elaboration (pp. 7, 300).</span></p><a id="kix.crbn51a683dv"></a><h2 class="c1" id="h.yko88bl2mnw2"><span class="c7">Properzia de' Rossi (born Bologna; sculptor, c. 1490-1530)</span></h2><p class="c11"><span class="c38 c57 c17">Primary Sources</span></p><p class="c11"><span class="c4">Vasari, Giorgio. </span><span class="c4 c17">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4">Florence: Lorenzo Torrentino, 1550, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?as_brr%3D3%26id%3D3Bo8AAAAcAAJ%26dq%3Dintitle%253Avite%2Bde%2527%2Bpi%25C3%25B9%2Beccellenti%2Bpittori%2Binauthor%253AVasari%2B1550%26q%3Dproperzia%23v%3Dsnippet%26q%3Dproperzia%26f%3Dfalse&sa=D&ust=1597863595680000&usg=AOvVaw3smj6EAzesqD4yLYLg9Ssj">vol. 3, pp. 773-76</a></span><span class="c4">. The first edition already has the chapter on Properzia de’ Rossi, but names no other contemporary women artists. In a transcription online, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://web.archive.org/web/20090621074302/http://www.liberliber.it/biblioteca/v/vasari/le_vite_de_piu_eccellenti_architetti_pittori_et_scultori_etc/pdf/le_vit_p.pdf&sa=D&ust=1597863595680000&usg=AOvVaw0yrRiXdEDPZmdmQz01ONtl">pp. 773-76</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Vasari, Giorgio. </span><span class="c4 c17">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4">(1568) Ed. Gaetano Milanesi. Florence: Sansoni, 1878-85. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/levitedepiueccel05vasa/page/74/mode/2up&sa=D&ust=1597863595680000&usg=AOvVaw30MKK05LodboCuvaEFudni">Vol. 5, pp. 74-78</a></span><span class="c4">. Trans. into English by Gaston du C. de Vere. </span><span class="c4 c17">Lives of the Most Eminent Painters, Sculptors, and Architects by Giorgio Vasari. </span><span class="c4">London: Medici Society, 1912-15, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/livesofmostemine05vasauoft/page/256/mode/2up&sa=D&ust=1597863595681000&usg=AOvVaw0u2A_PXHLs0BKleaYLrkB9">Vol. 5, pp. 124-26</a></span><span class="c4">.</span></p><p class="c11"><span class="c4">Prinz, W. “Vasaris Sammlung von Künstlerbildnissen.” </span><span class="c4 c17">Mitteilungen des kunsthistorischen Instituts in Florenz </span><span class="c4">12 (1966), p. 123 no. 99 for the woodcut of Properzia (1568)</span></p><p class="c11"><span class="c4">Borghini, Raffaello. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/riposodiraffaell00borg&sa=D&ust=1597863595681000&usg=AOvVaw1ZcgAd6S4DF6AlxogAjtIx">Il Riposo</a></span><span class="c4 c17">. </span><span class="c4">Florence: Giorgio Marescotti, 1584, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/riposodiraffaell00borg/page/426/mode/2up?q%3Dpropertia&sa=D&ust=1597863595682000&usg=AOvVaw2etyWUwnuR8vsnkyQIk4wu">pp. 427-28</a></span><span class="c3">. </span></p><p class="c11"><span class="c4">Borghini, Raffaello. </span><span class="c4 c17">Raffaello Borghini’s Il Riposo.</span><span class="c3"> (1584). Ed. and trans. Lloyd H. Ellis. Toronto: University of Toronto Press, 2007, pp. 211-12.</span></p><p class="c11"><span class="c4">Croce, Giulio Cesare. </span><span class="c4 c17">La Gloria delle donne.</span><span class="c3"> Bologna: Alessandro Benacci, 1590, p. 18. Reissued Bologna: heirs of Cochi, 1650. Verse lauding Propertia de’ Rossi is repeated by Bronzini (see Barker, below), p. 427.</span></p><p class="c11"><span class="c4">Gratiano, Giulio Cornelio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D3r1eAAAAcAAJ%26pg%3DPA1%26lpg%3DPA1%26dq%3Dgratiano%2BDi%2B%2522Orlando%2BSanto%2Bvita%2522,%2Bet%2Bmorte%2Bcon%2Bventi%2Bmila%2BChristiani%26source%3Dbl%26ots%3D3-bgv44Ndn%26sig%3DACfU3U0TB9PwIwcptZVQ9gyj4N0AXMmeTg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwi66vK9n7XqAhUKG80KHe3rCQcQ6AEwA3oECAgQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595682000&usg=AOvVaw2hECHvvc6iUMHBOcitYgO2">Di Orlando Santo vita, et morte con venti mila Christiani uccisi in Roncisvalle Cavata del Catalogo de Santi</a></span><span class="c4 c17">.</span><span class="c4"> Treviso: Evangelista Dehuchino, 1597, p. 126. In full: “Propertia Bolognese che’l pennello / Adopra, e sculpe, e intaglio di scalpello.” Trans</span><span class="c4 c13"> Fredrika Jacobs, </span><span class="c4 c13 c17">Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c3 c13">New York: Cambridge University Press, 1997, p. 177: “who took up the / brush and sculpted and did intaglio with the scalpel.”</span></p><p class="c11"><span class="c4">Vizani, Pompeo. </span><span class="c4 c17">I due ultimi libri delle historie della sua patria. </span><span class="c4">Bologna, 1608. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DD0ZcAAAAcAAJ%26pg%3DPA72%26lpg%3DPA72%26dq%3Dvizani%2B.%2BI%2Bdue%2Bultimi%2Blibri%2Bdelle%2Bhistorie%2Bdella%2Bsua%2Bpatria%26source%3Dbl%26ots%3DLNlWC0sfQg%26sig%3DACfU3U1F4we6ENhkUeqm0_KzeqY6R-rQLw%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwi6vPrKzL7qAhWOHM0KHbMgBBUQ6AEwBXoECAUQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595683000&usg=AOvVaw3YFpXa-4m_yvPD2pSy8joi">Vol. 2, pp. 1-2</a></span><span class="c4">. Has a death date of 1533: “Et morì parimente Propertia de’ Rossi Gentildonna Bolognese, la quale, pre le maravigliose opera in duro marmo da lei con dotta mano intagliate, meritò di esser celebrata frà i più degni scultori della sua età.” Vol. 1 has not been consulted.</span></p><p class="c11"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595684000&usg=AOvVaw3g1LUTSHPXZXR9aTRabjXt">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c4">60 no 3 (2018): 404-35, at 426-27. Publishes Bronzini’s manuscript of 1615-22 on women artists.</span></p><p class="c11"><span class="c4">Alidosi, Giovanni Niccolò Pasquali. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DTFAKctmi9YoC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595684000&usg=AOvVaw3KcORfGXHw0tVoK4BVvYBy">Instruttione delle cose notabili di Bologna</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Nicolò Tebaldini, 1621, p. 147. Reliefs on the façade of S. Petronio were carved “di mano d’Ecc. Mastri, e alcune di Propercia figliuola di Gio.Martino Rossi a Modona.”</span></p><p class="c11"><span class="c4 c13">van Beverwijck, Johan. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.nl/books?hl%3Dnl%26id%3D37np5kHPxBwC%26q%3DMachteld%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595685000&usg=AOvVaw1SNujSKA2YLjI_ApTA9ibV">Van de wtnementheyt des vrouwelicken geslachts</a></span><span class="c3 c13">. Dordrecht: Jasper Gorissz, 1639, p. 289 (Book 2, ch. 8). In full: “In de voorleden eeuwe leesde te Bologna in Italien Propertia, seer ervaren in Musijck, ende vele andere konsten: maer voornamelick in’t schilderen, ende graveren. De paus Clement de VII also hy daer qam, om onsen keyser Carel te kroonen, ende verlanghde om haer te sien, was seer bedroeft, datse juyst acht dagen te voren overladen was. Al de borgers hadden daer over mede grooten rouw, als berooft zijnde van het wonder van hare stadt.” Skilled in music, and also painting and engraving. In town for the coronation of Emperor Charles V, the Pope Clement VII narrowly missed seeing her, due to her death eight days earlier. There was great mourning in the city at the loss of this wonder.</span></p><p class="c11"><span class="c4">Bumaldi, Giovanni Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/montalbani1641&sa=D&ust=1597863595685000&usg=AOvVaw0eR8X-mpeCJbwsfJiPsslo">Minervalia bonon. Civium anademata seu Biblioteca Bononiensis</a></span><span class="c4 c17">. </span><span class="c4">Bologna: Heirs of Victorij Benatij, 1641, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digi.ub.uni-heidelberg.de/diglit/montalbani1641/0255/image&sa=D&ust=1597863595685000&usg=AOvVaw0Aqr3eFy3DaUbVInONQdlK">p. 251</a></span><span class="c3">. In full: “1533. Propertia de rubies diligentissima, & optima sculptrix, cuius marmoreis aliquot elaborates figuris anterior S. Petronij prospectus nobilitatus est.-ex Pomp. Viz.l.II. Histo.Bonon.”</span></p><p class="c11"><span class="c4 c13 c14">Masini, Antonio di Paolo. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Dt8QAAAAAcAAJ%26dq%3Dintitle:Bologna%2BPerlustrata%26as_brr%3D3&sa=D&ust=1597863595686000&usg=AOvVaw1QkZNBnKF29gVBwIgXsP3G">Bologna Perlustrata</a></span><span class="c4 c13 c14 c17">. </span><span class="c22 c4 c13 c14">Bologna: Carlo Zenero, 1650, pp. 111, 155, 734, 789.</span></p><p class="c11"><span class="c4 c13 c14">Vedriani, Lodovico. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D8kGtyO_P79AC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595686000&usg=AOvVaw3Nto0V-6epOOFQd6sLj7yd">Raccolta de'pittori, scultori, et architetti Modonesi più celebri</a></span><span class="c22 c4 c13 c14">. Modena: Solitani Stampator Ducale, 1662, pp. 35-37.</span></p><p class="c11"><span class="c4">Sandrart, Joachim von. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.deutschestextarchiv.de/book/view/sandrart_academie0102_1675/?hl%3DHoratio%26p%3D241&sa=D&ust=1597863595687000&usg=AOvVaw2udQrSakTCdNZm47a3cshp">L’Academia Todesca. della Architectura, Scultura & Pittura: Oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste</a></span><span class="c4 c17">. </span><span class="c4">Nuremberg, 1675. Vol. 1, pt. 2, p. 203. Has a fanciful portrait of her designed by Joachim von Sandrart and engraved by his nephew Jacob </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://ta.sandrart.net/de/text/295%23figure-0295.1&sa=D&ust=1597863595687000&usg=AOvVaw3c0nowGs5GUTcQAWfK1IRA">at Pl. N, p. 86</a></span><span class="c4">.</span></p><p class="c11"><span class="c4">Malvasia, Carlo Cesare. </span><span class="c4 c17">Felsina Pittrice, vite de pittori bolognesi. </span><span class="c4">2 vols. Bologna: Erede di Domenico Barbieri, 1678. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Ducm.5319441470%26view%3D1up%26seq%3D181%26q1%3Drossi&sa=D&ust=1597863595688000&usg=AOvVaw0ztdgxW1-2Ys75_RaVWOlh">Vol. 1, p. 159</a></span><span class="c4">; </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Ducm.5319441470%26view%3D1up%26seq%3D181%26q1%3Drossi&sa=D&ust=1597863595688000&usg=AOvVaw0ztdgxW1-2Ys75_RaVWOlh">Vol. 2, p. 454</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595689000&usg=AOvVaw2KcxFROROGthciontz699A">L'Abecedario</a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595689000&usg=AOvVaw2KcxFROROGthciontz699A"> pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, pp. 329-30.</span></p><p class="c11"><span class="c4">Houbraken, Arnold. </span><span class="c4 c17">De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen.</span><span class="c4"> 3 vols. ’s Gravenhage: J. Swart, C. Boucquet, and M.Gaillard, 1753. First published 1718-21. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0148.php?q%3Dpropertia%23hl2&sa=D&ust=1597863595690000&usg=AOvVaw1QpT2hojBzFrpj1fLo2oO2">Vol. 1, p. 312</a></span><span class="c3">: “M. Propertia de Rossi beeldsnydster van Bolonien, die Konstig in Perziksteenen en marmer gesneden heest.” Ie sculptor from Bologna, who carved peach stones and marble.</span></p><p class="c11"><span class="c4">Hoet, Gerard. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://digital.onb.ac.at/OnbViewer/viewer.faces?doc%3DABO_%252BZ157190801&sa=D&ust=1597863595690000&usg=AOvVaw2guwpRsYxJIHybTFq9IrRv">Catalogus of naamlyst van schilderyen, met derzelver pryzen zeedert een langen reeks van jaaren zoo in Holland als op andere plaatzen in het openbaar verkogt</a></span><span class="c3">. Vol. 2. ’s Gravenhage: Pieter Gerard van Haalen, 1752, p. 108 no. 167: “Een Vrouwtje dat voor haar Toilet fit Confituure eetende, door Maria Schalke.”</span></p><p class="c11"><span class="c4">Tiraboschi, Girolamo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t9t16jw6h%26view%3D1up%26seq%3D5&sa=D&ust=1597863595691000&usg=AOvVaw1wkYpa-hVhBG8Ukxv0lRq4">Notizie de’ pittori, scultori, incisori e architetti.</a></span><span class="c4 c17"> </span><span class="c3">Modena: Società tipografica, 1786, pp. 311-12.</span></p><p class="c11 c56"><span class="c38 c57 c17"></span></p><p class="c11"><span class="c38 c57 c17">Secondary Sources</span></p><p class="c11"><span class="c4">Albricci, G. “Donne incisori nei secoli XVI e XVII. Notizie su Properzia de’ Rossi, Annamaria Vaiani, Veronica Fontana, Teresa del Po, Diana Scultori, Elisabetta Sirani.” </span><span class="c4 c17">I quaderni del conosciatore di stampe </span><span class="c3">19 (1973): 20-25.</span></p><p class="c11"><span class="c4">Amorini, Antonio Bolognini. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DqKY-AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595692000&usg=AOvVaw3KcgF4XzNLuwN-kmsVDtHX">Vite dei pittori ed artefici Bolognese</a></span><span class="c4 c17">.</span><span class="c3"> Bologna: Governativi … alla Volpe, 1842, pt. 2, pp. 107-11. Rpt. 1978, pp. 107-11.</span></p><p class="c11"><span class="c4">Barocchi, Paola (ed). </span><span class="c4 c17">Trattati d’Arte del Cinquecento: Fra Manierismo e Controriforma.</span><span class="c3"> Vol. 1. Bari: Laterza, 1960.</span></p><p class="c25"><span class="c4 c17">La Basilica di San Petronio. </span><span class="c3">2 vols. Bologna, 1984.</span></p><p class="c11"><span class="c4">Beck, James. “A Document Regarding Domenico da Varignana.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes in Florenz </span><span class="c3">11 (1964): 193-94.</span></p><p class="c11"><span class="c4">Beck, James. “A Sibyl by Tribolo for the Porta Maggiore of San Petronio.” In </span><span class="c4 c17">Essays on the History of Art Presented to Rudolf Wittkower. </span><span class="c3">New York, 1967, pp. 98-101.</span></p><p class="c25"><span class="c4">Beck, James. </span><span class="c4 c17">Jacopo della Quercia e il portale di San Petronio. </span><span class="c3">Bologna: Alfa, 1971.</span></p><p class="c11"><span class="c4">Bianconi, Girolamo. </span><span class="c4 c17">Descrizione di alcuni minutissimi intagli di mano di Properzia de' Rossi. </span><span class="c3">Bologna, 1840.</span></p><p class="c11"><span class="c4">Bluestone, Natalie Harris. “The Female Gaze: Women’s Interpretations of the Life and Work of Properzia De’ Rossi, Renaissance Sculptor.” In N. Bluestone (ed). </span><span class="c4 c17">Double Vision: Perspectives on Gender and the Visual Arts.</span><span class="c3"> Toronto: Associated University Press, 1995, pp. 38-64.</span></p><p class="c25"><span class="c4 c17">Bologna e l'umanesimo 1490-1510. </span><span class="c3">Exh.cat. Bologna, 1988.</span></p><p class="c11"><span class="c4">Bonafede, Carlina. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DdnVZAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595694000&usg=AOvVaw0CCWAInpVPtZMkiO4-fM3H">Cenni biografici e ritratti d’insigni donne Bolognese</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Sassi, 1845, pp. 13-22.</span></p><p class="c11"><span class="c4">Brugnoli, M.V. “Le sculture e gli scultori delle porte minori di San Petronio.” In R. Manarsi (ed). </span><span class="c4 c17">Jacopo della Quercia e la facciata di San Petronio a Bologna. </span><span class="c3">Bologna: Alfa, 1981.</span></p><p class="c25"><span class="c4">Carden, R.W. </span><span class="c4 c17">The Life of Giorgio Vasari. </span><span class="c3">London, 1910. For his visits to Bologna.</span></p><p class="c11"><span class="c4">Cerboni Baiardi, Anna. “La frutta è servita: nòccioli intagliati dalla collezione Bonamini Pepoli: note su Properzia de’ Rossi e Filippo Santacroce.” In Giovanna Perini Folesani and Anna Maria Ambrosini Massari (eds). </span><span class="c4 c17">Riflessi del collezionismo, tra bilanci critici e nuovi contributi</span><span class="c3">. Florence: Olschki, 2014, pp. 103-123.</span></p><p class="c25"><span class="c4">Ciarde-Dupré, M.G. “La scultura di Amico Aspertini.” </span><span class="c4 c17">Paragone</span><span class="c3"> 189 (Nov 1965): 3-25.</span></p><p class="c25"><span class="c4">Cicognara, Leopoldo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DWmUGAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3Drossi%26f%3Dfalse&sa=D&ust=1597863595696000&usg=AOvVaw1YoJiYh8VAB2tkDv7t5is-">Storia della Scultura</a></span><span class="c4 c17">. </span><span class="c4">Vol. 2. Prato: Giachetti, 1823, pp. 189, 247.</span></p><p class="c11"><span class="c4">Corelli Grappadelli, Imelde. “La scultrice Properzia de Rossi.” </span><span class="c4 c17">Strenna storica Bolognese </span><span class="c3">54 (2004): 129-62.</span></p><p class="c11"><span class="c4">Corelli Grappadelli, Imelde. “Il cosiddetto stemma della famiglia Grassi e la scultrice Properzia de Rossi.” </span><span class="c4 c17">Atti e memorie. Deputazione di Storia Patria per le Province di Romagna </span><span class="c3">ns 55 (2005): 315-33.</span></p><p class="c11"><span class="c4">Dabbs, Julia. “Rossi, Properzia.” In Antonia Boström (ed). </span><span class="c4 c17">The</span><span class="c4"> </span><span class="c4 c17">Encyclopedia of Sculpture</span><span class="c3">. New York: Fitzroy Dearborn, 2004.</span></p><p class="c11"><span class="c4">D’Apuzzo, Mark Gregory. “Properzia de’ Rossi.” In Vera </span><span class="c4 c24">Fortunati et al. </span><span class="c4 c17">Italian Women Artists: from Renaissance to Baroque</span><span class="c3">. Milan: Skira, 2007, pp. 90-95.</span></p><p class="c11"><span class="c4">Davia, Virgilio. </span><span class="c4 c17">Le Sculture delle Porte della Basilica di S. Petronio. </span><span class="c3">Bologna: Tipografia e Libreria della Volpe, 1834.</span></p><p class="c25"><span class="c4">Fanti, Mario. </span><span class="c4 c17">Il Museo di San Petronio in Bologna. </span><span class="c3">Bologna: Patron, 1970.</span></p><p class="c11"><span class="c4">Ferrario, Beatrice. “Mani di fata occhi di lince: Properzia de’ Rossi.” </span><span class="c4 c17">Art e Dossier </span><span class="c3">26 no 280 (2011): 64-69.</span></p><p class="c11"><span class="c4 c24">Fortunati, Vera, Jordana Pomeroy and Claudio Strinati, et al. </span><span class="c2">Italian Women Artists: from Renaissance to Baroque</span><span class="c4 c24">. Milan: Skira, 2007, pp. 90-95.</span></p><p class="c11"><span class="c4">Fortunati Pietrantonio, Vera. “Per una storia della presenza femminile nella vita artistica del ’500 bolognese: Properzia de' Rossi ‘schultrice’.” </span><span class="c4 c17">Il Carrobbio: Rivista di Studi Bolognesi </span><span class="c3">7 (1981): 167-77.</span></p><p class="c11"><span class="c4">Fortunati Pietrantonio, Vera (ed). </span><span class="c4 c17">Properzia de’ Rossi: una scultrice a Bologna nell’età di Carlo V. </span><span class="c3">Bologna: Ed. Compositori, 2008.</span></p><p class="c11"><span class="c4">Gatti, Angelo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/lafabbricadispet00gattuoft/page/112/mode/2up?q%3Dproperzia&sa=D&ust=1597863595700000&usg=AOvVaw2RzseE4ZGWHP23oqY82atp">La fabbrica di San Petronio</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Regia Tipografia, 1889, p. 112. Payments to her in 1525.</span></p><p class="c11"><span class="c4">Gatti, Angelo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DQhYtAAAAYAAJ%26pg%3DPA1%26lpg%3DPA1%26dq%3Dgatti%2BCatalogo%2Bdel%2BMuseo%2Bdi%2BS.%2BPetronio%26source%3Dbl%26ots%3DUm6D2YgkoF%26sig%3DACfU3U1p8ASEcj_tMgdL7F10SV7MRrKqRg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjms76vx77qAhXeAp0JHf8cC4kQ6AEwEHoECAoQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595701000&usg=AOvVaw3zflHDzXUyX7OtD8qqngJB">Catalogo del Museo di S. Petronio</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Tipografia Arcivescovile, 1893, p. 19. Mentions a marble bust erroneously attributed to Properzia.</span></p><p class="c11"><span class="c4">Giordani, Gaetano. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D2Hl8Mk8bDkkC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595702000&usg=AOvVaw2mbzPQ07cELGBTiXZybolo">Della venuta e dimora in Bologna</a></span><span class="c4 c17"> del sommo pontefice Clemente VII per la coronazione di Carlo V...</span><span class="c3"> Bologna: Governativi alla Volpe, 1842, pp. 138-39 n. 513, 147.</span></p><p class="c11"><span class="c4">Gnudi, Cesare. et al. “Notizie sul restauro.” In </span><span class="c4 c17">Jacopo della Quercia e la facciata di San Petronio a Bologna. </span><span class="c3">Bologna: Alfa, 1981.</span></p><p class="c11"><span class="c4">Grazzini, Irene. Entry on Properzia de Rossi’s Crest of the Grassi family (filigree silver and peach nuts) and a carved cherry stone, in Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614</span><span class="c3">. Washington, DC: National Museum of Women in the Arts, 1998, pp. 120-23.</span></p><p class="c11"><span class="c4">Gualandi, M. “Memorie intorno a Properzia de’ Rossi scultrice Bolognese.” </span><span class="c4 c17">L'Osservatorio </span><span class="c3">nos 33-35 (1851)</span></p><p class="c25"><span class="c4">Holderbaum, J. “Notes on Tribolo.” </span><span class="c4 c17">Burlington Magazine</span><span class="c3"> 99 (1957): 336-43, 364-72.</span></p><p class="c11"><span class="c4">Jacobs, Fredrika H. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www5.galib.uga.edu/reserves/docs/scanner%2520pc%2520shelter/ill%2520scans/michael/jacobs_the_construction_of_a_life.pdf&sa=D&ust=1597863595704000&usg=AOvVaw3kO6wc9W0koU42XzO4nZXZ">The Construction of a Life: Madonna Properzia de’ Rossi </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www5.galib.uga.edu/reserves/docs/scanner%2520pc%2520shelter/ill%2520scans/michael/jacobs_the_construction_of_a_life.pdf&sa=D&ust=1597863595704000&usg=AOvVaw3kO6wc9W0koU42XzO4nZXZ">‘Schultrice</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www5.galib.uga.edu/reserves/docs/scanner%2520pc%2520shelter/ill%2520scans/michael/jacobs_the_construction_of_a_life.pdf&sa=D&ust=1597863595705000&usg=AOvVaw2M7USac1xCOETHIuY1X1zt">’ Bolognese</a></span><span class="c4">.” </span><span class="c4 c17">Word and Image </span><span class="c3">9 (April-June 1993): 122-32.</span></p><p class="c11"><span class="c4">Jacobs, Fredrika H. “Rossi, Properzia de’.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1199-1201.</span></p><p class="c11"><span class="c4">Marchetti, Giovanni. “Il ritratto del Conte Guido de’ Pepoli scolpito da Properzia de’ Rossi – memoria.” in </span><span class="c4 c17">Poesie e prose. </span><span class="c3">2 vols. Bologna, 1827, pp. 205-20.</span></p><p class="c11"><span class="c4">Mastacchi, Roberto. “Apostoli e Credo nello </span><span class="c4 c17">Stemma Grassi.</span><span class="c4">” </span><span class="c4 c17">Arte Cristiana</span><span class="c3"> 98 no 859 (2010): 287-94.</span></p><p class="c11"><span class="c4">Mastacchi, Roberto. “Il </span><span class="c4 c17">Credo Apostolico</span><span class="c4"> nei noccioli scolpiti dello Stemma Grassi.” </span><span class="c4 c17">Arte e Bologna</span><span class="c3"> 7-8 (2010-11): 125-27.</span></p><p class="c11"><span class="c4">Mazzoni-Toselli, Ottavio. “Due Properzia de Rossi.” In </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D-FJKAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595707000&usg=AOvVaw0i9Xztl9FowOFiVrgzw0T1">Racconti storici estratti dall'Archivio Criminale di Bologna ad illustrazione della storia patria</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Antonio Chierici, 1868, vol. II, pp. 66-159.</span></p><p class="c11"><span class="c4">Quin, Sally. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595708000&usg=AOvVaw0qLuci7kakNHdK0DMj3wiu">Describing the Female Sculptor in Early Modern Italy: An Analysis of the </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595708000&usg=AOvVaw0qLuci7kakNHdK0DMj3wiu">vita</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595709000&usg=AOvVaw2fpKxVs-33yopIxKebe2do"> of Properzia de’ Rossi in Giorgio Vasari’s </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/23022687/_Describing_the_Female_Sculptor_in_Early_Modern_Italy_An_Analysis_of_the_vita_of_Properzia_de_Rossi_in_Giorgio_Vasari_s_Lives_Gender_and_History_vol._24_1_2012_134_149&sa=D&ust=1597863595710000&usg=AOvVaw2c50yaAeSGa8f_Zqf9Xz-U">Lives</a></span><span class="c4">.” </span><span class="c4 c17">Gender and History</span><span class="c3"> 24 no 1 (April 2012): 134-49.</span></p><p class="c25"><span class="c4">Ragg, Laura. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/cu31924020692624/page/n9/mode/2up&sa=D&ust=1597863595710000&usg=AOvVaw3dsmEDGZGzqVwDlpMBxkMI">Women Artists of Bologna</a></span><span class="c4 c17">. </span><span class="c3">London: Methuen and Co., 1907, pp. 167-89.</span></p><p class="c25"><span class="c4">Ragghianti, L. “Il libro de' disegni ed i ritratti per la </span><span class="c4 c17">Vita </span><span class="c4">del Vasari.” </span><span class="c4 c17">Critica d'arte </span><span class="c3">18 (1971)</span></p><p class="c25"><span class="c4">Ragghianti-Collobi, L. </span><span class="c4 c17">Il Libro de’ Disegni del Vasari.</span><span class="c3"> Florence, 1974.</span></p><p class="c25"><span class="c4">Saffi, Antonio. </span><span class="c4 c17">Discorso intorno a Properzia de' Rossi. </span><span class="c3">Bologna, 1832.</span></p><p class="c11"><span class="c4">Sarchi, Alessandra. “Una nuova proposta attributiva per Properzia de’ Rossi.” </span><span class="c4 c17">Valori tattili </span><span class="c3">5-6 (2015): 90-98.</span></p><p class="c11"><span class="c4">Schwartz, Therese. “Catarina Vigri and Properzia de' Rossi.” </span><span class="c4 c17">Women’s Studies </span><span class="c3">6 (1978): 13-22.</span></p><p class="c25"><span class="c4">Supino, I. </span><span class="c4 c17">Le sculture delle porte di S. Petronio in Bologna. </span><span class="c3">Florence, 1914.</span></p><p class="c25"><span class="c4">Supino, I. in Thieme-Becker, </span><span class="c4 c17">Allgemeines Lexikon…</span><span class="c3"> vol. 29, Leipzig, 1935.</span></p><p class="c25"><span class="c4">Supino, I. </span><span class="c4 c17">L'arte nelle chiese di Bologna. </span><span class="c3">Bologna, 1938.</span></p><p class="c25"><span class="c4">Venturi, Adolfo. </span><span class="c4 c17">Storia dell’Arte Italiana,</span><span class="c3"> vol. X, pt. 1, Milan, 1935.</span></p><p class="c11"><span class="c4">Verrier, Frédérique. “La double vie de Properzia de’ Rossi: d’une biografie d’artiste (1550) à une biografie philogyne (1568).” In Guyonne Leduc (ed). </span><span class="c4 c17">Nouvelles sources et nouvelles méthodologies de recherche dans les études sur les femmes. </span><span class="c3">Paris: L’Harmattan, 2004, pp. 75-88.</span></p><p class="c11"><span class="c4">Weil-Garris, K. “‘Were this Clay but Marble’: A Reassessment of Emilian Terracotta Group Sculpture.” In </span><span class="c4 c17">Le arti a Bologna e in Emilia dal XVI al XVII secolo.</span><span class="c3"> Atti del XXIV Congresso Internazionale di Storia dell’Arte 1979, Bologna: CLUEB, 1982.</span></p><a id="id.p6bbmqufkmwk"></a><h2 class="c1 c16" id="h.4thgklkmxb6"><span class="c7">Daughter of Valerio Vincentino (born Vicenza; gem engraver and goldsmith; born c. 1531/35-?)</span></h2><p class="c12"><span class="c3">Unnamed daughter of the medallist, gem engraver and goldsmith Valerio Belli / Vincentino (c.1468-1546). He settled back in Vicenza from around 1530, and here his second wife bore two sons and a daughter (Vasari, vol. 5, p. 375). At the time of his death, she was probably no more than sixteen years of age (Vasari mistakenly believed that Valerio lived until 1553).</span></p><p class="c12"><span class="c4">Barbieri, Franco. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.treccani.it/enciclopedia/belli-valerio-detto-valerio-vicentino_(Dizionario-Biografico)/&sa=D&ust=1597863595715000&usg=AOvVaw2X-W5Dk1wZqfEO52zfyIkC">Belli, Valerio, detto Valerio Vicentino</a></span><span class="c4">.” In </span><span class="c4 c17">Dizionario Biografico degli Italiani</span><span class="c3">. 7 (1970). Has nothing on the daughter.</span></p><p class="c12"><span class="c4">Jacobs, Fredrika H.</span><span class="c4 c17"> Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c3">New York: Cambridge University Press, 1997, p. 168.</span></p><p class="c11"><span class="c4">Vasari, Giorgio. </span><span class="c4 c17">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4">(1568) Ed. Gaetano Milanesi. Florence: Sansoni, 1880. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/levitedepiueccel05vasa_0/page/382/mode/2up&sa=D&ust=1597863595716000&usg=AOvVaw0dYW9vDZCKaXxxr1aYXP7L">Vol. 5, p. 382</a></span><span class="c4">: “ha insegnato l’arte a una sua figliuola che lavora benissima.” Trans. into English by Gaston du C. de Vere. </span><span class="c4 c17">Lives of the Most Eminent Painters, Sculptors, and Architects by Giorgio Vasari. </span><span class="c4">London: Medici Society, 1912-15. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/cu31924102200882/page/n131/mode/2up&sa=D&ust=1597863595717000&usg=AOvVaw15gxdiEox9W_1PrMbfYJq1">Vol. 6, p. 83</a></span><span class="c4">: “he taught his art to a daughter of his own, who works very well.” Not in the first edition of 1550.</span></p><a id="kix.rcm120v4gp4s"></a><h2 class="c1 c16" id="h.2eg779mh80fz"><span>Maria Angelica Razzi (Italian; sculptor; nun; c.1535-after 1587) and other nuns (including Maria Vincenza Brandolini, Dionisia Niccolini, and Caterina Rosselli) who were sculptors at the convent of S. Caterina da Siena, Florence, in the 16</span><span class="c21">th</span><span class="c7"> C</span></h2><p class="c12"><span class="c3">Maria Razzi was a modeller of devotional figurines in clay; entered the Dominican convent of St. Caterina da Siena, Florence, in 1552. </span></p><p class="c12"><span class="c3">The monk Razzi (1596) named his sister Maria and several other nun-artists in the Dominican convent. Later, Bronzini (1615-22; see Barker) and Richa (1759) added further names of nuns who painted, or produced figurines (in terracotta, wax or plaster), for income and as gifts that could garner support and enhance their reputation as industrious and devout.</span></p><p class="c12"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595718000&usg=AOvVaw1OUB_OXFk3VOqaVP_VnMxR">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c3">60 no 3 (2018): 404-35, at pp. 412, 413 n. 36, 428 no 4, 433 no 3. Publishes Bronzini’s manuscript of 1615-22 on women artists. At the Florentine convent he recorded “wonderful pictures and [sculpted] figures of angels, virgin saints, and martyr saints, some painted and others done in miniature with such excellence and with such skill and sweetness, that they truly seem to be heavenly creatures.” He then focused on the sculptures of Maria Vincenza Brandolini “le quali in tanta eccellenza lavorano di minio di rilievo e di scultura, che varamente è un stupore,” little objects in relief and in the round. Her works have been sent to Innsbruck, Germany, Spain, France and Bavaria, and there are many copies. He also names Brandolini and five other elite women when praising their devotion and scriptural knowledge, saying they were “molto graziose nella pittura”; they also worked “in cera or stucco,” wax or plaster (Lucrezia Capponi, Lucrezia Torrigiani, Giovanna Monsalvi, Caterina Eletta Rosselli and Reparata del Bono).</span></p><p class="c12"><span class="c4">Gotti Aurelio. </span><span class="c4 c17">Ricordanze della Nobil Famiglia Rosselli del Turco tratto dai suoi archivi.</span><span class="c3"> Florence, 1890, p. 93: “La Fiametta, nata nel 1567, si fece monaca nel monastero di santa Caterina da Siena in Firenze, prendendo il nome di Caterina Eletta, fu pia donna, ma anch’essa ebbe genio alle arti e fu scultrice, trovandosi nei libri del Monastero ricordata con queste parole: ‘Suor Caterina Eletta Rosselli madre di gran bontà e di gran penitenza, e molto dedita all’orazione, era scultrice, ed assai aiutava il Convento col suo guadagno.’” Fiametta/nun Caterina Rosselli (b.1567) was a sculptor whose earnings aided the convent. She came from a family of artists; her father was a pharmacist and botanical illustrator.</span></p><p class="c11"><span class="c4">Mini, Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Di3WA3A0nzscC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595720000&usg=AOvVaw1MXsWGMBs8jQ0ajXpnfUQY">Discorso della nobilità di Firenze, e dei fiorentini</a></span><span class="c4 c17">. </span><span class="c3">Florence: Manzani, 1593, p. 109: the list of Florentine artists includes “suor Dionisia Niccolini monaca in S. Caterina” (named by Razzi in 1596 as a sculptor). </span></p><p class="c11"><span class="c4">Razzi, Serafino. “D’alcune religiose di San Domenico, Pittrici.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.fr/books?id%3DHXolhmUVWAsC%26printsec%3Dfrontcover%26hl%3Dfr%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595720000&usg=AOvVaw2nyS1nYtDngoPiuCXXH7IS">Istoria de gli huomini</a></span><span class="c4 c13 c14 c17">. </span><span class="c4 c13 c14">Lucca:</span><span class="c4 c13 c14 c17"> </span><span class="c4">Busdrago, 1596, pp. 369-72. Names the painter </span><span class="c6 c4"><a class="c8" href="#kix.af10q8g5lczi">Plautilla Nelli</a></span><span class="c4"> (pp. 369-71); her three “discepole … in dipignere quadri in tela, & in tavole” Prudenza Cambi, Agata Trabalesi and Maria Ruggieri; Veronica, a painter; Dionisia Niccolini, “lavora di rilievo, figure di terra molto divote,” one of which he had seen recently in the house of Laura da Gagliano; Maria Angelica Razzi. He closes with a paragraph on nuns in Prato, including </span><span class="c6 c4"><a class="c8" href="#id.efe5rghwjbkv">Caterina de’ Ricci</a></span><span class="c4">. </span><span class="c4">The Italian passage on Maria Razzi, with an English translation, is in Jonathan K. Nelson (ed). </span><span class="c4 c17">Plautilla Nelli (1524-1588): the painter-prioress of Renaissance Florence. </span><span class="c3">Florence: Syracuse University in Florence, 2008, pp. 134, 136. In part: “terracotta figures, that is to say angels, Madonnas, and other saints. Of particular interest is a work of hers in Perugia, in the Rosary Chapel, a Madonna seated with the Child asleep on her lap, which was copied from one that, up to the last century, was carried in processions in Florence with great veneration. Another similar one by her hand is in the Sacristy of San Marco in Florence, in the altar of the Sacred Relics.”</span></p><p class="c18 c60"><span class="c4">Richa, Giuseppe. </span><span class="c4 c17">Notizie Istoriche delle Chiese Fiorentine.</span><span class="c4"> Florence: Pietro Gaetano Viviani, 1759, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015054242626%26view%3D1up%26seq%3D309&sa=D&ust=1597863595722000&usg=AOvVaw0D0C6TmZyAAFe_VJm3GvWe">Vol. 8, p. 283</a></span><span class="c4">. Cites Razzi. Names as artists at the convent of S. Caterina in Florence, </span><span class="c6 c4"><a class="c8" href="#kix.af10q8g5lczi">Plautilla Nelli</a></span><span class="c4"> (citing Vasari), then, in full: “Lavorarono di scultura Suor Vincenzia Brandolini, Suor Maria Angelica Razzi, e Suor Dionisia Niccolini, andano di loro attorno alcune cose degne di lode; Nella miniature fiori una Suor </span><span class="c6 c4"><a class="c8" href="#id.f3ajyq1779m7">Felice Lupiccini</a></span><span class="c3">, e in simili lavori ne riportò gran nome Suor Angiola Minerbetti.”</span></p><p class="c18 c60"><span class="c4">Turrill, Catherine. “</span><span class="c4 c17">Compagnie</span><span class="c4"> and </span><span class="c4 c17">Discepole</span><span class="c4">: The Presence of Other Women Artists at Santa Caterina da Siena.” In Jonathan Nelson (ed). </span><span class="c4 c17">Suor Plautilla Nelli (1523-1588). The First Woman Painter of Florence</span><span class="c3">. Italian History and Culture, 6. Fiesole: Cadmo, 2000, pp. 83-102, at p. 95 for Dionisia Niccolini, pp. 95-96 for Maria Razzi, pp. 91, 96-97 for Caterina Rosselli, p. 98 for Vincenzia Brandolini, and passim for other sculptors.</span></p><p class="c18 c60"><span class="c4">Turrill, Catherine. “Nuns’ Stories: Suor Plautilla Nelli, </span><span class="c4 c17">Madre Pittora,</span><span class="c4"> and her </span><span class="c4 c17">Compagne </span><span class="c4">in the Convent of Santa Caterina da Siena.” In Jonathan K. Nelson (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://suabroad.syr.edu/florence/wp-content/uploads/sites/3/2016/04/Plautilla_Nelli.pdf&sa=D&ust=1597863595724000&usg=AOvVaw32fRLtDzpBR71ZSgHgEYqk">Plautilla Nelli</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://suabroad.syr.edu/florence/wp-content/uploads/sites/3/2016/04/Plautilla_Nelli.pdf&sa=D&ust=1597863595724000&usg=AOvVaw32fRLtDzpBR71ZSgHgEYqk"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://suabroad.syr.edu/florence/wp-content/uploads/sites/3/2016/04/Plautilla_Nelli.pdf&sa=D&ust=1597863595724000&usg=AOvVaw32fRLtDzpBR71ZSgHgEYqk">(1524-1588): the painter-prioress of Renaissance Florence</a></span><span class="c4 c17">. </span><span class="c3">Florence: Syracuse University in Florence, 2008, pp. 9-27, at 15, 17.</span></p><a id="kix.ra1vtlf6wfq0"></a><h2 class="c1 c16" id="h.gkdpjypvvafc"><span>Maria Faydherbe (born Mechelen; sculptor; 1587-1643) </span></h2><p class="c12"><span class="c4">Sister of two male sculptors and aunt to the sculptor Lucas. She signed an alabaster sculpture of the </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O1267169/the-virgin-and-child-the-virgin-and-faydherbe-maria/&sa=D&ust=1597863595725000&usg=AOvVaw2yFZf1rat_dskK_xHGiDLg">Virgin and Child</a></span><span class="c4 c17"> </span><span class="c4">now in the Victoria and Albert Museum, London (c.1615-40). Trusted (2014) notes: “</span><span class="c4 c13">How she trained and the identity of her teacher are unknown; she could well have learnt her craft with one of her brothers. She is thought to have produced other large-scale variations of the </span><span class="c4 c13 c17">Virgin and Child</span><span class="c4 c13"> composition similar to the smaller examples illustrated here, in wood, stone and terracotta”</span><span class="c4"> (pp. 105-06). A </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.ashmolean.org/collection/browse-9148/object/67815&sa=D&ust=1597863595726000&usg=AOvVaw2QJGyhzlYnmjBj0_wR9nM2">similar boxwood group</a></span><span class="c3">, in silver-gilt mounting, is in the Ashmolean Museum, Oxford.</span></p><p class="c12"><span class="c4">In December 1632 she wrote to the city council of Mechelin/Melines, praising her own work and disparaging guild members as “</span><span class="c4 c13 c14">dozijnwerkers”</span><span class="c13 c14 c125"> </span><span class="c4 c13 c14">(workers by the dozen).</span><span class="c3"> Eight guildsmen then wrote on 12 January 1633 challenging her to a competition, in wood or stone, in small or large scale, but nothing further is known. </span></p><p class="c12"><span class="c4">Alen, Klara. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11544500/Envy_and_pride_Maria_Faydherbe_Mechelen_1587-after_1633_a_woman_sculptor_in_a_man_s_world._In_Magnus_H._Van_der_Stighelen_K._Eds._Facts_and_Feelings._Retracing_Emotions_of_Artists_1600-1800._Turnhout_Brepols_Publishers_77-99.&sa=D&ust=1597863595727000&usg=AOvVaw35rV9WIhCuMJe5USYvhlQQ">Envy and Pride. Maria Faydherbe (Mechelen, 1587-after 1663) [sic], a woman sculptor in a man’s world</a></span><span class="c4">.” In Hannelore Magnus and Katlijne van der Stighelen (eds). </span><span class="c4 c17">Facts and Feelings; retracing emotions of artists, 1600-1800.</span><span class="c3"> Turnhout: Brepols, 2015, pp. 77-99.</span></p><p class="c12"><span class="c4">Doorslaer, G. van. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.acad.be/sites/default/files/downloads/revue_tijdschrift_1932_vol_2_1.pdf&sa=D&ust=1597863595728000&usg=AOvVaw39kM42c-S50IJYVVXyC540">Une Madone en buis signé Maria Faydherbe</a></span><span class="c4">.” </span><span class="c4 c17">Revue belge d’archéologie et d’histoire de l’art </span><span class="c4">2 (1932): 1-9. On a small </span><span class="c4 c17">Virgin Mary and Child </span><span class="c4">in boxwood signed “MARIA FAŸDHERBE ME FECIT” (also Trusted, fig. 46), similar to a large </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.tripadvisor.com/Attraction_Review-g188637-d10229889-Reviews-or5-Sint_Pieter_en_Pauluskerk-Mechelen_Antwerp_Province.html%23photos;aggregationId%3D101%26albumid%3D101%26filter%3D7%26ff%3D386568242&sa=D&ust=1597863595729000&usg=AOvVaw1qiUWUnTUGNT1VVE19Tdme">marble statue in Sint-Pieter-en-Pauluskerk</a></span><span class="c3">, Mechelen that she may have carved. Transcribes the 1633 document (p. 9).</span></p><p class="c12"><span class="c4">Jansen, Jaak. “Het geschil van Maria Faydherbe in 1632-1633 of de spanning tussen Renaissance-en Barokbeeldhouwkunst te Mechelen.” </span><span class="c4 c17">Bulletin. Institut Royal du Patrimoine Artistique </span><span class="c3">22 (1988/89): 78-103. Argues that the dispute was not over attempted membership of the guild, but her more advanced, Baroque style in contrast to the town’s traditional practitioners.</span></p><p class="c12"><span class="c4">Neeffs, Emmanuel. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DwTfJO2_3CBkC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3Ddozijnwerkers%26f%3Dfalse&sa=D&ust=1597863595729000&usg=AOvVaw2dfPo1RwlNUZiJH0II2YdP">Histoire de la peinture ed de la sculpture à Malines</a></span><span class="c4 c17">.</span><span class="c3"> Ghent: E. Vanderhaefhen, 1876, Vol. 2, pp. 155-56. Has the letter of 1633.</span></p><p class="c12"><span class="c4">Neeffs, Emmanuel. “Fayd’Herbe (Marie).” In </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.academieroyale.be/academie/documents/FichierPDFBiographieNationaleTome2047.pdf&sa=D&ust=1597863595730000&usg=AOvVaw3qoHnTIFBIyZBQNQ14E5W2">Biographie Nationale … de Belgique</a></span><span class="c4 c17">.</span><span class="c4"> Vol. 6. Brussels: Bruylant-Christophe & Cie., 1878, col. 920. Has the incorrect birthdate (22 Jan 1611, that of her niece named Marie); summarizes the dispute of 1632-33. “C’est à la proposition hardie faite par elle, que Marie Fayd’herbe doit sa notoriété car aucune de ses oeuvres ne paraît être parvenne jusqu’à nous.” That is, her notoriety comes from this bold (</span><span class="c4 c17">hardie</span><span class="c3">) case because none of her work seems to survive.</span></p><p class="c12"><span class="c4">De Roo, R. and P. Roberts-Jones. </span><span class="c4 c17">La Sculpture au siècle de Rubens dans les Pays-Bas mériodionaux et la principauté de Liège.</span><span class="c3"> Exh.cat. Brussels: Musée d’Art Ancien, 1977, pp. 116-17 no. 80.</span></p><p class="c12"><span class="c4">Treydel, Renate. Entry on the sculptor. In K. G. Saur. </span><span class="c4 c17">Allgemeines Künstler-Lexikon. Die Bildenden Künstler aller Zeiten und Völker.</span><span class="c3"> Vol. 37. Munich and Leipzig, 2003, p. 327.</span></p><p class="c12"><span class="c4 c13">Trusted, Marjorie. “Maria Faydherbe: a seventeenth-century sculptor in Mechelen.”</span><span class="c4 c13 c17"> Burlington Magazine</span><span class="c3 c13"> 156 (Feb 2014): 104-06. Focuses on the alabaster figure in London, and three of her boxwood sculptures of the same subject (one signed and dated 1633).</span></p><a id="id.r0u8u4apsfl4"></a><h2 class="c1" id="h.xdu4164x62ez"><span>Anna Maria Pfründt / married name Braun / Braunin (born Lyon; sculptor; 1642-1713)</span></h2><p class="c11"><span class="c4">Wax modeler and medallist; daughter of Georg Pfründt, medallist, engraver and modeler of wax. She married another medallist in 1659, </span><span class="c4 c5">Johann Bartholomäus Braun (</span><span class="c4 c17">fl</span><span class="c4 c5"> 1636–74; </span><span class="c0">d</span><span class="c4 c5"> 1684). See Gurock below. Surviving works in polychrome wax include </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://www.nationalgalleries.org/art-and-artists/artists/anna-maria-braunin&sa=D&ust=1597863595731000&usg=AOvVaw3EvQmN-NBbLuUugEVgg30Y">William III </a></span><span class="c4 c5">(c.1700) in the National Galleries Scotland, Edinburg; and two examples in the Franco Maria Ricci collection, one of a </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://de.wikipedia.org/wiki/Anna_Maria_Braun%23/media/Datei:Anna_maria_braun,_giovane_principe,_cera_e_tessuto,_1670-1700_ca.jpg&sa=D&ust=1597863595732000&usg=AOvVaw2mk9AopE2Z7BC30ooLTQPS">young prince</a></span><span class="c4 c5">, the other of a </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://de.wikipedia.org/wiki/Anna_Maria_Braun%23/media/Datei:Anna_maria_braun,_uomo_in_armatura,_cera_e_tessuto,_1670-1700_ca.jpg&sa=D&ust=1597863595732000&usg=AOvVaw2uHta9jmmQ-fokI19BGFXA">man in armour</a></span><span class="c22 c4 c5">, each in cloth and wax (1670-1700).</span></p><p class="c47"><span class="c4 c5">Büll, R. </span><span class="c0">Das grosse Buch vom Wachs</span><span class="c22 c4 c5">. 2 vols. Munich, 1977.</span></p><p class="c12"><span class="c4 c13 c23">Doppelmayr, Johann Gabriel. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DPlQxAQAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595733000&usg=AOvVaw3VM0ivS7W1Crrj7MlOXF4B">Historische Nachricht von den Nürembergischen Mathematics und Künstlerin</a></span><span class="c4 c13 c23 c17">. </span><span class="c4 c13 c23">Nuremberg: Peter Conrad Monath and J.E. Adelbulnern, 1730, p. 266.</span></p><p class="c11"><span class="c4 c5">Forrer, L. </span><span class="c0">Biographical Dictionary of Medallists.</span><span class="c4 c5"> Rev. ed. London: Spink and Son, 1904. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/ForrerVol1/page/n324/mode/1up&sa=D&ust=1597863595733000&usg=AOvVaw1MKdV74RhtMUhFk8_0Bsdd">Vol. 1, p. 270</a></span><span class="c22 c4 c5">. “As a modeler of Portraits in wax she attained a well earned reputation; her medals are also fine and bold.”</span></p><p class="c11"><span class="c4 c5">Forrer, L. </span><span class="c0">Biographical Dictionary of Medallists.</span><span class="c4 c5"> London: Spink and Son, 1923. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/ForrerVol7/page/n124/mode/1up&sa=D&ust=1597863595734000&usg=AOvVaw2Z1nSBDq5Oh9kc57NFl1pW">Vol. VII, p. 116</a></span><span class="c22 c4 c5">. In the entry for her husband also lists two medals of hers shown at the Dresden Fine Arts Exhibition, 1906: “Frederick I., Duke of Saxe-Gotha, 1676 (?), and Johann Frederick, Margrave of Brandenburg-Ansbach, undated.”</span></p><p class="c11"><span class="c4 c5">Gurock, Elisabeth. </span><span class="c0">Grove Art Online.</span><span class="c4 c5"> Published online 2003 (accessed 1 July 2020). “Braun first worked in Nuremberg, and later in Frankfurt am Main, becoming particularly recognized as a portraitist. In the style of Alessandro Abondio she produced wax portrait reliefs of numerous members of the princely houses of the Netherlands, Germany and other countries; on two occasions she was summoned to the Viennese court. An example of her work is a portrait of Ludwig William, Margrave of Baden (Brunswick, Herzog Anton Ulrich-Mus.). Braun also modelled free-standing wax figures, such as the signed statuette of </span><span class="c0">Count Karl</span><span class="c4 c5"> in armour (Kassel, Hess. Landesmus.). She … also executed mythological scenes, such as the signed sculpture of the </span><span class="c0">Toilet of Venus</span><span class="c22 c4 c5"> (Österreich. Mus. Angewandte Kst.). Braun’s figure sculptures were based on her anatomical studies in wax; the figures were either modelled in coloured wax, or painted, partly clothed in wool and silk and adorned with beads and gems.”</span></p><p class="c11"><span class="c4 c5">Kampmann, Ursula. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://coinsweekly.com/numismatics-in-gotha/&sa=D&ust=1597863595734000&usg=AOvVaw04WZzhBtMmROOpZcTy71mr">Numismatics in Gotha</a></span><span class="c4 c5">.” </span><span class="c0">Coins Weekly.</span><span class="c4 c5"> Posted online 6 Dec 2012 (accessed 1 July 2020). Mentions several “portraits made of coloured wax, velvet, silk, tulle, and glass stone” by Braun in the collection of the Schloss Friedenstein, reproducing a detail of </span><span class="c0 c64">The Duchess Elisabeth Sophie.</span></p><p class="c11"><span class="c4 c5">Orlandi, Pellegrino Antonio. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DAnna%2520Maria%26f%3Dfalse&sa=D&ust=1597863595735000&usg=AOvVaw3en23iaoAS_CVeqklTGQaf">L'Abecedario pittorico</a></span><span class="c22 c4 c5">. Bologna: Costantino Pisarri, 1704, p. 87. In full: “Anna Maria Pfrintia figlia di Giorgio Scultore, attese anch’essa all’arte, ma in diversa materia del Padre, quello in marmi, e questa in cera lavorò ritratti somigliantissimi, a similitudine d’Alessandro Abbondio, quale mescolava i colori con la cera, di modocchè riuscivano al natural dipinti. Sandrart 337.” Daughter of Giorgio who sculpted in marble, but she worked in wax, creating excellent resemblances in portraiture, mixing pigments with wax and creating naturalism similar to that of paintings.</span></p><p class="c11"><span class="c4 c5">Sandrart, Joachim von. </span><span class="c0">L’Academia Todesca. Della Architectura, Scultura & Pittura: Oder Teutsche Academie der Edlen Bau-Bild- und Mahlerey-Künste. </span><span class="c4 c5">Nuremberg, 1675. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://ta.sandrart.net/en/text/572?query%3DAnna%2BMaria%2BPfr%25C3%25BCndt%26truncation%3D%23querystring1&sa=D&ust=1597863595735000&usg=AOvVaw3DFGrxHrCojNcK_U5RpD6a">Vol. 2, Book 3, p. 344</a></span><span class="c22 c4 c5">. In the entry on her father.</span></p><p class="c11"><span class="c4 c5">Spies, Martin. “‘In einem Kabinett standen Stükke in Wachs poussirt, sehr schön und gut gearbeitet.’” </span><span class="c0">Kunst in Hessen und am Mittelrhein </span><span class="c22 c4 c5">nf 9 (2016): 63-67. On three works in the Museum der Stadt Butzbach.</span></p><p class="c11"><span class="c4 c5">Theuerkauff, Christian. “‘Historien, Sinnbilder’ und Bildnisse von Anna Maria Braun (1662 [sic]-1713): ‘eine im Wachs-poussiren unvergleichlich geübte Künstlerin.’” </span><span class="c0">Jahrbuch der Staatlichen Kunstsammlung in Baden-Württemburg </span><span class="c22 c4 c5">43 (2006): 39-54.</span></p><p class="c11"><span class="c4 c13 c14">Thieme. Ulrich and Felix Becker (eds). </span><span class="c0">Allgemeines Lexikon der bildenden Künstler.</span><span class="c4 c5"> Leipzig: W. Engelmann, 1932. Vol. 26, p. 538.</span></p><a id="kix.u03ow4biw3y9"></a><h2 class="c1 c16" id="h.zb15iseczaux"><span class="c7">Elizabeth Haselwood (probably born Norwich; silversmith; c. 1644-1715)</span></h2><p class="c26 c60"><span class="c4 c13">Wife of the silversmith Arthur Haselwood II (himself the son of a silversmith) and upon his death in 1684 she registered her own mark; later her son Arthur III oversaw the workshop, which had become one of the largest businesses in late seventeenth-century Norwich. Extant objects include a </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.rct.uk/collection/49304/beaker&sa=D&ust=1597863595736000&usg=AOvVaw0xZA1Ekx2A0MgN2Ih-Ld4X">beaker</a></span><span class="c4 c13"> (c. 1685) in the Royal Collection; another </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O103528/beaker-haselwood-elizabeth/&sa=D&ust=1597863595737000&usg=AOvVaw2AZ02TkublWIhAEmE-TJbw">beaker </a></span><span class="c4 c13">(1696) in the Victoria and Albert Museum; and an oval </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://nmwa.org/art/collection/william-iii-tobacco-box/&sa=D&ust=1597863595737000&usg=AOvVaw2GhvMZ_X6y3yLUsCbhD5mg">tobacco box</a></span><span class="c3 c13"> (c. 1695; Glanville and Goldsborough, Pl. 86).</span></p><p class="c12"><span class="c4 c13">Barrett, G.N. </span><span class="c4 c13 c17">Norwich Silver and its Marks 1565-1702.</span><span class="c3 c13"> Norwich: Wensum Press, 1981. Notes that fifteen church items bearing her mark and twenty-nine secular ones are extant.</span></p><p class="c11"><span class="c4 c13">G</span><span class="c4 c5">lanville</span><span class="c4 c13">, Philippa</span><span class="c4 c5"> and </span><span class="c4 c13">Jennifer Faulds Goldsborough. </span><span class="c4 c13 c17">Women Silversmiths, 1685–1845</span><span class="c4 c13">. </span><span class="c4 c13 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3 c13"> New York: Thames and Hudson, 1990, pp. 9-10, 44, 112, 166, Pl. 86.</span></p><a id="id.gz6bnwpak3a0"></a><h2 class="c1" id="h.q1owtuy41xd8"><span>Luisa Roldán (born Seville; sculptor, 1652-1706)</span></h2><p class="c12"><span class="c22 c4 c13 c23">Daughter of the sculptor Pedro Roldán; her husband Luis Antonio de Arcos painted her polychrome works. She first practiced in Seville, then set up her own workshop in Cadiz and later Madrid, in 1692 becoming court sculptor to the Spanish king.</span></p><p class="c12"><span class="c4 c13 c23">Her signed statue of </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://www.getty.edu/art/collection/objects/1101/luisa-roldan-called-la-roldana-polychromer-tomas-de-los-arcos-saint-gines-de-la-jara-spanish-about-1692/?dz%3D%236315572ae531bddf03fc8ba8fcf07a38c9c7a815&sa=D&ust=1597863595739000&usg=AOvVaw11SRwf60dXIw4ldpiijQtA">St Ginéa de la Jara</a></span><span class="c4 c13 c23 c17">,</span><span class="c4 c13 c23"> gilt and polychrome wood with glass eyes, c. 1692 is in the J. Paul Getty Museum, Los Angeles. The museum produced a 12-minute video about the work, “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.youtube.com/watch?v%3D9Wb-T1F033Q&sa=D&ust=1597863595739000&usg=AOvVaw1eiaprcaChp759nuDiYSwk">Making a Spanish Polychrome Sculpture</a></span><span class="c4 c13 c23">” (2009). At the time of purchase in 1985, the signature had been misread; for the correct attribution see Alvarez, 1996. </span><span class="c4 c13 c23 c17">The </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://collections.vam.ac.uk/item/O70458/the-virgin-and-child-with-statue-roldan-luisa/&sa=D&ust=1597863595740000&usg=AOvVaw37wr766zRzvxoFdRSJ9Gjt">Virgin and Child with St Diego of Alcalá</a></span><span class="c4 c13 c23 c17">,</span><span class="c22 c4 c13 c23"> in painted terracotta and wood (c.1690-95) in the Victoria and Albert Museum, London, has been attributed to her.</span></p><p class="c12"><span class="c4 c13 c23">Alvarez, Mari-Tere. “The Reattribution of a Seventeenth-Century Spanish Polychrome Sculpture.” </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://www.getty.edu/publications/virtuallibrary/0892363975.html&sa=D&ust=1597863595740000&usg=AOvVaw34_yxQZIHr7t0Unmf3puSX">The J. Paul Getty Museum Journal</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.getty.edu/publications/virtuallibrary/0892363975.html&sa=D&ust=1597863595741000&usg=AOvVaw1Dssc1hY0VPOKW8qk8A6Wm"> </a></span><span class="c4 c13 c23">24 (1996): 61-68.</span></p><p class="c11"><span class="c4">Bassett, Jane. “Process and collaboration in a seventeenth-century polychrome sculpture: Lisa Roldán and Tomás de los Arcos.” </span><span class="c4 c17">The Getty Research Journal</span><span class="c3"> 3 (2011): 15-32.</span></p><p class="c11"><span class="c4 c14">Bray, Xavier et al. </span><span class="c4 c14 c17">Luisa Roldán: Court Sculptor to the Kings of Spain.</span><span class="c22 c4 c14"> Trans. Nicola Jennings and A.E. Suffield. Madrid: Coll & Cortes, 2016.</span></p><p class="c11"><span class="c4 c14">Fogleman, Peggy. Entry. In Peggy Fogelman and Peter Fusco, et al. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DGHw1AgAAQBAJ%26printsec%3Dfrontcover%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595742000&usg=AOvVaw09ofXzYxVu2EboXfHsf2hI">Italian and Spanish Sculpture. Catalogue of the J. Paul Getty Museum</a></span><span class="c4 c14 c17">.</span><span class="c22 c4 c14"> Los Angeles: J. Paul Getty Museum, 2002, pp. 344-51 no. 44.</span></p><p class="c11"><span class="c4">Garcia Olloqui, María Victoria. </span><span class="c4 c17">La Roldana: Escultora de Cámara.</span><span class="c3"> Seville: Arte Hispalense, 1977.</span></p><p class="c11"><span class="c4">Garcia Olloqui, María Victoria. </span><span class="c4 c17">Luisa Roldan: La Roldana: Nueva Biografia.</span><span class="c3"> Seville: Guadalquivir, 2000.</span></p><p class="c11"><span class="c4">Gardonio-Foat, Casey. “Luisa Roldán’s terracottas: result of failure or strategy for success?” </span><span class="c4 c17">Athanor </span><span class="c3">23 (2005): 59-65.</span></p><p class="c11"><span class="c4 c24">Gardonio-</span><span class="c4">Foat, Casey. “Daughters of Seville: Workshops and Women Artists in Early Modern Andalucia.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c4">31 no 1 (Spring/Summer 2010): 21-27, at </span><span class="c4 c13 c23">21, 25-26 n.2.</span></p><p class="c11"><span class="c4 c14">Hall-Van den Elsen, Catherine. “Roldán, Luisa.” In Delia Gaze (ed). </span><span class="c4 c14 c17">Dictionary of Women Artists</span><span class="c22 c4 c14">. vol. 2. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 1192-94.</span></p><p class="c11"><span class="c4 c14">Hall-Van den Elsen, Catherine. </span><span class="c4 c17">Roldana, Andalucía Barroca</span><span class="c3">. Seville: Junta de Andalucía, Consejería de Cultura, 2007.</span></p><p class="c11"><span class="c4">Hall-Van den Elsen, Catherine. </span><span class="c4 c17">Fuerza e intimismo. Luisa Roldán, escultora, 1652-1706.</span><span class="c4"> Madrid: CSIC, 2018. Rev: Manuel Arias Martínez. </span><span class="c4 c17">Archivo español de arte </span><span class="c3">92 no 365 (Jan-Mar 2019): 109-10.</span></p><p class="c11"><span class="c4">Khandekar, Narayan. “A technical examination of a seventeenth-century polychrome sculpture of St Ginés de la Jara by Louisa Roldán.” </span><span class="c4 c17">Studies in Conservation</span><span class="c3"> 46 (2001): 23-34.</span></p><p class="c11"><span class="c4 c14">Palomino, Antonio. “The Life Story of Luisa Roldán.” (1724). In Julia K. </span><span class="c4">Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009, pp. 196-98.</span></p><p class="c11"><span class="c4">Pleguezuelo Hernández, Alfonso.”Luisa Roldán y la iconografia de Jesús Nazareno.” In Pedro Miguel Ibáñez Martinez and Carlos Julián Martínez Soria (eds). </span><span class="c4 c17">La imagen devocional barroca.</span><span class="c3"> Cuenca, 2010, pp. 187-214.</span></p><p class="c11"><span class="c4">Pleguezuelo Hernández, Alfonso. “Dos cabezas cortadas atribuibles a Luisa Roldán en la Hispanic Society of America.” </span><span class="c4 c17">Archivo español de arte </span><span class="c3">89 no 353 (Jan-March 2016): 29-42. With English summary.</span></p><p class="c11"><span class="c4">Proske, Beatrice Gilman. “Luisa Roldán at Madrid.” </span><span class="c4 c17">The Connoisseur </span><span class="c3">155 (1964): 128-32, 199-203, 269-73.</span></p><p class="c11"><span class="c4">Serrano Estrella, Felipe. “State gift or strategy? La Roldana’s </span><span class="c4 c17">Nazareno.</span><span class="c4">” </span><span class="c4 c17">The Sculpture Journal</span><span class="c3"> 22 no 2 (2013): 89-96.</span></p><p class="c11"><span class="c4">Taggard, Mindy Nancarrow. “Luisa Roldán’s Jesus of Nazareth: The Artist as Spiritual Medium.” </span><span class="c4 c17">Woman’s Art Journal</span><span class="c3"> 19 no 1 (1998): 9-15.</span></p><p class="c25"><span class="c4">Torrejón Diaz, Antonio (ed). </span><span class="c4 c17">Roldana. </span><span class="c3">Exh.cat. Seville: Real Alcázar de Sevilla, 2007.</span></p><p class="c11"><span class="c4">Trusted, Marjorie. </span><span class="c4 c17">Spanish Sculpture. A Catalogue of the Post-Medieval Spanish Sculpture in Wood, Terracotta, Alabaster, Marble, Stone, Lead and Jet in the Victoria and Albert Museum</span><span class="c4">.</span><span class="c4 c17"> </span><span class="c3">London: V&A, 1996, pp. 70-74.</span></p><p class="c11"><span class="c4">Ximenez, Andres. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D7q7CKVeoaSwC%26pg%3DPA451%26lpg%3DPA451%26dq%3DDe%2BLos%2BSantos,%2BF.%2BDescripcion%2Bdel%2Breal%2BMonasterio%2Bde%2BSAN.%2BLorenzo%2Blavinia%2Bfontana%26source%3Dbl%26ots%3DS--_X13gYc%26sig%3DACfU3U29_iatA1DnFJJDEMAw6U5kIoeV0Q%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwiK-LHUwrvqAhVCHM0KHXTlAF4Q6AEwAHoECAoQAQ%23v%3Donepage%26q%3Dlavinia%2520fontana%26f%3Dfalse&sa=D&ust=1597863595748000&usg=AOvVaw2zCumjc3vgNOzqfvtwWlVS">Descripcion del real Monasterio de S. Lorenzo del Escorial</a></span><span class="c4 c17">.</span><span class="c3"> Madrid: Antonio Marin, 1764, pp. 136, 427-28.</span></p><a id="id.n5mbj8cvvxi"></a><h2 class="c1" id="h.x0xa0rgwo44l"><span class="c7">Andrea de Mena (born Granada; nun; sculptor; 1654-1734) and her sister Claudia (nun)</span></h2><p class="c12"><span class="c4">Trained under their father, the sculptor Pedro da Mena, and in 1672 </span><span class="c4 c13 c14">they entered the Cistercian convent of Recoletas Bernardas de Santa Ana in Malaga. Busts there of St Benito and St Bernardo (c. 1680) can be attributed to them. The museum of the Hispanic Society of America, in New York, owns the polychromed busts of the </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://hispanicsociety.emuseum.com/objects/9348/mater-dolorosa&sa=D&ust=1597863595749000&usg=AOvVaw1JwXmlABQvZaB3RQz9t2NA">Mater Dolorosa </a></span><span class="c4 c13 c14">and </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://hispanicsociety.emuseum.com/objects/3633/ecce-homo?ctx%3Db457e499-90cf-4c1c-84a1-8194c9fc22d7%26idx%3D0&sa=D&ust=1597863595749000&usg=AOvVaw18r6BJo0H5b6knOm-XemGD">Ecce Homo</a></span><span class="c4 c13 c14 c17">,</span><span class="c22 c4 c13 c14"> each c. 1675.</span></p><p class="c12"><span class="c4">Gila Medina, Lázaro. </span><span class="c4 c17">Pedro de Mena: documentos y textos</span><span class="c3">. Málaga, Universidad de Málaga, 2003.</span></p><p class="c12"><span class="c4">Gómez de Zamora Sanz, Alba. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.investigart.com/2020/03/10/andrea-y-claudia-de-mena-en-el-taller-de-pedro-de-mena/&sa=D&ust=1597863595751000&usg=AOvVaw0XjuHQ54Ybv-3hUKXO5Tye">Andrea y Claudia de Mena en el taller de Pedro de Mena</a></span><span class="c4">.” At </span><span class="c4 c17">Investigart </span><span class="c3">(accessed 30 June 2020). See for basic information and images.</span></p><p class="c12"><span class="c4">Sánchez López, Juan Antonio. “San Benito y San Bernado. Andrea y Claudia de Mena.” In T. Sauret Guerrero (ed). </span><span class="c4 c17">Patrimonio Cultural de Málaga y su provincial Málaga. </span><span class="c3">Cedma, 2001, Vol. 3, pp. 148-51.</span></p><p class="c12"><span class="c4 c13">Trusted, Marjorie. </span><span class="c4 c13 c17">The Arts of Spain. Iberia and Latin America 1450-1700.</span><span class="c3 c13"> London, 2007, p. 155.</span></p><a id="id.v13ny56fkigm"></a><h2 class="c1 c16" id="h.4yjooh14xoyr"><span>Alice Sheene (probably born London; silversmith; c. 1668-1718)</span></h2><p class="c12"><span class="c4">In 1688 she married the silversmith Joseph Sheene (who was apprenticed in 1677), and soon after his death she registered her own mark in April 1700 and was active until c. 1715. Her mark exists on such objects as </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.artic.edu/artworks/82614/three-casters&sa=D&ust=1597863595752000&usg=AOvVaw2-NhDvHJLQewOGgNkOKSsW">three casters</a></span><span class="c4"> (similar to salt shakers, but larger) in the Art Institute of Chicago (1701-02); a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.christies.com/lotfinder/Lot/a-queen-anne-silver-tankard-mark-of-4201231-details.aspx&sa=D&ust=1597863595753000&usg=AOvVaw2P5xq9ivRykmxEYYiIm6rd">tankard with cover (1704)</a></span><span class="c4">; a large tankard with cover (1706) in the National Museum of Women in the Arts (Glanville and Goldsborough, below); a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.imj.org.il/en/collections/336282&sa=D&ust=1597863595753000&usg=AOvVaw2QhLI4GDXqQ0GzHs9psSlX">tazza of c. 1714</a></span><span class="c4"> in The Israel Museum, Jerusalem; a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.bonhams.com/auctions/24674/lot/86/&sa=D&ust=1597863595753000&usg=AOvVaw0c4actIT5OBOy45lm40L9Y">chamberstick</a></span><span class="c3"> (a portable candlestick).</span></p><p class="c12"><span class="c4 c5">Glanville</span><span class="c4">, Philippa</span><span class="c4 c5"> and </span><span class="c4">Jennifer Faulds Goldsborough. </span><span class="c4 c17">Women Silversmiths, 1685–1845</span><span class="c4">. </span><span class="c4 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3"> New York: Thames and Hudson, 1990, pp. 24, 31, 33 (Pl. 1), 124, 168.</span></p><p class="c12"><span class="c4">Grimwade, Arthur G. </span><span class="c4 c17">London Goldsmiths 1697-1837: Their Marks and Lives.</span><span class="c4"> 3</span><span class="c4 c21">rd</span><span class="c3"> ed., revised and enlarged. London: Faber and Faber, 1990, p. 656.</span></p><p class="c12"><span class="c4">Haslewood, Francis (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D22EVAAAAQAAJ%26pg%3DRA25-PA4%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595755000&usg=AOvVaw10vCrKZCWLFXxyPJ287l_9">Church Plate in the County of Suffolk</a></span><span class="c4 c17">. </span><span class="c4">Rpt from Proceedings of the Society, vols. 8-9 (1897). Edmund C. Hopper, “Church Plate in Suffolk. The Deanery of Wangford.”</span><span class="c4 c17"> </span><span class="c3">Rpt from the Proceeding of the Suffolk Institute of Archaeology and Natural History. 8 (1894), p. 2 (flagon of 1705 in S. Michael, Beccles). And Edmund C. Hopper, “Church Plate in Suffolk. Deanery of Wilford,” Rpt from the Proceeding of the Suffolk Institute of Archaeology and Natural History. 9 pt 3 (1897), p. 4, a cup of 1711 in S. Andrew, Melton.</span></p><p class="c12 c56"><span class="c3"></span></p><a id="kix.qxv4znhmvpln"></a><h2 class="c47 c66" id="h.ci35bayc17b3"><span class="c7">Maria van Lommen (born Utrecht; gold- and silversmith; 1688-1742)</span></h2><p class="c12"><span class="c3">Daughter of a male silversmith and sister of two male silversmiths. When her father took up the position of city auctioneer in 1712, she and her mother took over the business and she joined the guild of silversmiths. When the father died in 1715, the mother took up the husband’s civic office and the shop was run by Maria and a brother. After the brother’s death in 1729, in order to continue on her own she had to become a member of the goldsmiths’ guild, which she did in 1730. Success and wealth led to a complaint from a competitor. She did not marry.</span></p><p class="c12"><span class="c4">Van den Bergh-Hoogterp, Louise E. “Aanwerpelingen bij het Goud- en Zilversmedengilde te Utrecht in de 17de en 18de eeuw.” </span><span class="c4 c17">Jaarboek De Stavelij</span><span class="c3"> (2006): 53-86, at 61-63, 82.</span></p><p class="c12"><span class="c4">Van den Bergh-Hoogterp, Louise E. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Lomme&sa=D&ust=1597863595757000&usg=AOvVaw2WdmZD8YjyUP2kISwUyoEl">Lommen, Maria van</a></span><span class="c4">.” At Digitaal Vrouwenlexicon van Nederland, under the aegis of Instituut voor Nederlandse Geschiedenis. (posted 13 Jan 2014; accessed 2 July 2020). Concludes: She was a canny businesswoman, and head of an extended family with branches in Utrecht and Amsterdam. It is unusual for some many documents survive in this case. “</span><span class="c4 c13">Zij staat model voor al die anonieme vrouwen die een bijdrage hebben geleverd aan de stedelijke economie.</span><span class="c4">” That is, she stands as a model for all those anonymous women who contributed to the urban economy.</span></p><a id="kix.ecz82d2po2z7"></a><h2 class="c1 c13 c72" id="h.g07n0mq2plgt"><span class="c5">Sarah Holaday née Feram (</span><span>probably born London; silversmith; c.1690</span><span class="c5">-1754)</span></h2><p class="c46 c13"><span class="c4">In 1711 married the silversmith Edward Holaday and when he died she registered her mark in July 1719; other marks followed in 1722 and 1725. Surviving objects include a two-handed cup (1719; Glanville and Goldsborough, Pl. 2); a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://marycooke.co.uk/lady-silversmiths-a-very-fine-set-of-four-george-igeorge-ii&sa=D&ust=1597863595758000&usg=AOvVaw3MMkCd3w4w7IeK0Xw7EU4m">candlestick</a></span><span class="c4"> (1722) later supplemented by three more made by </span><span class="c6 c4"><a class="c8" href="#id.55s8w5u1l263">Elizabeth Godfrey</a></span><span class="c4"> (1732); an octagonal </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.sothebys.com/en/buy/auction/2019/style-furniture-silver-ceramics/a-george-i-silver-octagonal-coffee-pot-sarah&sa=D&ust=1597863595759000&usg=AOvVaw0tuevd1677dwID7e02E1R-">coffee pot</a></span><span class="c4"> (1724); and a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.helga-matzke.com/objekte/george-ii-silver-milk-jug&sa=D&ust=1597863595760000&usg=AOvVaw0lxsbP6Copt1tfLXdQbxn6">milk-jug</a></span><span class="c3"> (1734-35).</span></p><p class="c46 c13 c48"><span class="c4">G</span><span class="c4 c5">lanville</span><span class="c4">, Philippa</span><span class="c4 c5"> and </span><span class="c4">Jennifer Faulds Goldsborough. </span><span class="c4 c17">Women Silversmiths, 1685–1845</span><span class="c4">. </span><span class="c4 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3"> New York: Thames and Hudson, 1990, p. 32, Pl. 2.</span></p><p class="c46 c13 c48"><span class="c4">Grimwade, Arthur G. </span><span class="c4 c17">London Goldsmiths 1697-1837: Their Marks and Lives.</span><span class="c4"> 3</span><span class="c4 c21">rd</span><span class="c3"> ed., revised and enlarged. London: Faber and Faber, 1990, pp. 549, 753.</span></p><p class="c46 c13 c48"><span class="c4">Jackson, Ch., J. </span><span class="c4 c17">English Goldsmiths and their marks.</span><span class="c3"> London: MacMillan, 1921, p. 85.</span></p><a id="kix.9s1de31grr4o"></a><h2 class="c1 c16 c13" id="h.wwqjo2okfefr"><span class="c7">Mary Roode / Rood (probably born London; silversmith; c. 1690-after 1726)</span></h2><p class="c12 c13"><span class="c4">Married James Rood in 1710, and when he died in 1721 she registered her own mark. She was alive until at least 1726. However, there is also the record of a Mary, widow of Gundry Roode, who registered her mark in 1738. Future research will need to distinguish between the objects attributed to Mary Rood/Roode. It is possible that the widow married a relative of her husband and that the two women are the same. Objects given to Mary Rood are mainly salt cellars, all of similar design, including a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.bidsquare.com/online-auctions/nadeaus/mary-rood-1723-pair-of-silver-trencher-salts-eight-sided-with-lion-coat-of-arms-1259143&sa=D&ust=1597863595762000&usg=AOvVaw0THz89YTciWMGAc6vQQO3P">pair of saltcellars</a></span><span class="c4"> deaccessioned by the Yale University Art Gallery (1723); </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/197703&sa=D&ust=1597863595763000&usg=AOvVaw3w4-5-ZXR-7URAMA_MaIz9">another pair </a></span><span class="c4">(1724-25) in the Metropolitan Museum, New York, and a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.mfa.org/objects/53160&sa=D&ust=1597863595763000&usg=AOvVaw3dIYUH_qA-4CIQofJJaBZ-">similar pair</a></span><span class="c3"> of the same period in the Museum of Fine Arts, Boston.</span></p><p class="c12 c13"><span class="c4">Alcorn, Ellenor M. </span><span class="c4 c17">English Silver in the Museum of Fine Arts, Boston. Silver from 1697 including Irish and Scottish Silver.</span><span class="c3"> Boston: Museum of Fine Arts, 1993, pp. 108-09.</span></p><p class="c11 c13"><span class="c4 c5">Glanville</span><span class="c4">, Philippa</span><span class="c4 c5"> and </span><span class="c4">Jennifer Faulds Goldsborough. </span><span class="c4 c17">Women Silversmiths, 1685–1845</span><span class="c4">. </span><span class="c4 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3"> New York: Thames and Hudson, 1990, pp. 85, 86, 155, 167, Pl. 61.</span></p><p class="c11 c13"><span class="c4">Grimwade, Arthur G. </span><span class="c4 c17">London Goldsmiths 1697-1837: Their Marks and Lives.</span><span class="c4"> 3</span><span class="c4 c21">rd</span><span class="c3"> ed., revised and enlarged. London: Faber and Faber, 1990, pp. 646, 647.</span></p><a id="id.p0bta3je7vei"></a><h2 class="c1 c13" id="h.i1e3rzra3fq4"><span class="c7">Anne Tanqueray (probably born London; silversmith; 1691-1733)</span></h2><p class="c12 c13"><span class="c4">Daughter of the Huguenot silversmith David Willaume; in 1717 married her father’s apprentice David Tanqueray. As was common, she took over the shop when he died in 1724 and registered her own marks. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.vam.ac.uk/search/?listing_type%3Dimagetext%26offset%3D0%26limit%3D15%26narrow%3D1%26extrasearch%3D%26q%3Danne%2Btanqueray%26commit%3DSearch%26quality%3D0%26objectnamesearch%3D%26placesearch%3D%26after%3D%26before%3D%26namesearch%3D%26materialsearch%3D%26mnsearch%3D%26locationsearch%3D&sa=D&ust=1597863595765000&usg=AOvVaw1XaVIrRvsb5a-8uBNOb8gh">Several objects</a></span><span class="c4"> are in the Victoria and Albert Museum, London (1726-29); the Bonham’s sale of 23 Nov 2011, London, presented two </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.bonhams.com/auctions/18996/lot/185/&sa=D&ust=1597863595766000&usg=AOvVaw2LcZYTSuBU8uOVlzHyIHyc">silver-mounted glass oil and vinegar bottles</a></span><span class="c4"> (1727); the Clark Art Institute holds a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.clarkart.edu/ArtPiece/Detail/Set-of-Four-Salts-(1)&sa=D&ust=1597863595766000&usg=AOvVaw3cV5ADZrfnJIDay6bxaRz9">set of four salt cellars</a></span><span class="c4"> (1729-30); a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://museum.wales/collections/online/?field0%3Dstring%26value0%3Dtanqueray%26field1%3Dwith_images%26value1%3D1&sa=D&ust=1597863595767000&usg=AOvVaw2WsAZtN0f0tdNFKgZKo-Xe">pair of sauce-boats</a></span><span class="c3"> is in the National Museums, Wales.</span></p><p class="c12 c13"><span class="c4">Grimwade, Arthur G. </span><span class="c4 c17">London Goldsmiths 1697-1837: Their Marks and Lives.</span><span class="c4"> 3</span><span class="c4 c21">rd</span><span class="c3"> ed., revised and enlarged. London: Faber and Faber, 1990, pp. 676-77.</span></p><p class="c12 c13"><span class="c4">Hayward, J. F. </span><span class="c4 c17">Huguenot Silver in England 1688-1727</span><span class="c3">. London: Faber & Faber, 1959, p. 52.</span></p><p class="c12 c13"><span class="c4">Schroder, Timothy. “Tanqueray, David.” </span><span class="c4 c17">Grove Art Online</span><span class="c3">. Published online 2003; accessed 2 July 2020. “He married his master’s daughter, Anne Willaume (1691-1733), in 1717. … His widow appears to have taken over the business on his death, and she registered her own mark. Various components of the Kirkleatham Centrepiece (1731; Leeds, Temple Newsam House) bear her mark and that of her brother David Willaume II (1692-1761).”</span></p><p class="c12 c13"><span class="c4 c13 c14">Wees, Beth Carver. </span><span class="c4 c17">English, Irish, & Scottish Silver at the Sterling and Francine Clark Art Institute</span><span class="c3">. Manchester VT: Hudson Hills, 1997, p. 230.</span></p><a id="id.x0dhxm5rfite"></a><h2 class="c1" id="h.2iheg0rawbyl"><span class="c7">Elizabeth Godfrey (probably born London; silversmith; c.1700-1771)</span></h2><p class="c12"><span class="c4">Daughter of the Huguenot goldsmith Simon Pantin; in 1720-21 married the silversmith Abraham Buteux, from the French immigrant community. When he died in 1731 she registered her mark as EB, and married again in 1731-32, to Benjamin Godfrey, who was probably her journeyman. Within a month of his death in 1741, she registered the mark EG and she was active until at least 1766. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://upload.wikimedia.org/wikipedia/commons/b/b3/Elizabeth_Godfrey_%2528goldsmith%2529_-_Trade_card_-_BM_Heal%252C67.168.jpg&sa=D&ust=1597863595769000&usg=AOvVaw3s3E2jXVolyVqLfZuNeEUX">One of her trade cards</a></span><span class="c3"> touted her as the “Goldsmith, Silversmith, and Jeweller To his Royal Highness the Duke of Cumberland … Makes & sells all sorts of Plate, Jewels, and Watches in the Newest Taste at the most Reasonable Rates” (Glanville and Goldsborough, fig. 8).</span></p><p class="c12"><span class="c4">Objects bearing her mark include </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://marycooke.co.uk/lady-silversmiths-a-very-fine-set-of-four-george-igeorge-ii&sa=D&ust=1597863595770000&usg=AOvVaw1kDiBogVRQSbBU_GdA3XGm">three candlesticks</a></span><span class="c4"> (1732); three tankards (1742) (Mrkusic, below); a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://nmwa.org/art/collection/george-ii-tea-caddy/&sa=D&ust=1597863595770000&usg=AOvVaw07L9qLsKWh-tkXWcz_h0Bh">tea caddy</a></span><span class="c4"> (1755) now in the National Museum of Women in the Arts; and a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.liveauctioneers.com/item/72708769_elizabeth-pantin-buteux-godfrey-british-c-1700-1771&sa=D&ust=1597863595770000&usg=AOvVaw18bpE8L9gbX0no0rPs2Afh">pair of small candlesticks</a></span><span class="c3"> (c.1762).</span></p><p class="c12"><span class="c4 c5">Glanville</span><span class="c4">, Philippa</span><span class="c4 c5"> and </span><span class="c4">Jennifer Faulds Goldsborough. </span><span class="c4 c17">Women Silversmiths, 1685–1845</span><span class="c4">. </span><span class="c4 c17">Works from the Collection of the National Museum of Women in the Arts.</span><span class="c3"> New York: Thames and Hudson, 1990, pp. 20-21, 54, 81, 93, 139, 166, figs 8, 24, 32-33, 36, 54 and passim.</span></p><p class="c12"><span class="c4">Mrkusic, Paul. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.saada.co.za/antiques-today-september-2011/&sa=D&ust=1597863595772000&usg=AOvVaw0f2p1BFyU1NxE47GJo3Vzx">Antiques Today</a></span><span class="c4">.” </span><span class="c4 c17">SAADA Newsletter. </span><span class="c4">1 Sept 2011 (accessed 2 July 2020). “</span><span class="c4 c13">recognized today as probably the most outstanding woman goldsmith of her generation </span><span class="c3">… Known for the high quality and sophisticated style of the silver produced under her name, Godfrey – the daughter of the distinguished silversmith Simon Pantin, in whose London workshop she is thought to have trained – enjoyed the patronage of many members of the nobility.”</span></p><p class="c12"><span class="c4">Skerry, Janine E. “Beyond the working dates: Reconstructing the life and career of Elizabeth Pantin Buteux Godfrey.” </span><span class="c4 c17">Silver Studies </span><span class="c4">34 (2018): 75-88.</span></p><a id="id.tss2f1c8oeq"></a><h1 class="c77 c66" id="h.w5xf9dnfyav2"><span class="c7">Women Artists: Architecture (Global)</span></h1><p class="c12 c13"><span class="c4">Only a handful of women are recognized as architects in the premodern era, but a great many women who commissioned buildings and other architectural work would have been involved in the process of design and construction. This is true in Islamic cultures, which have strong traditions of female patronage of buildings, and </span><span class="c6 c4"><a class="c8" href="#id.lwfyswccv5b4">Nur Jahan</a></span><span class="c4"> is thought to have directly designed the burial monument of her parents at Agra (1622-28). A few extant documents indicate that Pope Pius II’s sister </span><span class="c6 c4"><a class="c8" href="#id.9d8l57on0jb5">Caterina Piccolomini</a></span><span class="c3"> was engaged in the practicalities of building her palace in Siena (c.1460-65). </span></p><p class="c12 c13"><span class="c3">There was no exclusive profession of “architect,” so it was not considered a specialization, and it is known that male patrons could be centrally involved in the building process (Hollingsworth). Women worked alongside men at building sites (Roff). Around 1464, the treatise of the sculptor and architect Filarete, written as though addressed to a princely lord who was his patron, envisaged the commissioner of a building as akin to the father, the architect to its mother.</span></p><p class="c11"><span class="c4">Beck, James. “A ‘Female’ Architect of Fifteenth-Century Florence.” </span><span class="c4 c17">Source: Notes in the History of At</span><span class="c3"> 7 (Fall 1987): 6-8. Two Florentine commentaries of c. 1525-50 (one of them Vasari; the other anonymous) note that a woman submitted a model for the lantern of the cathedral’s cupola in 1436. She may have been a member of the Gaddi family of artists.</span></p><p class="c12 c13"><span class="c4">Filarete. </span><span class="c4 c17">Treatise on Architecture.</span><span class="c3"> (c. 1464). Ed and trans. John Spencer. New Haven: Yale University Press, 1965, pp. 15-16 (fol. 7v): “Since no one can conceive by himself without a woman, by another simile, the building cannot be conceived by one man alone. As it cannot be done without a woman, so he who wishes to build needs an architect. He conceives it with him and then the architect carries it. When the architect has given birth, he becomes the mother of the building … As the woman can do nothing without the man, so the architect is the mother to carry this conception. …. He is thus both nurse and mother. As the mother is full of love for her son, so he will rear it with love and diligence, cause it to grow, and bring it to completion …”</span></p><p class="c12 c13"><span class="c4">Hollingsworth, Mary. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://pages.wustl.edu/files/pages/imce/esthergabel/hollingsworth_architect.pdf&sa=D&ust=1597863595775000&usg=AOvVaw1tQg1LUZVfGTELmtTF00b1">The Architect in Fifteenth-Century Florence</a></span><span class="c4">.” </span><span class="c4 c17">Art History</span><span class="c3"> 7 no 4 (Dec 1984): 385-410.</span></p><p class="c11"><span class="c4 c24">Jorge, María Elena Díez. </span><span class="c2">Mujeres y arquitectura: mudéjares y cristianas en la construcción</span><span class="c4 c24">. Granada, 2011. 2nd ed., 2016, as </span><span class="c2">Women and Architecture: Christian and Mudejar Women in Building.</span></p><p class="c12 c13"><span class="c4">Roff, Shelley E. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8223032/_Appropriate_to_Her_Sex_Womens_Participation_on_the_Construction_Site_in_Medieval_and_Early_Modern_Europe&sa=D&ust=1597863595776000&usg=AOvVaw2IjJokwy7uNv7nQsbdlPGW">‘Appropriate to Her Sex’? Women’s Participation on the Construction Site in Medieval and Early Modern Europe</a></span><span class="c4">.” In Theresa Earenfight (ed). </span><span class="c4 c17">Women and Wealth in Late Medieval Europe</span><span class="c3">. New York, 2010, pp. 109–34. Abstract: “Until recently, studies in the architectural history of medieval and early modern Europe have assumed an all-male labor force on the construction site and in the related building trades. Historical chronicles and manuscript illuminations of construction sites support this notion, purporting the total exclusion of women from this complex industry. This chapter demonstrates the true nature of women's contribution to construction sites from the 13th to the 17th centuries in western Europe, uncovering a wide range of occupations in which they engaged: poor women hired for manual labor, women working as slaves, women working with their husbands and fathers in the building trades, widows continuing the workshops of their deceased husbands, and women supplying building materials for particular sites. There is a history to be told of women's repeated participation in and subsequent denial from working in the building trades that echoes a theme between towns and across language barriers and indicates a common experience shared by women in this era.”</span></p><p class="c12 c13 c56"><span class="c3"></span></p><a id="id.jf3x5nhwkzfq"></a><p class="c47 c13"><span class="c7">Jacquette de Montbron (French; aristocrat; architect; 1542-1598)</span></p><p class="c12 c13"><span class="c4">I</span><span class="c4">n 1558 she married André de Bourdeille (d.1582) and bore six children. After five years of widowhood and financially wise management of property, she was named a lady of waiting in the court of </span><span class="c6 c4"><a class="c8" href="#kix.t45bol4trbdu">Catherine de’ Medici</a></span><span class="c4"> in 1587. She was the sister-in-law of the minor nobleman Brantôme, who wrote about court gossip and famous people, including women. He admired her, and his words are our source regarding her architectural enterprise. On the basis of the illustrated works of the Italian architect Sebastiano Serlio and with money she received from Catherine, in 1589 she built a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://fr.wikipedia.org/wiki/Ch%25C3%25A2teau_de_Matha&sa=D&ust=1597863595777000&usg=AOvVaw2aHVjAoxkAfhD9fDBrIvtN">château in Matha</a></span><span class="c4">, south-west France</span><span class="c3">.</span></p><p class="c12 c13"><span class="c4 c13">Brantôme, Pierre de Bourdeille. </span><span class="c4 c17">Recueil des Dames, poésies et tombeaux</span><span class="c3">. Ed. Étienne. Vaucheret. Paris, Gallimard, 1991, pp. 533-34 (2.4), 2.7 passim, pp. 967-91. </span></p><p class="c11"><span class="c4 c13 c14">Lazard, Madeleine. “Jacquette de Montbron, une bâtisseuse humaniste.” In</span><span class="c4"> K. Wilson-Chevalier and É. Viennot (eds). </span><span class="c4 c13 c14 c17">Royaume de fémynie : pouvoirs, contraintes, espaces de liberté des femmes de la Renaissance à la Fronde</span><span class="c4 c13 c14">. Paris: H. Champion, 1999, pp. </span><span class="c3">17-26.</span></p><p class="c11"><span class="c4 c13 c14">Lazard, Madeleine. ““</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://siefar.org/dictionnaire/fr/Jacquette_de_Montbron&sa=D&ust=1597863595779000&usg=AOvVaw3hyULNBjxLIsWe0fEW4KBO">Jacquette de Montbron</a></span><span class="c4 c13 c14">.” </span><span class="c4 c13 c41">In the online </span><span class="c4 c13 c14 c17">Dictionnaire des femmes de l’ancienne France</span><span class="c22 c4 c13 c14"> (2003).</span></p><p class="c11"><span class="c4 c24">Lebeau, Mélanie. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.cairn.info/revue-le-moyen-age-2011-3-page-545.htm&sa=D&ust=1597863595779000&usg=AOvVaw3BELK--e_eAamiWnlE2C3j">Jacquette de Montrbon (1542-1598), femme ‘architecte’ de la Renaissance entre Angoumois et Périgord</a></span><span class="c4 c24">.</span><span class="c4 c24">” In Elizabeth L’Estrange and </span><span class="c4 c13">Laure Fagnart (eds). </span><span class="c4 c13 c17">Le mécénat féminin en France et en Bourgogne, XIV-XVIe</span><span class="c4 c13">.</span><span class="c4 c13"> Special issue of </span><span class="c4 c13 c17">Le Moyen Âge</span><span class="c4 c13"> 117 nos 3-4 (2011): 545-60. Abstract in English </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.cairn-int.info/article-E_RMA_173_0545--jacquette-de-montbron-1542-1598-a-renais.htm&sa=D&ust=1597863595780000&usg=AOvVaw0uqY07EUMd7xxgcfVbKoIK">here</a></span><span class="c3 c13">. Brantôme described her “ as an enlightened woman who had mastered the art of building, loving geometry and architecture, being a great expert and engineer of those arts. … it is because of her role as a woman in the dissemination of Renaissance models and in the creation of technical and artistic projects that the complex and singular figure of Jacquette de Montbron deserves further attention. A player in the humanistic movement that was burgeoning in the provinces, and a notable patron of writers, Jaquette bears witness, amongst other things, to the ways in which female patronage could flourish and develop outside of the royal circle.”</span></p><a id="id.hz6j6neik63d"></a><h2 class="c1" id="h.2f47o5likdfo"><span class="c7">Plautilla Bricci (Italian; painter and architect active in Rome; 1616-1690)</span></h2><p class="c12"><span class="c4 c41">Daughter of a male painter and musician; sister of a male architect and painter; wife of the sculptor Pompeo Ferrucci. She designed the unusual Villa Benedetti on the Janiculum Hill, Rome (destroyed 1849), where she also decorated the interior. A </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://steffenvoelkel.com/plautilla-bricci-roma-1616-roma-1705-and-gian-lorenzo-bernini-napoli-1598-roma-1680-workshop-la-pianta-della-villa-benedetti-a-roma-c-1664&sa=D&ust=1597863595781000&usg=AOvVaw1J7wDreB7KVipN8g-mbi_p">drawing for it</a></span><span class="c4 c41"> (c. 1664) has appeared on the art market. For the same patron, Elpidio Bendetti, she designed his chapel of St Louis in S. Luigi dei Francesi, Rome, and she also painted </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://commons.wikimedia.org/wiki/File:0_San_Luigi_dei_Francesi_-_%2527_St_Louis_%2527_retable_de_Plautilla_Bricci.JPG&sa=D&ust=1597863595782000&usg=AOvVaw3G-8bI7a_Uah7mT6zFlSh_">the altarpiece</a></span><span class="c4 c41">, still in situ. Her altarpiece of </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.beweb.chiesacattolica.it/benistorici/bene/429278/Bricci%2BPlautilla%2B%25281675%2529%252C%2BNascita%2Bdi%2BSan%2BGiovanni%2BBattista&sa=D&ust=1597863595782000&usg=AOvVaw166p7O_9jv4cFzim1lq1iz">The Birth of the Baptist </a></span><span class="c4 c41">(1675)</span><span class="c4 c41 c17"> </span><span class="c4 c41">remains in the church in Sabina. She is “</span><span class="c4 c5">the first </span><span class="c22 c4 c41">woman to practise architecture whose reputation has survived to the present day” (Varriano, 2003).</span></p><p class="c11"><span class="c4 c41">Benocci, Carla. “Plautilla Bricci e la consulenza di Gian Lorenzo Bernini per la villa Il Vascello: un nuovo disegno progettuale del 1644 circa.” </span><span class="c4 c41 c17">Strenna dei Romanisti </span><span class="c22 c4 c41">79 (2018): 45-56.</span></p><p class="c11"><span class="c4 c41">Hoppe, Ilaria Verfasser. “Plautilla Bricci, die erste Architektin: zum Verhältnis von Architektur uncl Geschlecht im römischen Seicento.” In Eckhard Leuschner and Iris Wenderholm (eds). </span><span class="c4 c41 c17">Frauen und </span><span class="c4 c83 c17">Päpste</span><span class="c4 c83">. Berlin: de Gruyter, 2016, pp. 171-85.</span></p><p class="c11"><span class="c4 c24">Lollobrigida, Consuelo. “Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo.” In Sheila </span><span class="c4">Barker (ed). </span><span class="c4 c17">Artemisia Gentileschi in a Changing Light.</span><span class="c3"> London: Harvey Miller, 2017. pp. 119-30.</span></p><p class="c11"><span class="c4 c24">Lollobrigida, Consuelo. </span><span class="c4 c17">Plautilla Bricci: Pictura et architectura celebris, l’architettrice del Barocco romano.</span><span class="c3"> Rome: Gangemi, 2017.</span></p><p class="c11"><span class="c4">Lollobrigida, Consuelo. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/plautilla-bricci-1616-1705/&sa=D&ust=1597863595785000&usg=AOvVaw2Hd53Ps6XWxF9gGtJUqJEt">Plautilla Bricci (1616-1705): A Talented Woman Architect in Baroque Rome</a></span><span class="c4">.” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">6 May 2020.</span></p><p class="c11"><span class="c4 c9">Mayer</span><span class="c4">, Matteo.</span><span class="c4 c9"> [pseudonym for the owner Elpidio Benedetti]. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D4XA5AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595785000&usg=AOvVaw3NTJBgwWkRR7u3SZHkC4Js">Villa Benedetta</a></span><span class="c4 c9 c17">.</span><span class="c22 c4 c9"> Rome: Mascardi, 1677. Ed. with additions by G. P. Erico. Augusta, 1695.</span></p><p class="c47"><span class="c4 c9">Mazzucco, Melania G. </span><span class="c4 c9 c17">L’Architettrice. </span><span class="c22 c4 c9">Supercoralli, 2019. Historical novel.</span></p><p class="c11"><span class="c4">Melasecchi, Olga. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.treccani.it/enciclopedia/caterina-ginnasi_(Dizionario-Biografico)/&sa=D&ust=1597863595786000&usg=AOvVaw3RNby4KvPtSFnJ9-dJOnG0">Ginnasi, Caterina</a></span><span class="c4">.” In </span><span class="c4 c17">Dizionario Biografico degli Italiani</span><span class="c3"> 55 (2001). In 1661 she appears in a list of members of the Accademia di San Luca, the most important association of artists in Rome.</span></p><p class="c11"><span class="c4">Michel, Olivier. “Maddalena Corvina e i suoi.” </span><span class="c4 c17">Strenna dei Romanisti </span><span class="c3">56 (1995): 399-407. In 1655 Bricci is in a list of members of the Accademia di San Luca</span></p><p class="c11"><span class="c4">Primarosa, Yuri. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8803784/La_committenza_artistica_della_Compagnia_della_Misericordia_di_Poggio_Mirteto_Plautilla_Bricci_Michelangelo_Cerruti_Gaspare_Serenario_Alessandro_Specchi&sa=D&ust=1597863595788000&usg=AOvVaw197rS_3UBjDYa6kALyJadM">La committenza artistica della Compagnia della Misericordia di Poggio Mirteto tra Sei e Settecento: Plautilla Bricci</a></span><span class="c4">, Michelangelo Cerruti, Gaspare Serenario, Alessandro Specchi.” In Elisa Debenedetti (ed). </span><span class="c4 c17">Palazzi, chiese, arredi e pittura. </span><span class="c3">Rome, 2012, pp. 135-64.</span></p><p class="c11"><span class="c4">Primarosa, Yuri. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/12116062/Nuova_luce_su_Plautilla_Bricci_pittrice_e_architettrice_&sa=D&ust=1597863595789000&usg=AOvVaw2xLuu6etrU8ll3Xm90iO59">Nuova luce su Plautilla Bricci pittrice e ‘architettrice’</a></span><span class="c4">.” </span><span class="c4 c17">Studi di storia dell’arte </span><span class="c3">25 (2014): 145-60.</span></p><p class="c11"><span class="c4">Varriano, John. “Plautilla Bricci ‘Architettrice’ and the Villa Benedetti in Rome.” In Henry A. Millon and Susan Scott Munshower (eds). </span><span class="c4 c17">An Architectural Progress in the Renaissance and Baroque. Sojourns In and Out of Italy. Studies in Architectural History presented to Hellmut Hager. </span><span class="c3">University Park: Pennsylvania State University Press, 1992, Vol. 1, pp. 266-79.</span></p><p class="c11"><span class="c4">Varriano, John. “Bricci, Plautilla.” </span><span class="c4 c17">Grove Art Online. </span><span class="c3">Published online 2003; bibliography updated 22 Sept 2005 (accessed 9 July 2020).</span></p><a id="id.caldfa4gligr"></a><h2 class="c1" id="h.z64qs2myyd14"><span class="c7">Lady Elizabeth Wilbraham (born in Staffordshire; architect; 1632-1705)</span></h2><p class="c11"><span class="c4">Aslet, Clive. “‘Orthodox, Learned, Discreet and Pious’.” </span><span class="c4 c17">Country Life </span><span class="c3">173 no 4464 (10 Mar 1983): 578-79. On restoration of Woodhey Chapel, Chesire, designed by Wilbraham in the 1690s.</span></p><p class="c11"><span class="c4">Hussey, Christopher. “Weston Park, Staffordshire. I.” </span><span class="c4 c17">Country Life </span><span class="c3">98 (9 Nov 1945): 819.</span></p><p class="c11"><span class="c4">Millar, John. “The First Woman Architect.” </span><span class="c4 c17">Architects’ Journal</span><span class="c3"> 232 (2010): 42-44. </span></p><p class="c11"><span class="c4">Walker, Lynne. “British Women in Architecture, 1671-1951.” In Lynne Walker (ed). </span><span class="c4 c17">Women Architects: Their Work.</span><span class="c3"> London: Sorella Press, 1984.</span></p><p class="c12 c13 c56"><span class="c3"></span></p><a id="kix.uta9jcedr4ip"></a><h1 class="c77 c16 c66 c48" id="h.lhvbkl3f0zz0"><span class="c7">Women Artists and Patrons: Asia </span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c12 c90"><span class="c4 c9">Addiss, Stephen. “The Three Women of Gion.” In Marsha Weidner (ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c22 c4 c9">. Honolulu: University of Hawai‘i Press, 1990, pp. 241-63.</span></p><p class="c12 c90"><span class="c4 c9">Aitken, Molly Emma. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/3875756/Pardah_and_Portrayal_Rajput_Women_as_Subjects_Patrons_and_Collectors&sa=D&ust=1597863595792000&usg=AOvVaw0NWST7y2Xp8Dm5K6RCcdSk">Pardah and Portrayal: Rajput Women as Subjects, Patrons, and Collectors</a></span><span class="c4 c9">.” </span><span class="c4 c9 c17">Artibus Asiae </span><span class="c22 c4 c9">62 no 2 (2002): 247-80.</span></p><p class="c11"><span class="c4 c9">Akiyama Terukazu </span><span class="c27 c9 c79">秋山光和</span><span class="c4 c9">. “Women Painters at the Heian Court.” Translated by Maribeth Graybill. In Marsha Weidner (ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c22 c4 c9">. Honolulu: University of Hawai‘i Press, 1990, pp. 159-84.</span></p><p class="c11"><span class="c4 c9">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595793000&usg=AOvVaw16rayLy2zZPtxAFEiuH6VK">The First Biography of Artemisia Gentileschi</a></span><span class="c4 c9">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c9 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c4 c9">60 no 3 (2018): 404-35, at 409-10, 431. Publishes Bronzini’s manuscript of 1615-22 on women artists, which includes a section on China, drawing on </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DA2ZUAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595794000&usg=AOvVaw3FTUL4ieOzTKo7QloGa328">an Italian version</a></span><span class="c4 c9"> (p. 22)</span><span class="c4 c9"> of Mendoza (see below). </span><span class="c22 c4 c9">In English: “in China there are the women of great genius and expertise in painting and sculpture, and they demonstrate excellence in drawing as well as in painting; in relief and in intaglio; and especially in making paintings of plants, birds, and every sort of wilderness.” Mendoza had seen an example, which arrived in Lisbon in 1582; it was “of such excellent and beauty that not only did it astound all those who saw it but also what is very rare indeed, that is, it was regarded as a wonderful work by His Majesty the King himself, and even by the most famous and excellent men in that profession.”</span></p><p class="c11"><span class="c4 c9">Belli Bose, Melia (ed). </span><span class="c4 c9 c17">Women, Gender and Art in Asia, c. 1500-1900</span><span class="c4 c9">. London: Routledge, 2016. Rev: Ying-chen Peng. </span><span class="c4 c17">Early Modern Women </span><span class="c4">12 no 2 (Spring 2018): 236-39: “</span><span class="c4 c32">Part One, ‘Matrons, Art, and Power,’ deals with the most powerful and resourceful women in Asian societies. … Luk Yuping discusses how Empress Zhang (1470–1541) and Empress Dowager Li (1546–1614) of Ming China manipulated images of Daoist and Buddhist deities to visualize their divine identities and political power. </span><span class="c4">… </span><span class="c4 c32">Part Two, ‘Women's Work and Working Women,’ focuses on women as creators of art. Lara C. W. Blanchard investigates how Neo-Confucian ideology restricted seventeenth-century Chinese women’s self-portraiture in literature and visual art. Similarly, Patricia Fister’s introduction to the abundant art production in Japan’s imperial Buddhist convents sheds light on the importance of politics and religion to women’s art. </span><span class="c4">… </span><span class="c4 c32">Women as icons of morality are the theme of Part Three, ‘Depicting the Exemplary Woman.’ Sunglim Kim demystifies the historical images of the woman painter Sin Saimdang (1504–51). To this end, she analyzes Saimdang’s Neo-Confucian identity, which the artist embedded in her painting of flowers, plants, insects, and birds, and how such identity facilitated the promotion of her artistic talent</span><span class="c3">.”</span></p><p class="c11"><span class="c4">Blanchard, Lara C. W. “Gender in Chinese Art.” </span><span class="c4 c17">Grove Art Online</span><span class="c4">. Published online Dec. 2019</span><span class="c4">.</span></p><p class="c11"><span class="c4">Blanchard, Lara C. W. “Imagining Du Liniang in </span><span class="c4 c17">The Peony Pavilion</span><span class="c4">: Female Painters, Self-portraiture, and Paintings of Beautiful Women in Late Ming China.” In Melia Belli Bose (ed). </span><span class="c4 c17">Women, Gender and Art in Asia, c. 1500–1900</span><span class="c4">. New York: Routledge, 2016, pp. 125-46.</span></p><p class="c11"><span class="c4 c9">Cahill, James. “Paintings Done for Women in Ming-Qing China?” </span><span class="c4 c9 c17">nan nü</span><span class="c4 c9 c17">: Men, Women and Gender in China </span><span class="c22 c4 c9">8 no 1 (2006): 1-54.</span></p><p class="c11"><span class="c4 c9">Cahill, James. </span><span class="c4 c9 c17">Pictures for Use and Pleasure: Vernacular Painting in High Qing China</span><span class="c22 c4 c9">. Berkeley: University of California Press, 2010.</span></p><p class="c11"><span class="c4 c9 c17">East Asian Science, Technology and Medicine</span><span class="c22 c4 c9"> no 36 (2012): special issue on “Women and Textile Production Techniques in Traditional China.”</span></p><p class="c11"><span class="c4 c9">Fister, Patricia. </span><span class="c4 c9 c17">Japanese Women Artists, 1600-1900.</span><span class="c22 c4 c9"> Exh.cat. Lawrence: Spencer Museum of Art, 1988.</span></p><p class="c11"><span class="c4">Fister, Patricia. “Women Artists in Traditional Japan.” In Marsha Weidner (ed). </span><span class="c4 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c3">. Honolulu: University of Hawai‘i Press, 1990, pp. 219-40.</span></p><p class="c12"><span class="c4">Fister, Patricia. </span><span class="c4 c17">Kinsei no josei gakatachi: bijutsu to jendā / Japanese Women Artists of the Kinsei</span><span class="c4"> </span><span class="c4 c17">Era</span><span class="c3">. Kyoto: Shibunkaku, 1994.</span></p><p class="c11"><span class="c4 c9">Fister, Patricia. “Creating Art in Japan’s Imperial Buddhist Convents: Devotional Practice and Cultural Pastime.” In Melia Belli Bose (ed). </span><span class="c4 c9 c17">Women, Gender and Art in Asia, c. 1500–1900</span><span class="c4 c9">. New York: Routledge, 2016, pp. 147-71.</span></p><p class="c11"><span class="c4">Fong, Mary H. “Views from Jade Terrace.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">17 no 1 (Spring-Summer 1996): 41-43.</span></p><p class="c11"><span class="c4 c89">Fu Shen. “Princess Sengge Ragi: Collector of Painting and Calligraphy.” In Marsha Weidner (ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting.</span><span class="c4 c9"> Honolulu: University of Hawai‘i Press, 1990, pp. </span><span class="c4 c89">55-80.</span></p><p class="c11"><span class="c4">Hackney, Louise W. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t0dv80m07%26view%3D1up%26seq%3D84&sa=D&ust=1597863595799000&usg=AOvVaw1Ctb0WJIx-EhSFnsIaaF7X">Chinese Women Painters</a></span><span class="c4">.” </span><span class="c4 c17">International Studio </span><span class="c3">78 no 317 (October 1923): 74–77.</span></p><p class="c11"><span class="c4 c9">Huang, I-Fen. “Gender, Technical Innovation, and Gu Family Embroidery in Late-Ming Shanghai.” </span><span class="c4 c9 c17">East Asian Science, Technology and Medicine</span><span class="c4 c9"> no 36 (2012): 77-129. Includes the early 17</span><span class="c4 c9 c21">th</span><span class="c22 c4 c9"> C embroiderer Han Ximeng.</span></p><p class="c11"><span class="c4">Hummel, Arthur W. (ed). </span><span class="c4 c17">Eminent Chinese of the Ch’ing Period 1644-1912</span><span class="c3">. Washington DC: United States Government Printing Office, 1943.</span></p><p class="c11"><span class="c4">Kim, Sunglim. “Defining a Woman: The Painting of Sin Saimdang.” </span><span class="c4">In Melia Belli Bose (ed). </span><span class="c4 c17">Women, Gender and Art in Asia, c. 1500–1900</span><span class="c4">. New York: Routledge, 2016, pp. 201-29.</span></p><p class="c11"><span class="c4">Laing, Ellen Johnston. “Wives, Daughters, and Lovers: Three Ming Dynasty Women Painters.” In Marsha Weidner (ed). </span><span class="c4 c17">Views from Jade Terrace.</span><span class="c3"> Honolulu: University of Hawai‘i Press, 1990, pp. 31-39.</span></p><p class="c11"><span class="c4">Laing, Ellen Johnston. </span><span class="c4">“Women Painters in Traditional China.” In Marsha Weidner (ed). </span><span class="c4 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c3">. Honolulu: University of Hawai‘i Press, 1990, pp. 81-102.</span></p><p class="c12"><span class="c4">Lee, Sylvia W. S. “Orchid Paintings by Seventeenth-Century Chinese Courtesans: Erotic Performances and Tokens of Seduction.” </span><span class="c4 c17">Harvard Asia Quarterly</span><span class="c3"> 16 no 3 (2014): 31-41.</span></p><p class="c12"><span class="c4 c13">Li-chou. </span></p><p class="c11"><span class="c4 c14">Li, Yuhang. </span><span class="c4 c14 c17">Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China</span><span class="c4 c14">. New York: Columbia University Press, 2020. Abstract: “The goddess Guanyin began in India as the bodhisattva Avalokiteśvara, originally a male deity. He gradually became indigenized as a female deity in China over the span of nearly a millennium. By the Ming (1358–1644) and Qing (1644–1911) periods, Guanyin had become the most popular female deity in China. In </span><span class="c4 c14 c17">Becoming Guanyin</span><span class="c4 c14">, Yuhang Li examines how lay Buddhist women in late imperial China forged a connection with the subject of their devotion, arguing that women used their own bodies to echo that of Guanyin. Li focuses on the power of material things to enable women to access religious experience and transcendence. In particular, she examines how secular Buddhist women expressed mimetic devotion and pursued religious salvation through creative depictions of Guanyin in different media such as painting and embroidery and through bodily portrayals of the deity using jewelry and dance. These material displays expressed a worldview that differed from yet fit within the Confucian patriarchal system. Attending to the fabrication and use of “women’s things” by secular women, Li offers new insight into the relationships between worshipped and worshipper in Buddhist practice. Combining empirical research with theoretical insights from both art history and Buddhist studies, </span><span class="c4 c14 c17">Becoming Guanyin</span><span class="c22 c4 c14"> is a field-changing analysis that reveals the interplay between material culture, religion, and their gendered transformations.”</span></p><p class="c11"><span class="c4 c14">Li, Yuhang. “Embroidering Guanyin: Constructions of the Divine through Hair.”</span><span class="c4 c14 c17"> East Asian Science, Technology, and Medicine</span><span class="c4 c14"> 36 (2012): 131–66.</span></p><p class="c11"><span class="c4 c14">Lillehoj, Elizabeth. “The Artistic Legacy of Yōgen’in, A Mortuary Temple Sponsored by Women in Early Modern Kyoto.” In Kristen L. Chiem and Lara C. W. Blanchard (eds). </span><span class="c4 c14 c17">Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries</span><span class="c22 c4 c14">. Gendering the Trans-Pacific World, no. 2. Leiden: Brill, 2017, pp. 145-90.</span></p><p class="c11"><span class="c4 c14">Lillehoj, Elizabeth. “Tōfukumon'in: Empress, Patron and Artist.” </span><span class="c4 c17">Woman’s Art Journal</span><span class="c3"> 17 no 1 (Spring-Summer 1996): 28–34. [1607-78]</span></p><p class="c11"><span class="c4">Liu, Heping. “The Empress Liu’s Icon of Maitreya: Privacy and Portraiture at the Early Song Court.” </span><span class="c4 c17">Artibus Asiae</span><span class="c4"> 63 no 2 (2003): 129-90.</span></p><p class="c11"><span class="c4">McNair, Amy. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/11123974/On_the_Patronage_by_Tang-Dynasty_Nuns_at_Wanfo_Grotto_Longmen&sa=D&ust=1597863595804000&usg=AOvVaw2m9tQFZ44sGhhZjy2OPrtY">On the Patronage by Tang Dynasty Nuns at Wanfo Grotto, Longmen</a></span><span class="c4">.” </span><span class="c4 c17">Artibus Asiae</span><span class="c3"> 59 nos 3-4 (2000): 161-88.</span></p><p class="c11"><span class="c4">McNair, Amy. </span><span class="c4 c17">Donors of Longmen: Faith, Politics, and Patronage in Medieval Chinese Buddhist Sculpture</span><span class="c4">. </span><span class="c4 c9">Honolulu: University of Hawai‘i Press, 2007.</span></p><p class="c11"><span class="c4 c9">de Mendoza, Juan González. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D7elwgP0B3CoC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Dsnippet%26q%3DRibera%26f%3Dfalse&sa=D&ust=1597863595806000&usg=AOvVaw3nbMy-ZDTQ_iTGS58KplvL">Historia de las cosas más notables, ritos y costumbres del gran reyno de la China</a></span><span class="c4 c9">. Rome: Bartholome Grassi, 1585, pp. 23-24. See Barker, above.</span></p><p class="c11"><span class="c4 c13 c24">Suzuki, Tomi. “Splendid Japanese Women Artists of the Edo Period.” Rev of exhibition at the Kosetsu Memorial Museum, Tokyo, 2015. </span><span class="c2 c13">Early Modern Women </span><span class="c4 c13 c24">10 no 2 (Spring 2016): 155-66. Includes 17</span><span class="c4 c13 c24 c21">th</span><span class="c4 c13 c24"> C.</span></p><p class="c11"><span class="c4">Tang Shuyu </span><span class="c27 c120">唐漱玉</span><span class="c4"> (comp). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://digital.library.mcgill.ca/mingqing/search/details-work.php?workID%3D197%26language%3Deng&sa=D&ust=1597863595807000&usg=AOvVaw2TF38ssT7yKh1fHJKNQyzP">Yutai hua shi</a></span><span class="c4 c17"> </span><span class="c27 c120">玉臺畫史</span><span class="c4"> [History of jade terrace painting]. Qiantang: Wang shi Zhenqitang, 1837.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=http://digital.library.mcgill.ca/mingqing/search/details-work.php?workID%3D197%26language%3Deng&sa=D&ust=1597863595807000&usg=AOvVaw2TF38ssT7yKh1fHJKNQyzP"> </a></span></p><p class="c11"><span class="c4">Tseng, Yu-ho. “Hsüeh Wu and Her Orchids in the Collection of the Honolulu Academy of Arts.” </span><span class="c4 c17">Arts Asiatiques</span><span class="c4"> 2 no 3 (1955): 197-208.</span></p><p class="c11"><span class="c4">Tunstall, Alexandra. </span><span class="c4 c23">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/14992521/Beyond_Categorization_Zhu_Kerous_Tapestry_Painting_Butterfly_and_Camellia&sa=D&ust=1597863595809000&usg=AOvVaw3dD72XxEw4wIisQ1N1xscE">Beyond Categorization: Zhu Kerou’s Tapestry Painting, ‘Butterfly and Camellia.’</a></span><span class="c4 c23">” </span><span class="c4 c9 c17">East Asian Science, Technology and Medicine</span><span class="c4 c9"> no 36 (2012): </span><span class="c4 c23">39-76. The weaver and embroiderer Zhu Kerou flourished c.1127-61 during the Southern Song dynasty in China.</span></p><p class="c11"><span class="c4">Watt, James C. Y. and Anne E. Wardwell. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/metpublications/When_Silk_Was_Gold_Central_Asian_and_Chinese_Textiles&sa=D&ust=1597863595809000&usg=AOvVaw2uqbZwNuEwEJQcut6Zeg9L">When Silk Was Gold: Central Asian and Chinese Textiles</a></span><span class="c4 c17">.</span><span class="c3"> New York: Metropolitan Museum of Art, 1997. For example, p. 57 and fig. 15 on Zhu Kerou.</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988. </span></p><p class="c11"><span class="c4">Weidner, Marsha. “The Conventional Success of Ch’en Shu.” In Marsha Weidner (ed). </span><span class="c4 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c3">. Honolulu: University of Hawai‘i Press, 1990, pp. 123-56.</span></p><p class="c11"><span class="c4">Weidner, Marsha. “Views from Jade Terrace.” </span><span class="c4 c17">Free China Review </span><span class="c3">39 no 9 (September 1989): 58-71.</span></p><p class="c33 c16"><span class="c4">Weidner, Marsha. “Women in the History of Chinese Painting.” In Marsha Weidner et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Women Artists 1300–1912</span><span class="c4">. Indianapolis: Indianapolis Museum of Art, 1988.</span><span class="c3">, pp. 12-29</span></p><p class="c33 c16"><span class="c4">Weidner, Marsha </span><span class="c4 c9">(ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting.</span><span class="c4 c9"> Honolulu: University of </span><span class="c4">Hawai‘i</span><span class="c4 c9"> Press, 1990. Rev: Paul Berry. </span><span class="c4 c9 c17">Monumenta Nipponica </span><span class="c22 c4 c9">47 no 4 (Winter 1992): 561-63.</span></p><p class="c33 c16"><span class="c4">Weidner, Marsha. “East Asia.” Section in entry “Women and Art History.” </span><span class="c4 c17">Grove Art Online. </span><span class="c3">Published online 2003, revised and updated 2019. </span></p><p class="c55 c16 c48"><span class="c4">Wetzel, Jean. “Hidden Connections: Courtesans in the Art World of the Ming Dynasty.” </span><span class="c4 c17">Women’s Studies</span><span class="c4"> 31 no 5 (September/October 2002): 645-69.</span></p><p class="c55 c16 c48"><span class="c4">Tseng, Yuho</span><span class="c4">. “Women Painters of the Ming Dynasty.” </span><span class="c4 c17">Artibus Asiae </span><span class="c3">53 nos 1-2 (1993): 249-61. Includes Ma Shouzhen (1548–1605), Xue Wu (ca. 1573–1620), and Wen Shu (1595-1634).</span></p><a id="id.s0rvub4orb4s"></a><h2 class="c1" id="h.cdp0e3nnvktz"><span class="c7">Wei Fu-Jên / Wei Furen (Chinese calligrapher; 272-349)</span></h2><p class="c12 c88"><span class="c4 c9">Ayscough, Florence. </span><span class="c4 c9 c17">Chinese Women: Yesterday and Today</span><span class="c22 c4 c9">. Boston: Houghton Mifflin, 1937, pp. 198-201.</span></p><p class="c55 c16 c48"><span class="c4">Barnhart, Richard M. “Wei Fu-jen’s Pi Chen T’u and the Early Texts on Calligraphy.” </span><span class="c4 c17">Archives of the Chinese Art Society of America </span><span class="c3">18 (1964): 13-25.</span></p><p class="c55 c16 c56 c48"><span class="c3"></span></p><a id="id.rhj7gjw12dwq"></a><h2 class="c55 c16 c66 c48" id="h.65dfcntanorj"><span class="c7">Empress Wu Zetian / Wu Tse-t’ien (Chinese; 624–705)</span></h2><p class="c11"><span class="c4">Karetzky, Patricia. “Wu Zetian and Buddhist Art of the Tang Dynasty.” </span><span class="c4 c17">Tang Studies</span><span class="c3"> 20-21 (2002-03): 113-50.</span></p><p class="c11"><span class="c4">Twitchett, Denis. “‘Chen gui’ and Other Works Attributed to Empress Wu Zetian.” </span><span class="c4 c17">Asia Major</span><span class="c3"> ser. 3, 16 no 1 (2003): 33-109.</span></p><p class="c11"><span class="c4"> “Wu Zetian.” In Lily Xiao Hong Lee and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women. Tang through Ming 618-1644.</span><span class="c3"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, pp. 463ff.</span></p><p class="c55 c16 c56 c48"><span class="c7"></span></p><a id="id.17yj6kmn60gu"></a><h2 class="c55 c16 c66 c48" id="h.ugjm8y19lopj"><span class="c7">Empress Yang Meizi / Yang Mei-tzu (Chinese calligrapher, and patron; 1162–1233)</span></h2><p class="c11"><span class="c4 c89">Blanchard, Lara C. W. and Kara J. </span><span class="c4 c89">Kenney</span><span class="c4 c89">. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/402209/Traces_of_Collaboration_Empress_Yang_s_Captions_for_Xia_Gui_s_Twelve_Views_of_Landscape&sa=D&ust=1597863595816000&usg=AOvVaw0xxLuvkc9bXb0hZEF6awJx">Traces of Collaboration: Empress Yang’s Captions for Xia Gui’s </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/402209/Traces_of_Collaboration_Empress_Yang_s_Captions_for_Xia_Gui_s_Twelve_Views_of_Landscape&sa=D&ust=1597863595816000&usg=AOvVaw0xxLuvkc9bXb0hZEF6awJx">Twelve Views of Landscape</a></span><span class="c4 c89">.” </span><span class="c4 c89 c17">Critical Matrix: The Princeton Journal of Women, Gender and Culture</span><span class="c4 c89"> 18 (Fall 2009): 6-33. </span></p><p class="c11"><span class="c4">Chiang Chao-shen 江兆申. “The Identity of Yang Mei-tzu and the Paintings of Ma Yüan.” Parts 1, 2. </span><span class="c4 c17">National Palace Museum Bulletin</span><span class="c4"> 2 nos. 2-3 (1967): 1-14, 9-14.</span></p><p class="c11"><span class="c3">Lee, Hui-shu. “The Domain of Empress Yang (1162–1233): Art, Gender and Politics at the Southern Song Court.” PhD. diss. Yale University, 1994.</span></p><p class="c11"><span class="c4">Lee, Hui-shu. </span><span class="c4 c17">Empresses, Art, and Agency in Song Dynasty China.</span><span class="c4"> Seattle: University of Washington Press, 2010.</span></p><a id="id.k6kume9xeca7"></a><h2 class="c1" id="h.kf80isf9arfl"><span class="c7">Guan Daosheng / Kuan Tao-sheng / Guan Furen / Kuan Fu-Jên (born Wuxing, Central China; poet, calligrapher, painter; 1262-1319)</span></h2><p class="c12"><span class="c4 c9">Poet, calligrapher and painter; married a painter in 1286, whose position as a scholar-official enabled both of them to travel for extensive periods. “</span><span class="c4 c13 c14">The most famous female painter and calligrapher in the Chinese history...remembered not only as a talented woman, but also as a prominent figure in the history of bamboo painting,” which was considered a masculine subject (Weidner, 1990, p. 14).</span><span class="c22 c4 c9"> Some of her work was dedicated to high-ranking women.</span></p><p class="c12"><span class="c4 c9">Ayscough, Florence. </span><span class="c4 c17">Chinese Women: Yesterday and Today</span><span class="c3">. Boston: Houghton Mifflin, 1937, pp. 202-09.</span></p><p class="c12"><span class="c4">McCausland, Shane. “Private Lives, Public Faces: Relics of Calligraphy by Zhao Mengfu (1254–1322), Guan Daosheng (1262-1319) and their Children.” </span><span class="c4 c17">Oriental Art</span><span class="c3"> 46 no 5 (2000): 38-47.</span></p><p class="c12"><span class="c4">McCausland, Shane. </span><span class="c4 c17">Zhao Mengfu: Calligraphy and Painting for Khubilai’s China</span><span class="c3">. Hong Kong: Hong Kong University Press, 2011. See for his wife, Guan Daosheng.</span></p><p class="c12"><span class="c4">Purtle, Jennifer. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/35772715/_Guan_Daosheng_1262-1319_from_Women_Writers_of_Traditional_China_Keywords_Guan_Daosheng_%25E7%25AE%25A1%25E9%2581%2593%25E6%2598%2587_poems_%25E8%25A9%25A9%25E8%25A9%259E_translations_to_English_%25E8%258B%25B1%25E6%2596%2587%25E7%25BF%25BB%25E8%25AD%25AF_&sa=D&ust=1597863595819000&usg=AOvVaw03-r6cRqcRNVJeb8_qlsYt">Guan Daosheng (1262-1319)</a></span><span class="c4">.” In Kang-i Sun Chang and Haun Saussy</span><span class="c4 c17"> </span><span class="c4">(eds).</span><span class="c4 c17"> Women Writers of Traditional China: An Anthology of Poetry and Criticism</span><span class="c3">. Stanford: Stanford University Press, 1999, pp. 126-30.</span></p><p class="c12"><span class="c4">Purtle, Jennifer. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/15779531/_The_Icon_of_the_Woman_Artist_Guan_Daosheng_1262-1319_and_the_Power_of_Painting_at_the_Ming_Court_c._1500_Keywords_%25E9%258D%25B5%25E8%25A9%259E_Guan_Daosheng_%25E7%25AE%25A1%25E9%2581%2593%25E6%2598%2587_Zhang_Lu_%25E5%25BC%25B5%25E8%25B7%25AF_Ming_dynasty_court_painting_%25E6%2598%258E%25E4%25BB%25A3%25E7%259A%2584%25E5%25AE%25AE%25E5%25BB%25B7%25E7%2595%25AB_Empress_Dowager_Zhang_%25E5%25BC%25B5%25E5%25A4%25AA%25E5%2590%258E_1471-1541_&sa=D&ust=1597863595820000&usg=AOvVaw39c5Fjlm8mk72e6DiPuonB">The Icon of the Woman Artist: Guan Daosheng (1262-1319) and the Power of Painting at the Ming Court c. 1500</a></span><span class="c4">.” In Rebecca M. Brown and Deborah S. Hutton (eds). </span><span class="c4 c17">A Companion to Asian Art and Architecture</span><span class="c3">. Chichester: Wiley-Blackwell, 2011.</span></p><p class="c12"><span class="c4">Purtle, Jennifer. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/36626118/_Guan_Daosheng_and_the_Idea_of_a_Great_Woman_Artist_PROOFS_Keywords_%25E9%258D%25B5%25E8%25A9%259E_Guan_Daosheng_%25E7%25AE%25A1%25E9%2581%2593%25E6%2598%2587_feminist_art_history_%25E5%25A5%25B3%25E6%25AC%258A%25E4%25B8%25BB%25E7%25BE%25A9%25E8%2597%259D%25E8%25A1%2593%25E5%258F%25B2_&sa=D&ust=1597863595821000&usg=AOvVaw2YHTjE0vMmNZuZIT-KjhMZ">Guan Daosheng and the Idea of Great Woman Artist</a></span><span class="c4">.” </span><span class="c4 c17">Orientations</span><span class="c3"> 49 no 2 (March-April 2018): Special issue on “Women in Asian Art.”</span></p><p class="c12"><span class="c4">Rossabi, Morris. “Kuan Tao-sheng: Woman Artist in Yüan China.” </span><span class="c4 c17">Bulletin of Sung-Yüan Studies</span><span class="c4"> 21 (1989): 67-84.</span></p><p class="c12"><span class="c3">Toll, Elizabeth. “Kuan Tao-sheng: A Study and Translation of the Primary Sources.” Unpublished BA thesis, Harvard University, 1978. [available through Harvard University library, upon request; this is a sourcebook for information on Guan Daosheng]</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 13, 30-33, 48, 66-70, 72, 84-85, 89, 139, 147.</span></p><p class="c11"><span class="c4 c9">Weidner, Marsha (ed). </span><span class="c4 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting.</span><span class="c4"> </span><span class="c3">Honolulu: University of Hawai‘i Press, 1990, p. 14.</span></p><p class="c11"><span class="c4">Xu Shiduan. “</span><span class="c4">Guan</span><span class="c4"> Daogao” and “Guan Daosheng.” In Lily Xiao Hong Lee and Sue Wiles (eds). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DxqNsBgAAQBAJ%26pg%3DPA59%26lpg%3DPA59%26dq%3Dfan%2Bdaokun%26source%3Dbl%26ots%3DqyNY1LX3R2%26sig%3DACfU3U3rhItlE9YpHkN2nz1HfLkKIcGpLg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjkkrSI5LHqAhWXGc0KHZ-xAPwQ6AEwA3oECAkQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595823000&usg=AOvVaw0E8fe9SRETBPQrkeG4qkDd">Biographical Dictionary of Chinese Women</a></span><span class="c4 c17">. Tang through Ming 618-1644.</span><span class="c3"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, pp. 93-95 (her sister Guan Daogao, calligrapher and painter), 95-99.</span></p><a id="id.bgksimhlpjly"></a><h2 class="c1 c16" id="h.d50cv44swzaf"><span class="c7">Qiu Zhu / Miss Qiu / Duling Neishi (born Suzhou Prefecture, China; fl.1565-1585)</span></h2><p class="c12"><span class="c4">Daughter of a male artist; possibly married to another. Focused on figures, including the goddess Guanyin, and also some scenes of women at leisure. One of the depictions of the goddess – </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://emuseum.cornell.edu/view/objects/asitem/items$0040:37901&sa=D&ust=1597863595825000&usg=AOvVaw1w_fRh5PG-LuAFmUoBmswm">Guanyin and a falling child</a></span><span class="c4 c17"> - </span><span class="c4">in an album originally containing 24 such images is owned by the Herbert F. Johnson Museum of Art, Cornell University, painted in gold ink on dark dyed paper. She signed a fan painting in ink and color on gold-coated paper of </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://portlandartmuseum.us/mwebcgi/mweb.exe?request%3Drecord;id%3D54681;type%3D101&sa=D&ust=1597863595825000&usg=AOvVaw3scbousCHSwbO8kc-oRfUt">A Daoist Female Immortal, possibly Change E</a></span><span class="c4 c17">,</span><span class="c4"> now in the Portland Art Museum, and another, signed and dated 1626, of </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.christies.com/lotfinder/Lot/qiu-zhu-16th-century-3816097-details.aspx&sa=D&ust=1597863595826000&usg=AOvVaw1Y7alKAqUWgJSL_Jt0CyYb">Plum Blossoms and Peonies</a></span><span class="c4 c17">,</span><span class="c3"> was sold at Christie’s, Hong Kong, 29 Oct 2001.</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595826000&usg=AOvVaw0vImCtgwIfuwzc7svSItyE">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). “active in the mid Qing dynasty. Originally from Taicang, she lived in Wu Jun. Bound by the tight ethic and moral restrictions of feudal society, women painters enjoyed no equality in politics, nor independence in economics or freedom in marriage. Their painting skills attracted hardly any attention. The simple and repetitive records about them only appeared in more specialized books. As far as we know, Qiu Zhu was daughter of Qiu Ying, one of the four greatest painters of Wumen School. She watched her father’s artistic creation from childhood and gradually mastered painting techniques. Deeply influenced by Qiu Ying’s style of fine brushwork and dark colors in figure painting, she was good at painting beautiful ladies with subtle details and bright colors and was free from conventions and impulsiveness in her creation.” Reproduces a hanging scroll of </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/01-01.htm&sa=D&ust=1597863595827000&usg=AOvVaw0XjiRJudtmA1hqyXeuzD-D">Women’s Orchestra</a></span><span class="c4 c17">, </span><span class="c4">which is reproduced in larger format </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dpm.org.cn/collection/paint/233684.html&sa=D&ust=1597863595827000&usg=AOvVaw3z5JgSh8q0XMEK436jzBnz">here</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Laing, Ellen Johnston. “Wives, Daughters, and Lovers: Three Ming Dynasty Women Painters.” In Marsha Weidner (ed). </span><span class="c4 c17">Views from Jade Terrace.</span><span class="c3"> Honolulu: University of Hawai‘i Press, 1990, pp. 31-39.</span></p><p class="c11"><span class="c4">Lee, Lily Xiao Hong and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women</span><span class="c4 c17">. Tang through Ming 618-1644.</span><span class="c3"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, pp. 321-22.</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 70-72.</span></p><a id="id.vu4jc21ohgue"></a><h2 class="c1" id="h.4hnrtdectn0p"><span>Fan Daokun / Li Daokn / Madame Li (Chinese; late 16</span><span class="c21">th</span><span class="c7"> C)</span></h2><p class="c12"><span class="c3">Painter, esp of landscapes, and calligrapher in what is now Dongping, Shandong Province.</span></p><p class="c11"><span class="c4">Lin Yanqing. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DxqNsBgAAQBAJ%26pg%3DPA59%26lpg%3DPA59%26dq%3Dfan%2Bdaokun%26source%3Dbl%26ots%3DqyNY1LX3R2%26sig%3DACfU3U3rhItlE9YpHkN2nz1HfLkKIcGpLg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjkkrSI5LHqAhWXGc0KHZ-xAPwQ6AEwA3oECAkQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595829000&usg=AOvVaw1z9Y96A1yxNobm65nuNlFL">Fan Daokun</a></span><span class="c4">.” In Lily Xiao Hong Lee and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women. Tang through Ming 618-1644.</span><span class="c4"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, p. 59. “The Qing-dynasty compilation </span><span class="c4 c17">Minghua lu </span><span class="c3">called her one of two great female painters, one from the north and the other from the south” (the other was Fu Daokun), saying of her work “Her landscapes are beautiful and unrestrained, much like the work of a scholar. Her studies of both flowers and birds are excellent.” And “the Ming-dynasty art critic Wang Keyu (1587-1645) said of her: ‘Fan Daokun models her landscape drawings on those of [the celebrated Yuan-dynasty painter] Ni Zan [1301-1374]. Her style is elegant and graceful, as is appropriate for women who pursue painting as an art.’”</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 26, 95.</span></p><a id="id.tz5v5gfsicv9"></a><h2 class="c1" id="h.gyhoc9oklprp"><span class="c7">Ma Shouzhen / Ma Xiangian / Yuejiao (born Nanjing; c.1548-1604)</span></h2><p class="c12"><span class="c4 c24">Courtesan, poet, painter and composer. She often focused on orchids; see </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.metmuseum.org/art/collection/search/48932&sa=D&ust=1597863595831000&usg=AOvVaw0gIkITswHRi0uNEr59yj-3">Orchid and Rock </a></span><span class="c4 c24">in the Metropolitan Museum, New York (signed and dated 1572), and a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artgallery.yale.edu/collections/objects/57361&sa=D&ust=1597863595831000&usg=AOvVaw1T8d6ZqW8Y_MAHZKeFDJeU">fan with orchids</a></span><span class="c4 c24">, (1604) in the Yale University Art Gallery.</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595832000&usg=AOvVaw0ctXi7IpLsU6gj4IQtkJiG">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). She was “a native of Nanjing and became a famous courtesan there. Intelligent and resourceful, she was expert in poetry and painting and paid more attention to righteousness than wealth. In close contacts with literati, she was on more intimate terms with Wang Zhideng. Celebrated in South China for her consummate skills in painting orchid, she called herself ‘Ma Xianglan’ (Orchid Ma). Her works attach slight importance to meticulous delineation of orchid’s appearance and stress expression of its spirit so as to show her refined taste. With natural grace and rustic charm, the orchids in her works share a lot of similarities with the flowers created by male literati painters, esp. the painters of Wumen School like Wen Zhengming, and reflect that courtesan painters followed the steps and inherited the traditions of male literati painters.” </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/04-01.htm&sa=D&ust=1597863595832000&usg=AOvVaw1n4v4LjBsm0Cutx_zDv-T9">Three of her works</a></span><span class="c3"> are reproduced from the collection.</span></p><p class="c26 c104"><span class="c4 c24">“Ma Shouzhen.” </span><span class="c4">In Lily Xiao Hong Lee and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women</span><span class="c4 c17">. Tang through Ming 618-1644.</span><span class="c3"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, pp. 284-86.</span></p><p class="c11"><span class="c4">Merlin, Monica. “The Nanjing Courtesan Ma Shouzhen (1548–1604): Gender, Space and Painting in the Late Ming Pleasure Quarter.” </span><span class="c4 c17">Gender & History</span><span class="c3"> 23 no 3 (2011): 630-52.</span></p><p class="c55 c16 c48"><span class="c4">Tseng, Yuho</span><span class="c4">. “Women Painters of the Ming Dynasty.” </span><span class="c4 c17">Artibus Asiae </span><span class="c3">53 nos 1-2 (1993): 249-61.</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 72-81.</span></p><a id="id.qlt5zngx2sor"></a><h2 class="c1" id="h.9my84htw5hid"><span class="c7">Xue Susu / Xue Wu / Xuesu / Sunjung (Chinese; c.1564-by 1652)</span></h2><p class="c12"><span class="c4">Courtesan, poet, archer, embroiderer, and painter, especially of figures. A </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://searchcollection.asianart.org/view/objects/asitem/search@/1?t:state:flow%3Dccd3c464-4fad-4eac-b238-9d845632c0b1&sa=D&ust=1597863595835000&usg=AOvVaw0yBjROHw8GOJFEk8A4AYBj">handscroll of flowers</a></span><span class="c3">, dated 1615, is in the Asian Art Museum, San Francisco.</span></p><p class="c12"><span class="c4">Berg, </span><span class="c4 c13 c14">Daria. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/592074/Daria_Berg._Amazon_Artist_and_Adventurer_A_Courtesan_in_Late_Imperial_China_&sa=D&ust=1597863595835000&usg=AOvVaw1cNMQ4szucWMW2hRg3rwzl">Amazon, Artist, and Adventurer: A Courtesan in Late Imperial China</a></span><span class="c4 c13 c14">.” In Kenneth J. Hammond and Kristin Stapleton (eds.) </span><span class="c4 c13 c14 c17">The Human Tradition in Modern China.</span><span class="c4 c13 c14"> Lanham: Rowman & Littlefield, 2008, pp. 19-30</span><span class="c3">.</span></p><p class="c12"><span class="c4">Berg, </span><span class="c4 c13 c14">Daria. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/410038/Daria_Berg._Cultural_Discourse_on_Xue_Susu_a_Courtesan_In_Late_Ming_China_IJAS_6.2_2009_171-200&sa=D&ust=1597863595836000&usg=AOvVaw2u63H7O0Yhlo4Af0zffBZE">Cultural Discourse on Xue Susu, a Courtesan in Late Ming China</a></span><span class="c4 c13 c14">.” </span><span class="c4 c13 c14 c17">International Journal of Asian Studies </span><span class="c22 c4 c13 c14">6 no 2 (2009): 171-200. </span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595837000&usg=AOvVaw0tWHCTDQ8U_3y99gselRK_">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). “Expert in poetry, essay, calligraphy, painting, </span><span class="c4 c17">xiao</span><span class="c4"> (a vertical bamboo flute), </span><span class="c4 c17">weiqi</span><span class="c4"> (a game played with black and white pieces on a board of 361 crosses), horsemanship and embroidery, she was a pretty and versatile courtesan in South China. Owing to her artistic attainments, she could leisurely respond to literati’s poems or paintings. As Hu Yinglin pointed out, ‘she is especially skilled in painting orchid and bamboo. Her brush dashes rapidly and all her paintings are full of spirit. They are even superior to those of most professional painters.’” Reproduces </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/06-01.htm&sa=D&ust=1597863595837000&usg=AOvVaw0Cco5jWHnrIXzSJarzlepU">three works</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Weidner, Marsha (ed). </span><span class="c4 c17">Views from Jade Terrace.</span><span class="c4"> </span><span class="c3">Honolulu: University of Hawai‘i Press, 1990, pp. 82-88.</span></p><p class="c11"><span class="c4">Wetzel, Jean. “Hidden Connections: Courtesans in the Art World of the Ming Dynasty.” </span><span class="c4 c17">Women’s Studies</span><span class="c4"> 31 no 5 (September/October 2002): 645-69.</span></p><a id="id.8z4vg9egfwgq"></a><h2 class="c1" id="h.kvkdzh9ir7m7"><span class="c7">Fu Daokun (Chinese; fl. 1626)</span></h2><p class="c12"><span class="c3">Famed as a copyist and for landscapes; recognized for her talent by contemporaries.</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595839000&usg=AOvVaw1bvuYgE3nH3WhgVUNwUphj">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). She was “a native of Kuaiji. Influenced by the fine cultural environment of her family, she liked calligraphy and was good at painting. According to Wusheng Shi Shi (</span><span class="c4 c17">The History of Wordless Poetry)</span><span class="c3"> by Jiang Shaoshu of the Ming dynasty, ‘She was especially strong in landscape. Besides, she copied the famous Tang and Song paintings so vividly that the brush idea was fresh and graceful and the spirit was lively. All compared her to Madam Guan.’”</span></p><p class="c12"><span class="c4">Lin Yanqing. “Fu Daokun.” In Lily Xiao Hong Lee and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women. Tang through Ming 618-1644.</span><span class="c4"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DCw0pAwAAQBAJ%26printsec%3Dfrontcover%26dq%3DBiographical%2BDictionary%2Bof%2BChinese%2BWomen,%2BVolume%2BII:%2BTang%2BThrough%2BMing%2B618%2B...%26hl%3Dsv%26sa%3DX%26ved%3D0ahUKEwi87rHluq_MAhULD5oKHcfQDgsQ6AEIJDAA%23v%3Donepage%26q%3Dfu%2520daokun%26f%3Dfalse&sa=D&ust=1597863595840000&usg=AOvVaw1gMb5F-AZz4H-lDQeHUr6A">p. 76</a></span><span class="c3">. “Only her female relative and close family members could persuade her to paint for them.”</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 84-85.</span></p><a id="id.w0bgedr8hcph"></a><h2 class="c1 c16" id="h.w45x92dgyi3n"><span class="c50">Wen Shu / Hanshan / Duanrong</span><span> </span><span class="c7">(Chinese; 1595-1634)</span></h2><p class="c12"><span class="c4">Daughter, grand-daughter, sister and wife of male painters; painted flowers, and insects; taught female assistants. An </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.christies.com/lotfinder/Lot/wen-shu-1595-1634-insects-birds-and-flowers-6000787-details.aspx&sa=D&ust=1597863595841000&usg=AOvVaw1MnZtdAYWnS7KRe7ckC8S9">album of twelve leaves</a></span><span class="c3">, on silk, sold at Christie’s, 30 May 2016.</span></p><p class="c12"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595842000&usg=AOvVaw0GE7JvPK8gnN-FE9gxac53">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). </span><span class="c4 c17"> </span><span class="c4">She “was a native of Changzhou, daughter of Wen Congjian and great-great-granddaughter of Wen Zhengming. She was strong in flowers, grass, insects and butterfly. Flower and bird was the most popular subject matter of women painters. Out of subtle feelings and partiality for flowers and birds peculiar to women and because of the artistic function of flowers and birds in expressing aspiration by means of depicting nature, the women painters living in boudoirs depicted flowers and birds commonly seen in their life and the artistic creation of flowers and birds formed a certain scale. Wen was one of the most representative painters in this field. At the end of the Ming dynasty, Qian Qianyi highly appraised Wen Shu by saying that ‘dot and wash techniques in her still life paintings are unique in this dynasty.’ In his Guochao Huazheng Xulu (Sequel Record of the Qing Paintings), Zhang Geng even set a higher value on Wen Shu: ‘among the Wuzhong women skilled in painting in the past 300 years, Wen Shu is the most superb one.’” Reproduces </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/07-01.htm&sa=D&ust=1597863595843000&usg=AOvVaw2ijso3ePH-pca9kV6eoWRL">several works</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Laing, Ellen Johnston. “Wives, Daughters, and Lovers: Three Ming Dynasty Women Painters.” In Marsha Weidner (ed). </span><span class="c4 c17">Views from Jade Terrace.</span><span class="c3"> Honolulu: University of Hawai‘i Press, 1990, pp. 31-39.</span></p><p class="c11"><span class="c4">Lee, Lily Xiao Hong and Sue Wiles (eds). </span><span class="c4 c17">Biographical Dictionary of Chinese Women. Tang through Ming 618-1644.</span><span class="c3"> Hong Kong: University of Hong Kong Libraries and London: M.E. Sharpe, 2014, p. 444.</span></p><p class="c12"><span class="c4">Lee, Sylvia W. S. “Co-Branding a </span><span class="c4 c17">Cainü </span><span class="c4">and a Garden: How the Zhao Family Established Identities for Wen Shu (1595–1634) and Their Garden Residence Hanshan.” </span><span class="c4 c17">nan nü</span><span class="c4 c17">: Men, Women, and Gender in China </span><span class="c3">18 no 1 (2016): 49-83.</span></p><p class="c11"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis:Indianapolis Museum of Art, 1988, pp. 53-65.</span></p><p class="c11"><span class="c4 c9">Weidner, Marsha (ed). </span><span class="c4 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting.</span><span class="c3"> Honolulu: University of Hawai‘i Press, 1990.</span></p><p class="c12"><span class="c4 c13 c14">“Wen Shu, 1595-1634.” </span><span class="c4 c17">Artibus Asiae</span><span class="c4"> 53 nos 1-2 (1993): 259-61.</span></p><a id="id.8mgnynbvd9aj"></a><h2 class="c1" id="h.b5yt3huacw84"><span class="c7">Li Yin / Jinsheng / Shi’an / Kanshan Nüshi (born Shaoxing; 1616-1685)</span></h2><p class="c12"><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://www.cpr.cuhk.edu.hk/en/events_detail.php?id%3D13696%26t%3Dher-distinguished-brushwork-an-exhibition-featuring-paintings-by-the-seventeenth-century-artist-li-yin&sa=D&ust=1597863595845000&usg=AOvVaw1rPnl4SzVwpiFZHJxt16E4">Her Distinguished Brushwork</a></span><span class="c4 c13 c17">. An Exhibition Featuring Paintings by the Seventeeth-Century Artist Li Yin.</span><span class="c3 c13"> Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, 2017.</span></p><p class="c12"><span class="c4 c13">Li-chou. Colophon to the handscroll </span><span class="c4 c13 c17">Flowers of the Four Seasons</span><span class="c4 c13"> (c. 1685), on the painter Li Yin. Translated into English in </span><span class="c4">Julia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009.</span></p><p class="c12"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c4">Indianapolis: Indianapolis Museum of Art, 1988, pp. 102-05.</span></p><a id="id.mm1s70pgmbxx"></a><h2 class="c1" id="h.kov19ryh6h9d"><span class="c7">Liu Yin / Liu Shi / Liu Shih / Liu Rushi / Liu Ju-shih (Chinese courtesan, poet, and painter; 1618–64)</span></h2><p class="c47"><span class="c4 c9">Courtesan, poet and painter. </span><span class="c4">Her scroll </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://asia.si.edu/object/F1993.6a-o/&sa=D&ust=1597863595847000&usg=AOvVaw2yG-SG6CAefYS7zesTEPu0">Landscape with Figures</a></span><span class="c4 c17"> </span><span class="c4">is in the Freer Gallery of Art.</span></p><p class="c12 c88"><span class="c4 c9">Cahill, James. “The Painting of Liu Yin.” In Marsha Weidner (ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting</span><span class="c22 c4 c9">. Honolulu: University of Hawai‘i Press, 1990, pp. 103-21.</span></p><p class="c12 c88"><span class="c4">Lee, Hui-shu. “Voices from the Crimson Clouds Library: Reading Liu Rushi’s (1618–1664) </span><span class="c4 c17">Misty Willows by Moonlit Dike</span><span class="c4">.” </span><span class="c4 c17">Journal of Chinese Literature and Culture</span><span class="c3"> 2 no 1 (April 2015): 173-206.</span></p><p class="c12 c88"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/09-01.htm&sa=D&ust=1597863595848000&usg=AOvVaw1aGcLVBtDkAfE1pN_x1UoH">Liu Rushi</a></span><span class="c4">.” In “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595849000&usg=AOvVaw192hNM3woEB0T0W8Ipzwlv">Fine Works of the Ming and Qing Women Painters</a></span><span class="c3">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). “once a courtesan in Nanjing and later became concubine of the celebrated poet Qian Qianyi. Conversant with literature and skilled in calligraphy and painting, she was an intimate friend of Huang Yuanjie. Although she was a talented painter, few works of hers are extant today.” </span></p><p class="c12"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, pp. 99-102.</span></p><h2 class="c1" id="h.xya0renn2g3f"><span>Kiyohara </span><a id="id.orj2vu9fbpit"></a><span class="c13 c32">Yukinobu</span><span class="c7"> (Japanese painter; 1643-1682)</span></h2><p class="c12"><span class="c22 c4 c9">Works by her are in various collections, including the Cleveland Museum of Art, the Harvard At Museums, the Indianapolis Museum of Art, the Los Angeles County Museum of Art, Metropolitan Museum of Art (New York), and the Minneapolis Institute of Art.</span></p><p class="c12"><span class="c4 c9">Fister, Patricia. </span><span class="c4 c17">Japanese Women Artists, 1600-1900.</span><span class="c3"> Exh.cat. Lawrence: Spencer Museum of Art, 1988, pp. 33-34 and passim.</span></p><p class="c12"><span class="c4">Weidner, Marsha </span><span class="c4 c9">(ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting. </span><span class="c4 c9">Honolulu: University of </span><span class="c4">Hawai‘i</span><span class="c22 c4 c9"> Press, 1990.</span></p><a id="id.nzx2tgsxyp8s"></a><h2 class="c1" id="h.qv6vqdwkotai"><span class="c7">Chen Shu / Nanlou / Shangyuan Dizi / Nanlou Laoren (born Xiuzhou; 1660-1735)</span></h2><p class="c12"><span class="c22 c4 c9">Daughter of a male artist. Regarded as the first woman painter of the Qing dynasty (1636-1912). Her depictions of landscapes, flowers and birds found Imperial favour and are today in major public collections.</span></p><p class="c12"><span class="c4 c9">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/EXPLORE/artworks/1340.html&sa=D&ust=1597863595851000&usg=AOvVaw2yKEDrDwhU0EU8KN-7xZdU">Fine Works of the Ming and Qing Women Painters</a></span><span class="c4 c9">.” Online exhibition, Palace Museum, Beijing (accessed 3 July 2020). Includes: “Qian Chenqun, her eldest son, rose to the position of Vice Minister of the Board of Punishments. Owing to his strong recommendation, Emperor Qianlong pretty admired her works. Therefore, she was better represented in the imperial collection than any other woman painter in Chinese history. Chen Su was noted for her extensive subject matters. Careful and meticulous, her figure paintings are characterized by fine brushwork and dark colors while her landscape and flower-and-bird paintings are literati paintings with free brushwork and graceful taste.” </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.dpm.org.cn/www_oldweb/English/E/E9/14-01.htm&sa=D&ust=1597863595852000&usg=AOvVaw1UulcH3WV6NdXjWnvfGxi3">Six works</a></span><span class="c22 c4 c9"> are exhibited.</span></p><p class="c12"><span class="c4 c9">Lu, Ling-en. “Talented Brushes in the Garden: Four Qing Dynasty Women Painters.” </span><span class="c4 c9 c17">Orientations </span><span class="c22 c4 c9">42 no 7 (2011)</span></p><p class="c12"><span class="c4 c9">Weidner, Marsha (ed). </span><span class="c4 c9 c17">Flowering in the Shadows: Women in the History of Chinese and Japanese Painting.</span><span class="c4 c9"> </span><span class="c22 c4 c9">Honolulu: University of Hawai‘i Press, 1990. </span></p><a id="id.7j0xqbijbxc1"></a><h2 class="c1" id="h.2li0lv40wry2"><span>Ma Ch’üan / Ma Quan / Jiangxiang (Chinese painter of birds and flowers; late 17</span><span class="c21">th</span><span>-18</span><span class="c21">th</span><span class="c7"> C)</span></h2><p class="c12"><span class="c4 c9">Ayscough, Florence. </span><span class="c4 c17">Chinese Women: Yesterday and Today</span><span class="c3">. Boston: Houghton Mifflin, 1937, pp. 210-13.</span></p><p class="c12"><span class="c4">Weidner, Marsha et al. </span><span class="c4 c17">Views from Jade Terrace: Chinese Wome</span><span class="c4 c9 c17">n Artists, 1300–1912</span><span class="c4 c9">. Exh.cat. </span><span class="c3">Indianapolis: Indianapolis Museum of Art, 1988, p. 133 and passim.</span></p><p class="c55 c16 c56 c48"><span class="c3"></span></p><a id="kix.g34oofczcc3x"></a><h1 class="c77 c66 c107" id="h.nt2iwgs7on04"><span>Women Artists and Patrons: The Americas</span><span> </span><span class="c52">(including indigenous women)</span></h1><p class="c12"><span class="c4">Berry, Carolyn. “Quill Art.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595854000&usg=AOvVaw2hdHJG_resSFGZftFc-2Tx">Heresies </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595855000&usg=AOvVaw0hYNQISGDSiznaU6iE9eRe">4</a></span><span class="c3"> (Spring 1978): 112-13. “Quillwork, the decoration of animal skins with dyed and natural porcupine quills, was unique to North American Indian culture and practiced only by women.”</span></p><p class="c12 c88"><span class="c4">Córdova, James M. “Clad in Flowers: Indigenous Arts and Knowledge in Colonial Mexican Convents.” </span><span class="c4 c17">Art Bulletin </span><span class="c3">93 no 4 (2011): 449-67.</span></p><p class="c11"><span class="c4">Córdova, James M. </span><span class="c4 c17">The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent.</span><span class="c3"> Austin: University of Texas Press, 2014. Rev:</span></p><p class="c26 c88"><span class="c4">Magali Carrera.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=http://www.caareviews.org/reviews/2380%23.XxlZ8_hKhna&sa=D&ust=1597863595856000&usg=AOvVaw22MPCnouy6Ztdf1RwtDVIp"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.caareviews.org/reviews/2380%23.XxlZ8_hKhna&sa=D&ust=1597863595856000&usg=AOvVaw22MPCnouy6Ztdf1RwtDVIp">caa reviews</a></span><span class="c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.caareviews.org/reviews/2380%23.XxlZ8_hKhna&sa=D&ust=1597863595856000&usg=AOvVaw22MPCnouy6Ztdf1RwtDVIp"> </a></span><span class="c4"><a class="c8" href="https://www.google.com/url?q=http://www.caareviews.org/reviews/2380%23.XxlZ8_hKhna&sa=D&ust=1597863595857000&usg=AOvVaw1-3fHRH_i8NuFBsL2AP9HR">(posted 9 April 2015) </a></span></p><p class="c12"><span class="c4 c13 c14">Establés Susán, Sandra. </span><span class="c4 c13 c14 c17">Diccionario de mujeres impresoras y libreras de España e Iberoamérica entre los siglos XV y XVIII.</span><span class="c22 c4 c13 c14"> Zaragoza: Prensas de la Universidad de Zaragoza, 2018. Dictionary of women printers and booksellers from Spain and Latin America, who were often widows of men in the trade or otherwise had family connections. See, for instance, “Basilea, Isabel de,” pp. 204-07 for the first woman printer in Spain (1500-1562). See the “Índice de lugares y cronológico,” pp. 548-62 for names of the women arranged chronologically by place.</span></p><p class="c12"><span class="c4 c13 c24">Garone Gravier, Marina. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://core.ac.uk/download/pdf/38982773.pdf&sa=D&ust=1597863595857000&usg=AOvVaw24YnFA_bNmkbPCHlMsrrhP">Impresoras hispanoamericanas: un estado de la cuestión</a></span><span class="c4 c13 c24">.” </span><span class="c2 c13">Boletín de la Real Academia de Buenas Letras de Barcelona</span><span class="c4 c13 c24"> 51 (2007): 451-71. See for women as owners of typographic print presses and print shops in South America.</span></p><p class="c11"><span class="c4">Giffords, Gloria Fraser, et al. </span><span class="c4 c17">The Art of Private Devotion: Retablo Painting of Mexico.</span><span class="c3"> Fort Worth: InterCultural and Dallas: Meadows Museum, 1991.</span></p><p class="c11"><span class="c4">Hammer, Kirsten. “</span><span class="c4 c17">Monjas Coronadas</span><span class="c4">: The Crowned Nuns of Viceregal Mexico.” In </span><span class="c4 c17">Retratos. 2,000 Years of Latin American Portraits. </span><span class="c3">New Haven: Yale University Press, 2004, pp. 86-101.</span></p><p class="c11"><span class="c4">Harbeson, Georgiana Brown. </span><span class="c4 c17">American Needlework. The history of decorative stitchery and embroidery from the late 16th to the 20th century.</span><span class="c3"> New York: Coward-McCann, 1938. </span></p><p class="c11"><span class="c4 c13 c14">Kennedy Troya, Alexandra. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/39750290/_Mujeres_en_los_claustros_artistas_mecenas_y_coleccionistas_&sa=D&ust=1597863595859000&usg=AOvVaw0DE6HgRUjfQP7QW7fcIFPa">Mujeres en los claustros: Artistas, mecenas y coleccionistas</a></span><span class="c4 c13 c14">.” In Alexandra Kennedy (ed). </span><span class="c4 c13 c14 c17">Arte de la Real Audiencia de Quito, siglos XVII-XIX.</span><span class="c4 c13 c14"> Hondarribia: Nerea, 2002, pp. 109-27. Mainly after c. 1700.</span></p><p class="c11"><span class="c4">Leme, Mariana et al (eds). “Andes, </span><span class="c4">Pre-Columbian America.” </span><span class="c4 c17">Women’s Histories, Feminist Histories</span><span class="c3">. São Paulo: MASP, Museu de Arte de São Paulo Assis Chateaubriand, 2019, pp. 44-45.</span></p><p class="c11"><span class="c4">“Political Fabrications: Women’s Textiles in 5 Cultures.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595860000&usg=AOvVaw0WFdGU2HTYRXycuk3hMG8z">Heresies </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://heresiesfilmproject.org/wp-content/uploads/2011/10/heresies4.pdf&sa=D&ust=1597863595860000&usg=AOvVaw0WFdGU2HTYRXycuk3hMG8z">4</a></span><span class="c3"> (Spring 1978): 28-35. Navajo, North-west Coast Chilkat Indian, New Zealand Maori, pre-conquest Peruvian, and Western European.</span></p><a id="id.xkbymls1f6zi"></a><h2 class="c1" id="h.as88jindxoy"><span class="c7">Sor Juana Inés de la Cruz (born near Mexico City; nun, writer, possibly a miniaturist and self-portraitist; 1648-1695)</span></h2><p class="c11"><span class="c4">Perry, Elisabeth. “Sor Juana </span><span class="c4 c17">Fecit</span><span class="c4">: Sor Juana Inés de la Cruz and the Art of Miniature Painting.” </span><span class="c4 c17">Early Modern Women</span><span class="c3"> 7 (2012): 3-32.</span></p><p class="c11"><span class="c4">Tapia Méndez, Aureliano. “El autorretrato y los retratos de Sor Juana Inés de la Cruz.” In </span><span class="c4 c17">Sor Juana Inés de la Cruz y el pensamiento novohispano.</span><span class="c4"> Toluca: Instituto Mexiquense de Cultura, 1995), pp. 433-64.</span></p><a id="id.aecwla1u20rh"></a><h2 class="c1" id="h.uikefj5lnbgr"><span class="c7">Isabel de Cisneros / de Santiago (born in Ecuador; painter; c.1666/70-c.1714)</span></h2><p class="c12"><span class="c4">Legage, A. “Isabel de Cisneros in Her Own Role.” In </span><span class="c4 c13 c14">Kellen Kee McIntyre and Richard E. Phillips (eds). </span><span class="c4 c13 c14 c17">Women and Art in Early Modern America</span><span class="c22 c4 c13 c14">. Leiden: Brill, 2006, pp. 395-418.</span></p><p class="c12"><span class="c4">Martín Martín, Inmaculada. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.researchgate.net/publication/28240255_Isabel_de_Santiago_una_pintora_quitena_del_siglo_XVII/link/5588fa1c08aeb716bcd01c09/download&sa=D&ust=1597863595863000&usg=AOvVaw1J-0Lxy0DXtJQhGOGaOPRl">Isabel de Santiago: una pintora quiteña del siglo XVII</a></span><span class="c4">.” </span><span class="c4 c17">De arte: revista de historia del arte</span><span class="c4"> 7 (2008): 129-52. </span></p><a id="kix.fd156s520dvh"></a><h1 class="c77 c66" id="h.qzn1afaqs5ac"><span class="c7">Women Artists and Patrons: Islamic Cultures</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">Al-Munajjid, Salah al-Din. “Women’s Roles in the Art of Arabic Calligraphy.” In George Nicholas Atiyeh (ed). </span><span class="c4 c17">The Book in the Islamic World: The Written Word and Communication in the Middle East</span><span class="c3">. Albany: State University of New York Press, 1995, pp 141-49.</span></p><p class="c11"><span class="c4">Anderson, Glaire D. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/1435648/_Concubines_Eunuchs_and_Patronage_in_Early_Islamic_C%25C3%25B3rdoba_In_Reassessing_Women_s_Roles_as_Makers_of_Medieval_Art_and_Architecture_Brill_2012_&sa=D&ust=1597863595864000&usg=AOvVaw2Mxd9qTggbEq7gpZllaFdC">Concubines, Eunuchs, and Patronage in Early Islamic Córdoba</a></span><span class="c4">.” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c3">Vol. 2. Leiden: Brill, 2012, pp. 633-70.</span></p><p class="c11"><span class="c4">Anderson, Glaire D. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/18927820/_A_Mothers_Gift_Astrology_and_the_Pyxis_of_al-Mughira_In_Journal_of_Medieval_History._Special_Issue_Therese_Martin_ed._Me_Fecit._Making_Medieval_Art_History_42_no._1_January_2016_107-30&sa=D&ust=1597863595865000&usg=AOvVaw1lEmz4EtAPrxfJ3I-4xEUY">A Mother’s Gift? Astrology and the Pyxis of al-Mughīra</a></span><span class="c4">.” </span><span class="c4">In Therese Martin (ed). </span><span class="c4 c17">‘Me fecit.’ Making Medieval Art (History)</span><span class="c4">.</span><span class="c4"> Special issue, </span><span class="c4 c17">Journal of Medieval History </span><span class="c4">42 no 1 (2016): 107-30.</span></p><p class="c33 c16"><span class="c4 c24">Anderson, Glaire D. and Mariam Rosser-Owen. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/18579411/Great_Ladies_and_Noble_Daughters_Ivories_and_Women_in_the_Umayyad_Court_at_C%25C3%25B3rdoba&sa=D&ust=1597863595866000&usg=AOvVaw1lCRp0V_sJnnglkWmk21aI">Great Ladies and Noble Daughters: Ivories and Women in the Umayyad Court at Córdoba</a></span><span class="c4 c24">.” In Amy Landau (ed). </span><span class="c2">Pearls on a String: Art in the Age of Great Islamic Empires</span><span class="c4 c24">. Seattle: University of Washington Press, 2015, pp. 28–51.</span></p><p class="c11"><span class="c4 c17">As</span><span class="c2">ian Art.</span><span class="c4 c24"> Special issue: “Patronage by women in Islamic art.” 6 no 2 (Spring 1993). Includes N. Sadek, “In the Queen of Sheba’s footsteps. Women patrons in Rasulid Yemen” (pp. 14-27); Roya </span><span class="c4">Marefat, “Timurid Women: Patronage and Power” (pp. 28-49); </span><span class="c4 c24">Ülkü Bates, “The architectural patronage of Ottoman women” (pp. 50-65).</span></p><p class="c11"><span class="c4">Babaie, Sussan. “Chasing After the Muhandis: Visual Articulations of the Architect and Architectural Historiography.” In Kishwar Rizvi (ed). </span><span class="c4 c17">Affect, Emotion, and Subjectivity in Early Modern Muslim Empires: New Studies in Ottoman, Safavid, and Mughal Art and Culture</span><span class="c3">. Leiden: Brill, 2017, pp. 21-44. Includes architects who worked for female patrons.</span></p><p class="c11 c13"><span class="c4 c24">Bates, Ülkü. “Women as patrons of architecture in Turkey.” In Lois Beck and Nikki Keddie (eds). </span><span class="c2">Women in the Muslim world</span><span class="c19 c4">. Cambridge, MA: Harvard University Press, 1978, pp. 245–60.</span></p><p class="c11 c13"><span class="c4 c24">Blair, Sheila S. “Islamic Art as a Source for the Study of Women in Premodern Societies.” In Amira El-Azhany Sonbol (ed). </span><span class="c2">Beyond the Exotic: Women’s Histories in Islamic Societies.</span><span class="c19 c4"> Syracuse: Syracuse University Press, 2005, pp. 336-46. Chiefly on representation, but also comments on patronage.</span></p><p class="c11 c13"><span class="c4 c24">Blake, S. P. “Contributors to the urban landscape. Women builders in Safavid Isfahan and Mughal Shahjahanabad.” In G. R. Gavin Hambly (ed). </span><span class="c2">Women in the medieval Islamic world. Power, patronage, and piety</span><span class="c19 c4">. New York: St Martin’s Press, 1998, pp. 407-28.</span></p><p class="c11 c13"><span class="c4 c13 c14">Das, Asok Kumar. </span><span class="c4 c13 c14 c17">Mughal Painting during Jahangir’s Time.</span><span class="c22 c4 c13 c14"> Calcutta: Asiatic Society, 1978, pp. 46, 54-55, 66 n. 39, 98 n. 31, 234-36.</span></p><p class="c11 c13"><span class="c4 c13 c14">Díez Jorge, María Elena. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/5125860/D%25C3%258DEZ_JORGE_Ma_Elena._Women_and_the_Architecture_of_al-Andalus_711-1492_A_Historiographical_Analysis&sa=D&ust=1597863595869000&usg=AOvVaw1VWJRxm6PDwSNRTJ_HUhOZ">Women and the Architecture of al-Andalus (711–1492): A Historiographical Analysis</a></span><span class="c4 c13 c14">.</span><span class="c4">” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c4">Vol. 2. Leiden: Brill, 2012, pp. 479-521.</span></p><p class="c11 c13"><span class="c4 c13 c14">El-Shorbagy, Abdel-Moniem. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://doi.org/10.1080/23311983.2020.1741984&sa=D&ust=1597863595870000&usg=AOvVaw018RzVVYe0HlWlUQIUZIij">Women in Islamic architecture: towards acknowledging their role in the development of Islamic civilization</a></span><span class="c4 c13 c14">.” </span><span class="c4 c13 c14 c17">Cogent Arts & Humanities </span><span class="c4 c13 c14">7 no 1 (2020).</span><span class="c4 c13 c14"><a class="c8" href="https://www.google.com/url?q=https://doi.org/10.1080/23311983.2020.1741984&sa=D&ust=1597863595870000&usg=AOvVaw018RzVVYe0HlWlUQIUZIij"> </a></span><span class="c4 c13 c14">Includes Fatima al-Fihri (800-880) rebuilding and extending the “Mosque-university” in Fez (859-877); her sister Mariam building another mosque around the same time; Dhayfa Khatun (1185-1242), wife of Aleppo’s ruler (1236-42), building several schools; Hurrem Sultan’s bathhouse (1557); Mama Hatun building a </span><span class="c4 c13 c14 c17">serai</span><span class="c22 c4 c13 c14"> during her rule of the Saltukid dynasty (1191-1200); Turan Melek Sultan building the hospital of Divrigi (c. 1228); various women contributing to funerary architecture; Zubaydah bint Abu Ja’far al-Mansur (766-831; daughter and wife of caliphs in Baghdad) building service points with water wells along a major pilgrimage route; Nur Jahan (1577-1645) creating many gardens.</span></p><p class="c11"><span class="c4">Golombek, Lisa and Donald Wilber. </span><span class="c4 c17">The Timurid Architecture of Iran and Turan</span><span class="c3">. 2 vols. Princeton: Princeton University Press, 1988. There are sections under “women patrons.”</span></p><p class="c11"><span class="c4">Harithy, Howayda. “Female patronage of Mamluk architecture in Cairo.” </span><span class="c4 c17">Harvard Middle Eastern and Islamic Review</span><span class="c3"> 1 no 2 (1994): 152-74.</span></p><p class="c11 c13"><span class="c4 c24">Humphreys, R. Stephen. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/publications/3057&sa=D&ust=1597863595871000&usg=AOvVaw0oDH6txOktXc37Wzr6nSYf">Women as architectural patrons of religious architecture in Ayyubid Damascus</a></span><span class="c4 c24">.” </span><span class="c2">Muqarnas</span><span class="c4 c24"> 11 (1994): 35-54. [12</span><span class="c4 c24 c21">th</span><span class="c4 c24">-13</span><span class="c4 c24 c21">th</span><span class="c19 c4"> centuries] </span></p><p class="c11"><span class="c4">Martin, Therese. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17281556/_Contribuciones_del_mecenazgo_multicultural_a_la_autoridad_de_las_%25C3%25A9lites_femeninas_en_la_pen%25C3%25ADnsula_ib%25C3%25A9rica_siglos_x-xi_in_Arquitectura_y_mujeres_en_la_historia_ed._M.E._D%25C3%25ADez_Jorge_Madrid_2015_pp._115-144&sa=D&ust=1597863595872000&usg=AOvVaw3Crx77KBhgZYhFa8axcFJ2">Contribuciones del mecenazgo multicultural a la autoridad de las élites femeninas en la península ibérica (ss. X-XI)</a></span><span class="c4">.” In M.E. Díez Jorge (ed). </span><span class="c4 c17">Arquitectura y mujeres en la historia,</span><span class="c3"> Madrid: Editorial Síntesis, 2015, pp. 115-44. </span></p><p class="c11"><span class="c4">Micklewright, Nancy. “Arts: Visual Arts and Artists: Ottoman Empire.” In Suad Joseph (ed). </span><span class="c4 c17">Encyclopedia of Women and Islamic Cultures.</span><span class="c4"> Leiden: Brill, 2003-. An online source available via libraries that subscribe. (accessed 13 May 2020). “</span><span class="c4 c24">There is absolutely no evidence in the extensive surviving court documents that women were involved in artistic production at the Ottoman court.</span><span class="c4"> … </span><span class="c19 c4">Works similar to those commissioned by the court, but of a lesser quality and reduced cost, were made by urban artists working within a guild system, for private patrons or for sale in the bazaars. Documentation concerning these artists is extremely limited, but it is possible that talented wives or daughters would have been involved in the production of such goods in home workshops. Legal documents reveal that some urban women owned weaving shops or produced embroidery and other textiles, both in workshops and out of their homes. An illuminated Qurʾān in the collection of the Konya Mevlana Museum signed by Fatima binti Maksud and dated 1544 is the only work known by a women calligrapher prior to the eighteenth century, but it is possible that other women studied calligraphy with their male relatives at home and produced work which has not survived. Outside major urban centers women were involved in textile production, weaving fine carpets and sewing luxurious embroideries for domestic use, but also for sale.”</span></p><p class="c11"><span class="c4 c24">Misra, Rekha. </span><span class="c2">Women in Mughal India (1526-1748).</span><span class="c4 c24"> Delhi: Munshiram Manoharlal, 1967. “Painting,” p. 92; “Decoration,” p. 93; “Construction and Supervision of Buildings,” pp. 110-12; Gardens, pp. 112-13.</span></p><p class="c11"><span class="c4">Özgüles, Muzaffer. </span><span class="c4 c17">The Women Who Built the Ottoman World: Female Patronage and the Architectural Legacy of Gülnuş Sultan</span><span class="c3">. London: I.B. Tauris, 2017. [1642-1715]</span></p><p class="c11"><span class="c4 c13">Peirce, Leslie. “The Yeni Valide Mosque Complex of Eminönü, Istanbul (1597-1665): Gender and Vision in Ottoman Architecture.” In D. Fairchild Ruggles (ed). </span><span class="c4 c13 c17">Women, Patronage, and Self-Representation in Islamic Societies</span><span class="c4 c13">. Albany: State University of New York Press, 2000.</span></p><p class="c11"><span class="c4 c24">Ruggles, </span><span class="c4">D. Fairchild (ed). </span><span class="c4 c17">Women, patronage, and self-representation in Islamic societies</span><span class="c3">. Albany: State University of New York Press, 2000. Includes Ethel Sara Wolper, “Princess Safwat al-Dunyā wa al-Din and the Production of Sufi Buildings and Hagiographies in Pre-Ottoman Anatolia,” pp. 35-52; Leslie Peirce, “Gender and Sexual Propriety in Ottoman Royal Women’s Patronage,” pp. 53-68; Ellison Banks Findly, “Women’s Wealth and Styles of Giving: Perspectives from Buddhist, Jain, and Mughal Sites,” pp. 91-122; Kishwar Rizvi, “Gendered Patronage: Women and Benevolence during the Early Safavid Empire,” pp. 123-54; Bibliography, pp. 227-36. Some items are listed elsewhere.</span></p><p class="c11"><span class="c4 c24">Ruggles, </span><span class="c4">D. Fairchild. “Mothers of a Hybrid Dynasty: Race, Genealogy, and Acculturation in al-Andalus.” </span><span class="c4 c17">Journal of Medieval and Early Modern Studies</span><span class="c3"> 34 (2004): 65-94. </span></p><p class="c11"><span class="c4">Shatzmiller, Maya. </span><span class="c4 c17">Labour in the Medieval Islamic World</span><span class="c4">.</span><span class="c4 c17"> </span><span class="c3">Leiden, 1994, esp. ch. 7, “Women’s Labour,” pp. 347–68,</span></p><p class="c11"><span class="c4">Shatzmiller, Maya. “Women and Wage Labour in the Medieval Islamic West: Legal Issues in an Economic Context,” </span><span class="c4 c17">Journal of the Economic and Social History of the Orient</span><span class="c4">.</span><span class="c4 c17"> </span><span class="c3">39 no 4 (1997): 1–33.</span></p><p class="c11"><span class="c4">Thys-Senocak, Lucienne. </span><span class="c2">Ottoman women builders. The architectural patronage of Hadice Turhan Sultan</span><span class="c19 c4">. Aldershot: Ashgate, 2006. [c. 1627-83]</span></p><p class="c11"><span class="c4 c13 c81">Thys-Senocak, Lucienne. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/sites/2030/publications/3408&sa=D&ust=1597863595876000&usg=AOvVaw0FpywgthPFUqrW0WENotiC">The Yeni Valide Mosque Complex at Eminönü</a></span><span class="c4 c13 c81">.” </span><span class="c4 c13 c81 c17">Muqarnas</span><span class="c4 c13 c81"> XV (1998): 58-70. </span><span class="c4 c24">Rpt in D. Fairchild Ruggles (ed). </span><span class="c2">Women, patronage, and self-representation in Islamic societies</span><span class="c19 c4">. Albany: State University of New York Press, 2000, pp. 69-89.</span></p><p class="c11"><span class="c4">Watenpaugh, Heghnar Zeitlian. “Art and Architecture.” In Suad Joseph (ed). </span><span class="c4 c17">Encyclopedia of Women and Islamic Cultures.</span><span class="c4"> Leiden: Brill, 2003-. An online source available via libraries that subscribe (accessed 13 May 2020). “</span><span class="c19 c4">There appears to be practically no evidence of female practitioners of works of art and architecture for the premodern period.”</span></p><p class="c11"><span class="c4">Watenpaugh, Heghnar Zeitlian. “Art and Architecture.” In Suad Joseph (ed). </span><span class="c4 c17">Women and Islamic Cultures: Disciplinary Paradigms and Approaches 2003-2013. </span><span class="c3">Leiden: Brill, 2013, pp. 37-50. Slightly updated version of the previous entry, which does not repeat the phrase quoted above. “The challenge of carrying out research on women in the premodern period lies in creatively working around the limitations imposed by both the small volume and the difficult nature of the surviving textual and visual sources.”</span></p><p class="c11"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595878000&usg=AOvVaw3yTC7XWQnLgIm5IiIRSn_n">Women in Architecture: Patrons</a></span><span class="c4">.” At Archnet (a collaborative digital humanities project focused on Islamic architecture, maintained by the Aga Khan Documentation Center at MIT and the Aga Khan Trust for Culture). Photographs and bibliographies.</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595878000&usg=AOvVaw3yTC7XWQnLgIm5IiIRSn_n"> </a></span><span class="c4">As of 3 June 2020, it documented nine pre-1700 sites: (1) </span><span class="c4 c13">The Mosque of al-Qarawiyyin in Fez, founded as a private oratory in 857 by Fatima al-Fahri. See the individual entry on this patron. (2) The Madrasa al-Firdaws outside the medieval city walls of Aleppo. See the individual entry on the patron Dayfa Khatun. (3) The Khayr al-Manazil women’s mosque, Delhi, “built in 1561 by Maham Anga (d. 1562), one of Akbar’s wet nurses.” (4) The Yeni Valide Mosque / Yeni Cami or new mosque, Istanbul. “Began in 1597 by Safiye Sultan, the mother of Mehmed III (r. 1595-1603) and completed more than half a century later by Turhan Hatice Sultan, the mother of Mehmed IV (r. 1648-1687), the mosque stands in a long tradition of architectural patronage by Ottoman queen mothers or valides.</span><span class="c4">” See Peirce (2000) and </span><span class="c4 c13 c81">Thys-Senocak (1998). (5) </span><span class="c4 c13">Madrasa of Gawhar Shad in the Musalla Complex, Herat, constructed 1417-1438, with her mausoleum at one corner, completed in 1432. See the individual entry on the patron</span><span class="c38 c13"> </span><span class="c4 c13">Gawhar Shad.</span><span class="c38 c13"> </span><span class="c4 c13">(6) Masjid-i Gawhar Shad, Mashhad, Iran commissioned by Gawhar Shad. (7) Haseki Hürrem Sultan Külliyee, in the Avratpazari neighbourhood of Istanbul, c. 1538-90, and a hospital (1550-51). See the individual entry on Hürrem Sultan. </span><span class="c4">(8) Mihrimah Sultan Külliyesi at Üsküdar, Istanbul. “</span><span class="c3 c13">The Mihrimah Sultan mosque was built for Mihrimah Sultan, daughter of Süleyman the Magnificent (1520-1566), as part of a complex that includes a madrasa, an infirmary, a school, and baths.” (9) The funerary complex of Shah-i-Zindah, Samarkand, Uzbekistan, built in the eleventh century and expanded into the fifteenth. However, the Archnet entry does not name any women in relation to the site.</span></p><a id="id.lys3yc6r3v0t"></a><h2 class="c1" id="h.2qmop5ig5z4l"><span class="c7">Dayfa Khatun (patron; wife of the Ayyubid sultan al-Zahir Ghazi; regent of Aleppo during her grandson’s minority, 1236-1242; c. 1185?-1242)</span></h2><p class="c12"><span class="c4 c13 c14">Allen, Terry. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://www.sonic.net/~tallen/palmtree/ayyarch/&sa=D&ust=1597863595879000&usg=AOvVaw1d3sbSbHK3YKLOfKWcDzZN">Ayyubid Architecture</a></span><span class="c4 c13 c14 c17">.</span><span class="c4 c13 c14"> Occidental, CA: Solipsist Press, 1999.</span><span class="c4 c13 c14"><a class="c8" href="https://www.google.com/url?q=http://www.sonic.net/~tallen/palmtree/ayyarch/&sa=D&ust=1597863595880000&usg=AOvVaw3fC5IpyZGODg76JNduVr1O"> </a></span><span class="c3 c13">(Accessed 3 June 2020)</span></p><p class="c12"><span class="c4 c13 c14">Humphreys, R. Stephen. </span><span class="c4 c13 c14 c17">From Saladin to the Mongols. The Ayyubids of Damascus 1183-1260</span><span class="c22 c4 c13 c14">. Albany: SUNY Press 1977.</span></p><p class="c12"><span class="c4 c13">Tabba, Yasser. </span><span class="c4 c13 c17">Constructions of Power and Piety in Medieval Aleppo.</span><span class="c3 c13"> University Park: Pennsylvania State University Press, 1997.</span></p><p class="c12"><span class="c4 c13">Tabba, Yasser. </span><span class="c4">“Dayfa Khātūn, Regent Queen and Architectural Patron.” In D. Fairchild </span><span class="c4 c24">Ruggles</span><span class="c4"> (ed). </span><span class="c4 c17">Women, patronage, and self-representation in Islamic societies</span><span class="c4">. Albany: State University of New York Press, 2000, pp. 17-35.</span></p><p class="c12"><span class="c4 c13">“</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595881000&usg=AOvVaw1-AAo7do4Tae85I6HxY2jM">Women in Architecture: Patrons</a></span><span class="c4 c13">.”</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595882000&usg=AOvVaw0rSbXgFzQJdxKHkkCF1Pad"> </a></span><span class="c3 c13">For her as patron of the Firdaws Madrasa, calling her “one of the most prominent architectural patrons in Syrian history.”</span></p><a id="id.y5bel3y00h7t"></a><h2 class="c1" id="h.mvc8mfmuplq7"><span class="c7">Shajar al-Durr (patron; ruler of Egypt; ??-1257)</span></h2><p class="c12"><span class="c4 c13">Ruggles, D. Fairchild. “Visible and Invisible Bodies: The Architectural Patronage of Shajar al-Durr.” </span><span class="c4 c13 c17">Muqarnas</span><span class="c3 c13"> 32 (2015): 63-78.</span></p><p class="c12"><span class="c4 c13">Ruggles, D. Fairchild. “The Geographic and Social Mobility of Slaves: The Rise of Shajar al-Durr, a Slave-Concubine in 13th-century Egypt.” </span><span class="c4 c13 c17">The Medieval Globe</span><span class="c3 c13"> 2 no 1 (2016): 41-55.</span></p><p class="c12"><span class="c4 c13">Ruggles, D. Fairchild. </span><span class="c4 c13 c17">Tree of Pearls. The Extraordinary Architectural Patronage of the 13</span><span class="c4 c13 c21 c17">th</span><span class="c4 c13 c17">-Century Egyptian Slave-Queen Shajar al-Durr.</span><span class="c4 c13"> Blurb: “</span><span class="c4 c13 c29">Shajar al-Durr used her wealth and power to add a tomb to [the sultan’s] urban madrasa; with this innovation, madrasas and many other charitably endowed architectural complexes became commemorative monuments, a practice that remains widespread today. A highly unusual case of a Muslim woman authorized to rule in her own name [in 1250], her reign ended after only three months when she was forced to share her governance with an army general</span><span class="c4 c13">. … [The book] </span><span class="c4 c13 c29">also situates the queen’s extraordinary architectural patronage in relation to other women of her own time, such as Aleppo’s Ayyubid regent [</span><span class="c6 c4 c13"><a class="c8" href="#id.lys3yc6r3v0t">Dhayfa Khatun</a></span><span class="c4 c13 c14">]</span><span class="c4 c13 c29">. </span><span class="c4 c13 c17">Tree of Pearls</span><span class="c3 c13"> concludes with a lively discussion of what we can know about the material impact of women of both high and lesser social rank in this period, and why their impact matters in the writing of history.”</span></p><a id="id.y3d4s6a60ubs"></a><h2 class="c1" id="h.fzm8tuk56j1m"><span class="c13">Gawhar Shad / </span><span>Gauhar Shad</span><span class="c7 c13"> (patron; wife of Shah Rukh, emperor of the Timurid Empire; d. 1457)</span></h2><p class="c11"><span class="c4">Babaie, Sussan. “Qavam al-Din Shirazi.” In Kenneth Powell (ed). </span><span class="c4 c17">The Great Builders</span><span class="c4">. London: Thames and Hudson, 2011, pp. 29-33. On the most important architect who worked for her.</span></p><p class="c12"><span class="c4 c13">Byron, Robert. “Timurid Architecture.” In Arthur Upham Pope and Phyllis Ackerman (eds).</span><span class="c4 c13 c17"> A Survey of Persian Art from Prehistoric Times to the Present</span><span class="c4 c13">. Vol. 3: </span><span class="c4 c13 c17">Architecture, Its Ornament, City Plans, Gardens</span><span class="c3 c13">. 3rd ed. Tehran: Soroush Press, 1977, pp. 1119-164.</span></p><p class="c12"><span class="c4 c13">Golombek, Lisa, and Donald Wilber. </span><span class="c4 c13 c17">The Timurid Architecture of Iran and Turan.</span><span class="c3 c13"> Princeton: Princeton University Press, 1988.</span></p><p class="c12"><span class="c4 c13">Knobloch, Edgar. </span><span class="c4 c13 c17">The Architecture and Archaeology of Afghanistan</span><span class="c3 c13">. Charleston, SC: Tempus, 2002, pp. 134-37.</span></p><p class="c11"><span class="c4">O’Kane, Bernard. </span><span class="c4 c17">Timurid Architecture in Khurasan</span><span class="c4">. Costa Mesa, CA: Mazdâ Publishers in association with Undena Publications, 1987. Gauharshad is noted in discussions of the mosque she built at the Mashhad shrine in Iran, though she is not singled out.</span></p><p class="c12"><span class="c4 c13">“</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595885000&usg=AOvVaw31B7D4pNZcsDNmisyPGOn4">Women in Architecture: Patrons</a></span><span class="c4 c13">.”</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/collections/855/details&sa=D&ust=1597863595886000&usg=AOvVaw1pXR2o5WUOKXu9uBupLsZq"> </a></span><span class="c3 c13">For her as patron of the Madrasa in the Musalla Complex, Herat (including a mausoleum), and the congregational mosque, Mashhad.</span></p><a id="kix.jlev43fr88vm"></a><h2 class="c1" id="h.e3c0lyvnlji3"><span class="c7">Hurrem Sultan / Roxelana (patron; wife of the Ottoman Sultan Suleiman the Magnificent; c. 1502-1588)</span></h2><p class="c11"><span class="c4">El-Shorbagy, Abdel-Moniem. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://doi.org/10.1080/23311983.2020.1741984&sa=D&ust=1597863595887000&usg=AOvVaw2nRqeX7SxmusiDZhWqFxy-">Women in Islamic architecture: towards acknowledging their role in the development of Islamic civilization</a></span><span class="c4">.” </span><span class="c4 c17">Cogent Arts & Humanities </span><span class="c4">7 no 1 (2020), item no. 3.1 (p. 8).</span><span class="c4"><a class="c8" href="https://www.google.com/url?q=https://doi.org/10.1080/23311983.2020.1741984&sa=D&ust=1597863595887000&usg=AOvVaw2nRqeX7SxmusiDZhWqFxy-"> </a></span></p><p class="c11"><span class="c4">Pierce, Leslie. </span><span class="c4 c14 c17">Empress of the East: How a European Slave Girl Became Queen of the Ottoman Empire</span><span class="c4 c14">. New York: Basic Books, 2017. Rev: Galina Yermolenko. </span><span class="c4 c14 c17">Early Modern Women </span><span class="c22 c4 c14">13 no 2 (Spring 2019): 157-61. </span></p><p class="c47"><span class="c4">Singer, Amy. </span><span class="c4 c57 c17">Constructing Ottoman Beneficence: An Imperial Soup Kitchen in Jerusalem. </span></p><p class="c47 c39"><span class="c3">Albany: State University of New York Press, 2002. </span></p><p class="c47"><span class="c4">Singer, Amy. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4835309/The_M%25C3%25BClkn%25C4%2581mes_of_H%25C3%25BCrrem_Sultans_Waqf_in_Jerusalem_Author_s_Amy_Singer_Source_Muqarnas&sa=D&ust=1597863595889000&usg=AOvVaw0f9fUpphHUqF6S1csOtZz2">The Mülknāmes of Hürrem Sultan’s Waqf in Jerusalem</a></span><span class="c4">.” </span><span class="c4 c17">Muqarnas</span><span class="c4"> </span><span class="c3">14 </span></p><p class="c47 c39"><span class="c4">(1997): 96-102. </span></p><p class="c11"><span class="c4">Stephan, H. St “An Endowment Deed of Khâsseki Sultân, Dated the 24th May 1552.” </span><span class="c4 c17">The Quarterly of the Department of Antiquities in Palestine</span><span class="c3"> 10 (1944): 170-94.</span></p><p class="c11"><span class="c4">“</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/sites/1990&sa=D&ust=1597863595890000&usg=AOvVaw0l-k6Wf8KNKr9srcSOomL5">Women in Architecture: Patrons</a></span><span class="c4">.”</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://archnet.org/sites/1990&sa=D&ust=1597863595890000&usg=AOvVaw0l-k6Wf8KNKr9srcSOomL5"> </a></span><span class="c4">For her as patron of the Haseki </span><span class="c4 c13">Hürrem Sultan Külliyee, in the Avratpazari neighbourhood of Istanbul, c. 1538-90, and a hospital (1550-51).</span></p><p class="c11"><span class="c4">Yermolenko, Galina. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/4119026/Roxolana_The_Greatest_Empresse_of_the_East_&sa=D&ust=1597863595891000&usg=AOvVaw05B1pt45ZNLLvA-h9gI9br">Roxolana: ‘The Greatest Empresse of the East’</a></span><span class="c4">.” </span><span class="c4 c17">The Muslim World</span><span class="c4"> 95 no 2 (April 2005): 231-48, esp. pp. 237-38 for</span><span class="c4 c14"> her architectural projects such as the </span><span class="c4">mosque, medrese, imaret, elementary school, hospital, and fountain built in the district of </span><span class="c4 c14">Avrat Pazar (women’s bazaar) in Istanbul.</span></p><p class="c11"><span class="c4">Yermolenko, Galina (ed).</span><span class="c4 c14"> </span><span class="c4 c14 c17">Roxolana in European Literature, History and Culture</span><span class="c22 c4 c14">. Farnham: Ashgate, 2010. Includes translations of several seventeenth-century European texts on her, and a bibliography.</span></p><a id="id.lwfyswccv5b4"></a><h2 class="c1" id="h.2rgkphxuk3s"><span class="c7">Nur Jahan (patron; poet; probable architectural designer; possible painter; wife of Mughal Emperor Jahangir 1611-27; 1577-1645)</span></h2><p class="c12"><span class="c4 c14">For her projects, particularly the Nur Mahal Searai in Jalandhar (1618-20), the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://upload.wikimedia.org/wikipedia/commons/c/c9/I%2527tim%25C4%2581d-ud-Daulah%252C_Agra.jpg&sa=D&ust=1597863595892000&usg=AOvVaw2stF3b_5cvNJtLAvucEK7p">tomb of I’timad al’Daula</a></span><span class="c4 c14"> at Agra (1622-28 (both her parents are buried there, and she probably designed the monument), the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://risingkashmir.com/news/the-taj-of-kashmir-321689.html&sa=D&ust=1597863595893000&usg=AOvVaw2G52e3nqUbq5VT7pNHWkE4">Pattar Masjid</a></span><span class="c4 c14"> (Stone Mosque) at Srinagar in Kashmir, and her own tomb in Lahore (1641-45), check reputable surveys such as Catherine Asher. </span><span class="c4 c14 c17">Architecture of Mughal India</span><span class="c4 c14">. Cambridge: Cambridge University Press, 1992; Percy Brown, </span><span class="c4 c14 c17">Indian Architecture</span><span class="c4 c14">. 5</span><span class="c4 c21 c14">th</span><span class="c4 c14"> ed. 2 vols. Bombay: D. B. Taraporevala, 1965-68; Ebba Koch. </span><span class="c4 c14 c17">Mughal Architecture. An Outline of its History and Development 1526-1858.</span><span class="c22 c4 c14"> Rev. ed. Delhi: Primus Books, 2014.</span></p><p class="c12"><span class="c4 c24">Cunningham. Alexander. </span><span class="c2">Cunningham Report</span><span class="c4 c24">. New Delhi: Archaeological Survey of India, 2000. Vol. XIV. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/reportatourinpu00cunngoog&sa=D&ust=1597863595894000&usg=AOvVaw10BgoisQK1_3yoltV8MEgZ">Report of a Tour in the Punjab in 1878-79</a></span><span class="c4 c24">.” Includes </span><span class="c22 c4 c14">the Nur Mahal Serai in Jalandhar.</span></p><p class="c11"><span class="c4">El-Shorbagy, Abdel-Moniem. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://doi.org/10.1080/23311983.2020.1741984&sa=D&ust=1597863595895000&usg=AOvVaw3rcu8ZSXMa6fU2zg3d8d5L">Women in Islamic architecture: towards acknowledging their role in the development of Islamic civilization</a></span><span class="c4">.” </span><span class="c4 c17">Cogent Arts & Humanities </span><span class="c4">7 no 1 (2020), item no. 5.2 (pp. 12-14).</span></p><p class="c12"><span class="c4 c24">Findly, Ellison Banks. </span><span class="c2">Nur Jahan. Empress of Mughal India (1611-1627)</span><span class="c4 c24">. New York: Oxford University Press, 1993. Esp “Arts and Architecture of Nur Jahan,” pp. 218-43, 354-58. </span><span class="c4 c14">Critical rev: Gavin Hambly. </span><span class="c4 c14 c17">American Historical Review </span><span class="c22 c4 c14">99 no 3 (June 1994): 954-55.</span></p><p class="c12"><span class="c4 c24">Findly, Ellison Banks. “The pleasure of women. Nur Jahan and Mughal painting.” </span><span class="c4 c14 c17">As</span><span class="c2">ian Art</span><span class="c19 c4"> 6 no 2 (Spring 1993): 66-86.</span></p><p class="c12"><span class="c4 c14">Findly, Ellison Banks. “Nur Jahan’s embroidery trade and flowers of the Taj Mahal.” </span><span class="c4 c14 c17">Asian Art</span><span class="c4 c24"> </span><span class="c4 c14 c17">and Culture</span><span class="c22 c4 c14"> 9 no 2 (1996): 7-25.</span></p><p class="c12"><span class="c4">Lal, Ruby. </span><span class="c4 c17">Empress: The Astonishing Reign of Nur Jahan</span><span class="c3">. New York: W. W. Norton, 2018.</span></p><p class="c12"><span class="c4 c14">Mundy, Peter. </span><span class="c4 c14 c17">The Travels of Peter Mundy in Europe and Asia, 1608-1667</span><span class="c4 c14">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/travelsofpetermu02mund&sa=D&ust=1597863595897000&usg=AOvVaw23YIohfU-V4McsuiENa27V">Vol. 2: </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/travelsofpetermu02mund&sa=D&ust=1597863595897000&usg=AOvVaw23YIohfU-V4McsuiENa27V">Travels in Asia, 1628-1634</a></span><span class="c4 c14 c17">.</span><span class="c22 c4 c14"> Ed. Richard Carnac Temple. London: The Hakluyt Society, 1914, pp. 101, 203-6, 214. Writing while she was still alive, the British merchant Mundy thought of her as “ruleing” her husband, “Coyninge money of her owne, building and disposeinge as shee listed, putting out of the Kinges favour and receiveinge whome shee pleased” (p. 206).</span></p><p class="c12"><span class="c4 c14">Pelsaert, Francisco. </span><span class="c4 c14 c17">Jahangir’s India, the Remonstrantie of Francisco Pelsaert</span><span class="c4 c14">. Trans. W. H. Moreland and P. Geyl. Cambridge: W. Heffer & Sons, 1925, pp. 4-5, 50-51. Observations on her architectural patronage by the Dutch merchant Pelsaert (c.1595-1630): the “crafty wife of humble lineage … erects very expensive buildings in all directions – </span><span class="c4 c14 c17">sarais,</span><span class="c22 c4 c14"> or halting-places for travelers and merchants, and pleasure-gardens and palaces such as no one has ever made before – intending thereby to establish an enduring reputation.”</span></p><p class="c12"><span class="c4 c14">Pant, Chandra. </span><span class="c4 c14 c17">Nur Jahan and Her Family.</span><span class="c22 c4 c14"> Allahabad: Dan Dewal Publishing, 1978.</span></p><p class="c11"><span class="c4 c14">Shujauddin, Mohammad and Razia Shujauddin. </span><span class="c4 c14 c17">The Life and Times of Noor Jahan.</span><span class="c22 c4 c14"> Lahore: The Caravan Book House, 1967.</span></p><a id="id.htzg6936tmz"></a><h2 class="c1" id="h.2qxefo5hbt2x"><span class="c50">Nadira Banu</span><span class="c7"> (Mughal princess; possible “amateur artist”; 1618-1659)</span></h2><p class="c12"><span class="c4 c13 c14">Cleveland Beach, Milo. “The Gulshan Album and its European Sources.” </span><span class="c4 c13 c14 c17">Bulletin of the Museum of Fine Arts </span><span class="c22 c4 c13 c14">63 no 332 (1965): 63-91, esp. pp. 82-85, Pl. 10.</span></p><p class="c12"><span class="c4 c13 c14">Das, Asok Kumar. </span><span class="c4 c13 c14 c17">Mughal Painting during Jahangir’s Time.</span><span class="c22 c4 c13 c14"> Calcutta: Asiatic Society, 1978, pp. 54-55, 98 n. 31, 234-35, 238, Pl. 70 (colored copy of European engravings, c. 1599-1609, in the Gulshan Album, Gulistan Palace Library, Tehran).</span></p><p class="c11"><span class="c4 c13 c14">Wilkinson, J.V.S. and Basil Gray. “Indian Paintings in a Persian Museum.” </span><span class="c4 c13 c14 c17">Burlington Magazine </span><span class="c4 c13 c14">66 (April 1935): 168-77 passim, esp. p. 174, Pl. IIe.</span></p><a id="id.rbvf8vtn4les"></a><h1 class="c77 c66" id="h.fcoejtrk8rmv"><span class="c7">Women Artists and Patrons: Eastern Europe, Slavic and Russian Areas</span></h1><p class="c12"><span class="c4 c13 c24">Thyrêt, Isolde. </span><span class="c2 c13">Between God and Tsar: Religious Symbolism and the Royal Women of Muscovite Russia</span><span class="c4 c13 c24">. DeKalb, IL: Northern Illinois University Press, 2001. Rev: Brenda Meehan. </span><span class="c2 c13">American Historical Review </span><span class="c19 c4 c13">107 no 4 (Oct 2002): 1323-24. From the review: “Drawing on a multiplicity of sources in anthropology, art history, literature, and sociology, it challenges … the traditional interpretation of the limited role of royal women in patriarchal Muscovite society … The royal women of Muscovy used the language of religious myth to create for themselves an essential place in a tsardom that was gendered and familial in concept rather than an unlimited autocracy.” The study begins in the late 16thC.</span></p><p class="c12"><span class="c4 c13 c24">Thyrêt, Isolde. </span><span class="c4 c13 c14">“The Queen of Heaven and the Pious Maiden Ruler: Mariological Imagery in the Iconographic Program of Sophia Alekseevna’s Prayer Room.” </span><span class="c4 c13 c14 c17">Harvard Ukrainian Studies</span><span class="c22 c4 c13 c14"> 28 nos 1-4 (2006): 627-37. Frescoes painted in 1685.</span></p><a id="id.3p3cyvas33cq"></a><h2 class="c1 c16" id="h.cmbrp6rzt977"><span class="c7">Dorota Koberowa / Kober (born Kraków; painter; 1549-1622)</span></h2><p class="c12"><span class="c22 c4 c13 c14">A painter, in 1586 she married Mikolaj Marcin Kober, court portraitist of the king of Poland and Lithuania, Sigismund III Vasa (r. 1587-1632). After her husband’s death in 1598, she ran the workshop.</span></p><p class="c12"><span class="c4 c13 c14">Baumgartner, Gabriele. </span><span class="c4 c13 c14 c17">Polski Indeks Biograficzny / Polish Biographical Index.</span><span class="c22 c4 c13 c14"> Munich: K. G. Saur, 2004, Vol. 1, p. 732.</span></p><p class="c12"><span class="c4 c13 c14">Herbst, Stanislaw. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.ipsb.nina.gov.pl/a/biografia/mikolaj-marcin-kober?print&sa=D&ust=1597863595902000&usg=AOvVaw0GattJhHBGuDZrjOO8Q3XD">Mikolaj Marcin Kober</a></span><span class="c4 c13 c14">.” </span><span class="c4 c13 c14 c17">Internetowy Polski Slownik Biograficzny.</span><span class="c22 c4 c13 c14"> (accessed 18 June 2020). In July 1599 she was paid for painting coats of arms, probably in the Wawel Royal Castle, which was undergoing restoration at the time.</span></p><a id="id.9mmf227rfzl5"></a><h2 class="c1 c16" id="h.nh0l4iwll7o1"><span class="c50">Agnieszka Piotrkowczykówna / Piotrkowczyk</span><span> </span><span class="c50">(</span><span>born Kraków</span><span class="c50">; painter; ?-</span><span>by </span><span class="c7">1638)</span></h2><p class="c12"><span class="c22 c4 c13 c14">A painter, and daughter of a printer, in 1606 she married the Italian Tommaso Dolabella who was a court painter of Sigismund III Vasa. He married again in 1638.</span></p><p class="c12"><span class="c4 c13 c14">“</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://encyklopediakrakowa.pl/slawni-i-zapomniani/88-d/442-dolabella-tomasz.html&sa=D&ust=1597863595903000&usg=AOvVaw2OpK9WvEdfcbbCggfPZMh8">Dolabella, Tomasz</a></span><span class="c4 c13 c14">.” In </span><span class="c4 c13 c14 c17">Encyklopedia Krakowa. </span><span class="c22 c4 c13 c14">(Accessed 15 July 2020)</span></p><p class="c12"><span class="c4 c13 c14">Matyaszewską, Elżbietą. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://www.domkulturylsm.pl/?p%3D14176&sa=D&ust=1597863595904000&usg=AOvVaw244-IzIhwCG7OzLGYSHQo4">Spotkanie z historykiem sztuki</a></span><span class="c4 c13 c14">.</span><span class="c22 c4 c13 c14">” [Meeting with an art historian]. Report of a talk on Polish women artists, delivered 8 Dec 2016. (Accessed 18 June 2020). In translation: “Agnieszka helped her husband in carrying out many orders for provincial churches, among others in Kraśnik. For example, she documented her participation in joint artistic endeavors in the painting ‘Funeral Mass celebrated by the Dominican,’ leaving the Latin inscription ‘Agnes Piotrkowczyk pinxit Dolabella Thomas Cracoviensis direxit.’ It is also worth remembering that the talent of both Dolabelli was inherited by their daughters, engaged by their father to decorate the monks’ cells in the Dominican church in Krakow.”</span></p><p class="c12"><span class="c4 c13 c14">Tomkiewicz, Władysław. </span><span class="c4 c13 c14 c17">Dolabella</span><span class="c4 c13 c14">. Warsaw: Arkady, 1959. Chiefly on her husband.</span></p><a id="kix.fcdy24fbd94e"></a><h1 class="c77 c66" id="h.13dl6v9piuo8"><span>Selected Primary Sources on Women Artists in Western Europe</span></h1><p class="c11"><span class="c4">Baglione, Giovanni Battista. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t04x6tw5m%26view%3D1up%26seq%3D9&sa=D&ust=1597863595905000&usg=AOvVaw3trg_fucwyaQNJBqUIjUHu">Le vite de’ pittori, scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a tempi di Papa Urbino Ottavo nel 1642</a></span><span class="c4 c17">. </span><span class="c3">Rome: Andrea Fei, 1642. Facsimile edition with marginal notes by Bellori. Ed. Valerio Mariani, Rome: Calzone, 1935. Edition with commentary by Jacob Hess and Herwarth Röttgen. Vatican City: Biblioteca Apostolica Vaticana, 1995. 3 vols.</span></p><p class="c11"><span class="c4">Baldinucci, Filippo. </span><span class="c4 c17">Notizie de’ professori del disegno da Cimabue in qua. </span><span class="c4">6 vols. Florence: Tartini e Franchi, 1681-1728. Or Ed. F. Ranalli, 5 vols, Florence: Batelli, 1845-47. Or Paola Barocchi (ed). Florence: SPES, 1974-75, 5 vols (the Ranalli volumes), with 2 vols. of appendices. Discusses Caterina de’ Vigri, Sofonisba Anguissola and her sisters, and Artemisia Gentileschi; in the Ranalli edition, respectively, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t3vt3zr7m%26view%3D1up%26seq%3D531&sa=D&ust=1597863595906000&usg=AOvVaw1M1lhfMeVuuR7iLp-I9SiB">Vol. 1, pp. 525-29</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t2d81ks7x%26view%3D1up%26seq%3D623&sa=D&ust=1597863595907000&usg=AOvVaw0LbYmGqkPBaHFakbl25C2b">Vol. 2, pp. 619-36</a></span><span class="c4">, and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t5k95gf6z%26view%3D1up%26seq%3D712&sa=D&ust=1597863595907000&usg=AOvVaw3RIh3q9ZrszE1_CsiOVLzc">vol. 3, pp. 714-16</a></span><span class="c3">.</span></p><p class="c11"><span class="c4 c13">Ballard, George. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DGnxBAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595908000&usg=AOvVaw3Zh8BsI_5dAZfu4PHsdzNq">Memoirs of several ladies of Great Britain who have been celebrated for their writing or skill in the learned languages, arts and sciences</a></span><span class="c3 c13">. Oxford: W. Jackson, 1752. Three women worked in visual culture: Esther Inglis (see below); Anne Killigrew (see below); Elizabeth Withypoll (married name Elizabeth Lucar, 1510-1537, calligrapher and needleworker, pp. 36-37).</span></p><p class="c11"><span class="c4 c13">Barker, Sheila. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863595909000&usg=AOvVaw12h0JFSnEn-WmhPZP_44Id">The First Biography of Artemisia Gentileschi</a></span><span class="c4 c13">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c13 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c4 c13">60 no 3 (2018): 404-35. Publishes Bronzini’s manuscript of 1615-22 on women artists. He names thirty-three women, and it is “the first work of European literature to have ever taken up the topic of women artists </span><span class="c4 c13 c17">in extenso</span><span class="c4 c13">” (p. 409). T</span><span class="c4 c13">he artists are recorded elsewhere here. For “one French artist (described only as the wife of </span><span class="c4 c13 c17">monsieur </span><span class="c4 c13">Bonelli and so far untraceable)” (pp. 406, 431) see </span><span class="c6 c4 c13"><a class="c8" href="#id.2y3r2smny8cm">Marguerite Bahuche</a></span><span class="c3 c13">.</span></p><p class="c11"><span class="c4 c13">Beaver, Alfred. “Gleanings from Pepys about Little-Known Painters.” </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DV-FMAQAAMAAJ%26pg%3DPA26%26lpg%3DPA26%26dq%3Dmadam%2Bcaris%2Bbrabanne%26source%3Dbl%26ots%3DC5oNeGNGS2%26sig%3DACfU3U10h-f__7vVl6Dxh9BlbRc0-zQ5Tg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjelbbdsvXpAhWMGs0KHTmJACAQ6AEwAnoECAoQAQ%23v%3Donepage%26q%3Dmadam%2520caris%2520brabanne%26f%3Dfalse&sa=D&ust=1597863595910000&usg=AOvVaw0tv5oKkD6Yh22r_xyNz2Xb">The Art Journal </a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DV-FMAQAAMAAJ%26pg%3DPA26%26lpg%3DPA26%26dq%3Dmadam%2Bcaris%2Bbrabanne%26source%3Dbl%26ots%3DC5oNeGNGS2%26sig%3DACfU3U10h-f__7vVl6Dxh9BlbRc0-zQ5Tg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjelbbdsvXpAhWMGs0KHTmJACAQ6AEwAnoECAoQAQ%23v%3Donepage%26q%3Dmadam%2520caris%2520brabanne%26f%3Dfalse&sa=D&ust=1597863595911000&usg=AOvVaw18U6PGpNku13p_F4HqiLfe">ns 55 (1893)</a></span><span class="c4 c13">: 25-26, at p. 26. On </span><span class="c6 c4 c13"><a class="c8" href="#id.y47wml2i44as">Carew</a></span><span class="c4 c13">,</span><span class="c3 c13"> and also: In 1661, John Evelyn the English diarist noted that “his wife ‘Presented to his Majesty [Charles II] the Madonna she had copied in miniature from P. Oliver’s painting after Raphael, which she wrought with extraordinary pains and judgment. The king was infinitely pleased with it, and caused it to be placed in his cabinet with his best paintings.’” In May 1665, Samuel Pepys recorded in his diary that his wife “began to learn to limn … and by her beginning upon some eyes, I think she will do very fine things.” Beaver provides further details, including Pepys’ jealousy of his wife’s male teacher.</span></p><p class="c11"><span class="c4 c13">van Beverwijck, Johan. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.nl/books?hl%3Dnl%26id%3D37np5kHPxBwC%26q%3DMachteld%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595911000&usg=AOvVaw3hCndkZ5JOFmRm_sjtyYZa">Van de wtnementheyt des vrouwelicken geslachts</a></span><span class="c4 c13">. Dordrecht: Jasper Gorissz, 1639, pp. 286-92 (Book 2, ch. 8). Written by a physician, the book argues for the superiority of women over men. The chapter on outstanding women artists first discusses </span><span class="c4 c13">examples from antiquity</span><span class="c4 c13"> (chiefly via Pliny). Then the Dutch text names seventeen women skilled in the pictorial arts (see their individual entries here): </span><span class="c4 c13">Properzia (de’ Rossi)</span><span class="c4 c13">, </span><span class="c4 c13">Plautilla (Nelli)</span><span class="c4 c13">, </span><span class="c4 c13">Lucrezia Quistelli</span><span class="c4 c13">, </span><span class="c4 c13">Sofonisba Anguissola</span><span class="c4 c13">, </span><span class="c4 c13">Mechtelt van Lichtenberg</span><span class="c38 c13">, </span><span class="c4 c13">Clara de Keysere</span><span class="c4 c13">,</span><span class="c38 c13"> </span><span class="c4 c13">Susanna Horenbout</span><span class="c4 c13">, </span><span class="c4 c13">Anna Cobleger</span><span class="c4 c13">, </span><span class="c4 c13">Levina Teerlinc</span><span class="c4 c13">,</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=https://docs.google.com/document/d/1qciG2ndN2dOfg4KDgL9LwCOl8HUZP5liSKtwRcJ_Ah4/edit%23bookmark%3Dkix.pxgpiq3uqa32&sa=D&ust=1597863595913000&usg=AOvVaw0Lcq6L015CwydFbi_IJQc5"> </a></span><span class="c4 c13">Catharina van Hemessen, </span><span class="c4 c13">Mayken Verhulst Bessemers</span><span class="c4 c13">, </span><span class="c4 c13">Anna Smyters</span><span class="c4 c13">,</span><span class="c38 c13"> </span><span class="c4 c13">Cornelia van Blankenburg</span><span class="c4 c13">,</span><span class="c38 c13"> </span><span class="c4 c13">Anna Roemers Visscher</span><span class="c38 c13">, </span><span class="c4 c13">and </span><span class="c4 c13">Anna Maria Schurman</span><span class="c4 c13">.</span><span class="c38 c13"> </span><span class="c4 c13">He also names two sisters.</span><span class="c38 c13"> </span><span class="c3 c13">In full: “Cornelia de Vos, dochter vanden wijdtberoemden heere Mr Gerard Vossius, (van welckers geleertheyt hier voren oock gesproken is) heft onlanghs mede in der Schilder-konst uyt-gemuyt; ende en wert nu naeuwelicx geweken van haer suster Johanna de Vos, al is sy noch maer vijfthie jaren oudt” (pp. 291-92). Ie Cornelia and Johanna de Vos, two daughters of Gerardus Vossius (a classical scholar and theologian, who taught Beverwijck rhetoric). Cornelia has recently begun to paint, and Johanna must also be congratulated, though neither is yet five years old. The RKD database has no entry under either name.</span></p><p class="c11"><span class="c4 c13">Biffi, Giambattista. </span><span class="c4 c13 c17">Memorie per servire alla storia degli artisti cremonesi</span><span class="c4 c13"> (written 1770s). Cremona: Biblioteca statale e libreria civica di Cremona, 1989. Includes Onorata Rodiani (c.1400-52) and Maria Felice Barbo (1700-34, miniaturist); passages are translated into English in Julia K. Dabbs (ed). </span><span class="c4 c13 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3 c13">. Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Boccaccio, Giovanni. </span><span class="c4 c17">Famous Women. </span><span class="c3">(c. 1360). Ed. and trans. Virginia Brown. Cambridge, MA: Harvard University Press, 2001, pp. 248-51, 274-77 (chs 59 on the painter Irene, 66 on the painter Marcia, both from antiquity; see Pliny below). Parallel Latin text and English translation.</span></p><p class="c11"><span class="c4">Borghini, Raffaello. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/riposodiraffaell00borg&sa=D&ust=1597863595916000&usg=AOvVaw0wl0Hkzrl0rBsFpdIvwi2O">Il Riposo</a></span><span class="c4 c17">. </span><span class="c4">Florence: Giorgio Marescotti, 1584. In English as </span><span class="c4 c17">Raffaello Borghini’s Il Riposo.</span><span class="c3"> Ed. and trans. Lloyd H. Ellis. Toronto: University of Toronto Press, 2007. For Lavinia Fontana, Marietta Robusti, and Properzia de’ Rossi.</span></p><p class="c11"><span class="c4">Calvi, Jacopo Alessandro. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Diau.31858006279115%26view%3D1up%26seq%3D46&sa=D&ust=1597863595916000&usg=AOvVaw2_nd1Rb7UDzztcsUv3W_8T">Versi e prose sopra una serie di eccellenti pitture</a></span><span class="c4 c17">.</span><span class="c3"> Bologna, 1780, pp. 38-39 (Lavinia Fontana), 62-63 (Elisabetta Sirani), 94-95 (Sofonisba Anguissola), 104-05 (Chiara Varotari), 106-07 (Elisabetta Sirani).</span></p><p class="c11"><span class="c4">De Brie, Cornelis. </span><span class="c4 c17">Het Gulden Cabinet der Edel Vry Schilderconst.</span><span class="c4 c17"> </span><span class="c4">Antwerp: Lier, 1662. Discusses a few women artists, but misses many. For instance, Artemisia Gentileschi does not appear, even in the notice on her father Orazio (p. 105). A chapter on women artists offers brief comments on several artists, including </span><span class="c6 c4"><a class="c8" href="#kix.rpzchashv21f">Anna Maria Schurman</a></span><span class="c4"> and </span><span class="c6 c4"><a class="c8" href="#id.2b8r3gma2nyl">Catharina Peeters</a></span><span class="c4"> (pp. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://dams.antwerpen.be/asset/N1HUNNOMYghbT4hLTXDbFLbu/jJWRkNYKbkYQmJaeifS56WGd&sa=D&ust=1597863595918000&usg=AOvVaw3Vi04fjfdJjNqIhrPlCLqL">557-62</a></span><span class="c4">). Various references are noted under individual artists below. An intriguing mention is made, in passing, to an unnamed daughter of “van Dijck”: “Als ons de Konst thoont van de Dochter van </span><span class="c6 c4"><a class="c8" href="#id.qnht0ykdg9da">Pepijn</a></span><span class="c4">, / Van d’</span><span class="c6 c4"><a class="c8" href="#id.6kuiqm13kkcm">Egmont</a></span><span class="c3">, en van Dijck, soo swirich, cloeck en crachtich / Volvervich wel ghestelt, en wonder Meesterachtich” (p. 558).</span></p><p class="c11"><span class="c4 c54">Durando di Villa, Felice. “Ragionamento letto il giorno 18 d’aprile 1778.” In </span><span class="c4 c17 c54">Regolamenti della Reale Accademia di pittura e scultura di Torino</span><span class="c4 c54">. Turin: Stamperia Reale, 1778, pp. 56-59 on “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t3nw0bc2h%26view%3D1up%26seq%3D80&sa=D&ust=1597863595919000&usg=AOvVaw2P_mFlBTwUYso6lDaTvVZC">nomi di alcune donne, che nel dipingere hanno acquistato qualche celebrità</a></span><span class="c4 c54">.” Discusses Claudia della Rovere, Anna Metrana Torinese, Isabella Maria del Pozzo</span><span class="c38 c54"> </span><span class="c4 c54">(see below),</span><span class="c38 c54"> </span><span class="c4 c54">Angela Beinaschi (see below),</span><span class="c38 c54"> </span><span class="c4 c54">Orsola Maddalena Caccia and her sister Francesca (see below), a nameless daughter of Sebastiano Tarico, and Maria Giovanni Clementi (see below).</span></p><p class="c11"><span class="c4">Castiglione, Baldassar. </span><span class="c4 c17">The Book of the Courtier. </span><span class="c3">(1528) Trans Charles Singleton. Garden City: Doubleday, 1959. OR Ed. Daniel Javitch. New York: W. W. Norton, 2002.</span></p><p class="c11"><span class="c4">Cavazzoni, Francesco. </span><span class="c4 c17">Pitture et sculture ed altre cose notabili che sono in Bologna e dove si trovano.</span><span class="c4"> Bologna, 1603. Ed. Ranieri Varese in </span><span class="c4 c24">“Una guida inedita del seicento bolognese.” </span><span class="c2">Critica d’Arte </span><span class="c19 c4">16 (1969), no. 103, pp. 25-38; no. 104, pp. 31-42; no. 108, pp. 23-34. Includes Lavinia Fontana.</span></p><p class="c11"><span class="c4 c24">Christine de Pizan. </span><span class="c2">The Book of the City of Ladies</span><span class="c4 c24">. </span><span class="c4">Trans. Earl Jeffrey Richards. New York: Persea, 1982. Translation of </span><span class="c4 c17">Le Livre de la Cité des Dames </span><span class="c4">(1405). Pt 1, ch. 41 discusses three legendary female artists of antiquity (Thamaris, Irene, and Marcia) and a contemporary manuscript illuminator working in Paris, </span><span class="c6 c4"><a class="c8" href="#id.f0lnlqfe8cev">Anastasia</a></span><span class="c4">. </span><span class="c4 c24">OR: Translated by Rosalind Brown-Grant. London: Penguin, 1999.</span></p><p class="c11"><span class="c4 c24">Christine de Pizan. </span><span class="c2">The Book of the City of Ladies, and Other Writings.</span><span class="c4 c24"> Ed. Sophie Bourgault and Rebecca Kingston. Trans. Ineke Hardy. Indianapolis and Cambridge: Hackett Publishing, 2018. The relevant ch. 41 (pp. 85-87; see comment above) in this ebook is </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DMiRtDwAAQBAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595921000&usg=AOvVaw2_y6Kmwlz1yBesGFxbv9ll">available at the partial view online</a></span><span class="c19 c4">.</span></p><p class="c11"><span class="c4">Crespi, Luigi. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DHVhcAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595922000&usg=AOvVaw3KokzqT86exduGrlYUZcpJ">Vite de’ Pittori Bolognesi non descritte nella Felsina pittrice</a></span><span class="c4 c17">. </span><span class="c4">Rome: M. Pagliarini, 1769. Includes </span><span class="c4 c13">Antonia Pinelli (active c. 1614-44), Teresa Muratori (1662-1708), Lucia Casalini Torelli (1677-1762), Eleonora Monti (1727-d. after 1769), Clarice Vasini (18th cent. sculptor). Extracts translated into English in </span><span class="c4">Julia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Dabbs, Julia K. (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c4">. Aldershot: Ashgate, 2009. Rev: Susan Shifrin, </span><span class="c4 c17">Early Modern Women </span><span class="c4">7 (2012): 348-51. Full Table of Contents </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.folger.edu/detail/Life-stories-of-women-artists-1550-1800/1a5880e0-c16d-4893-ab5b-3e27871c2808&sa=D&ust=1597863595923000&usg=AOvVaw204ow6xchjoF-m1qsoHGZU">here</a></span><span class="c4">. Has extracts from such authors as Pliny, Boccaccio, Christine de Pizan, Vasari, Dionigi Atanagi (on Irene di Spilimbergo, 1561), Giulio Mancini (on Lavinia Fontana), Carlo Ridolfi (on Marietta Robusti), Giovanni Battista Passeri (on Caterina Ginnasi, c. 1670), Raffaele Soprani (on Sofonisba Anguissola, 1674), Malvasia (on Elisabetta Sirani, 1678), Baldinucci (on Caterina Vigri and Artemisia Gentileschi), Li-chou (on Li Yin, c. 1685), Arnold Houbraken (on Maria van Oosterwijck, Adriana Spilberg, Maria Sibylla Merian and Johanna Koerten, 1718-21), Palomino (on Luisa Roldán, 1724), Jacob Campo Weyerman (on Miss Rozee, 1729), Lione Pascoli (on Teodora Danti, 1732), on Damiao de Froes Perym (on Josefa d’Ayala de Óbidos, 1736-40), Bernardo de Dominici (on Mariangela Criscuolo, Sister Luisa Capomazza, Diana (Annella) de Rosa, Sister Maria de Dominici and Teresa del Pò, 1742-45), Jan van Gool (on Rachel Ruysch, Margaretha Wulfraet, Henrietta Wolters, 1750-51), George Ballard (on Esther Inglis, 1752), Francesco Moücke (on Arcangela Paladini, Giovanna Fratellini, Violante Beatrice Siriès, 1752-62), Johann Caspar Füssli (on Anna Waser, 1769-79), Antoine-Joseph Dézallier d’Argenville (on Rosalba Carriera, Elisabeth-Sophie Chéron, 1762), Horace Walole (on Anne Killigrew and Mary Beale, 1762-17), </span><span class="c4 c13">Luigi Crespi (on Antonia Pinelli, Teresa Muratori, Lucia Casalini Torelli and Eleonora Monti, and Clarice Vasini (1769), Giambattista Biffi (on Onorata Rodiani and Maria Felice Barbo, 1770s), </span><span class="c4">and Bibliography (pp. 467-74). </span><span class="c3">Has an Appendix, “Index to Women Artists in Early Modern Biographical Sources,” pp. 455-466. </span></p><p class="c11"><span class="c4 c13">de Dominici, Bernardo. </span><span class="c4 c13 c17">Vite de' pittori, scultori ed architetti napoletani</span><span class="c4 c13">. Naples: Francesco and Cristofano Ricciardo, 1742-45. On Mariangela Criscuolo (see below); Luisa Capomazza (nun; c.1600-c.1646), in the 1844 edition, </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.it/books?id%3DQbIDAAAAYAAJ%26printsec%3Dfrontcover%26hl%3Dit%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3DCriscuolo%26f%3Dfalse&sa=D&ust=1597863595924000&usg=AOvVaw3TP_stmoDOnXIdglF3HaVQ">vol. 3, pp. 250-55</a></span><span class="c4 c13">; Anna Di Rosa / Annella) di Massimo see below); Sister Maria De Dominici (see below); and Teresa Del Pò (see below).</span><span class="c38 c13"> </span><span class="c4 c13">Translated into English in</span><span class="c38 c13"> </span><span class="c4">Julia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c4">. </span><span class="c3">Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4 c41">Félibien, André. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://gallica.bnf.fr/ark:/12148/btv1b86267968/f5.item&sa=D&ust=1597863595925000&usg=AOvVaw3JBg432Rm3Uc7MloLgCf9Y">Noms de peintres les plus célèbres et les plus connus anciens et moderns.</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://gallica.bnf.fr/ark:/12148/btv1b86267968/f5.item&sa=D&ust=1597863595926000&usg=AOvVaw3JvoGZW7Z1UiA-_qwbQ6wj"> </a></span><span class="c4 c41">Paris, </span><span class="c4 c41">1679. Rpt. Geneva: Minkoff, 1972. For his passages, in full, on certain artists, see below under Anguissola, Fontana, Robusti, </span><span class="c4 c41">Strésor, </span><span class="c4 c41">Duchemin, </span><span class="c22 c4 c41">Boullogne, and Vezzi. He notes Orazio Gentileschi but not Artemisia (p. 44). He later lists several contemporary French women working in Paris either as oil painters or miniaturists, most of them related to artists: “Magdelaine Herauet femme de Noël Coypel, peint fort bien à huile [Madeleine Hérault (1635-1682) married Coypel in 1659]. [See Antoniette Hérault below]. Marie Geneviève de Lens, femme de Charles Herault, travaille aussi de miniature. … Claude [ie Claudine; 1636-1697] & Françoise Bousonnet Stella, soeurs d’Antoine Bousonnet Stella, peignent & gravent fort bien. Elles avoient une soeur nommé Antoinette” [see Bouzonnet-Stella below] (p. 79). </span></p><p class="c11"><span class="c4 c41">Félibien, André. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DGKVRGC9nS7sC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595926000&usg=AOvVaw2VHOk-2svcjkHKz4srTW5U">Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes</a></span><span class="c4 c17">.</span><span class="c4"> Vol 5. </span><span class="c4 c41">Paris, Sébastien Mabre-Cramoisy, 1688. Other than passages cited elsewhere here, on p. 52 he mentions, in the life of the painter Louis du Guernier, “une soeur qui en seconds </span><span class="c4 c13 c41">nopces épousa Bourdon Peintre, laquelle dessinoit fort bien.</span><span class="c4 c41">” This is Suzanne Du Guernier (born Paris; c. 1618-1658).</span></p><p class="c11"><span class="c4">Filarete. </span><span class="c4 c17">Treatise on Architecture.</span><span class="c3"> (c. 1464). Ed and trans. John Spencer. New Haven: Yale University Press, 1965, pp. 260 (a list of ancient painters includes “Martia, the daughter of Varro, a painter”), 268 (“It was not only permitted [in ancient Greece and Rome] for men to learn painting but also for women. The proof of this is in Martia, the daughter of the great Varro, the mirror of our Latin language.”)</span></p><p class="c11"><span class="c4">Garcia Hidalgo, José</span><span class="c4 c24">. </span><span class="c2">Principios para estudiar el nobilissimo, y real arte de la Pintura </span><span class="c4 c24">(1693), pp. 3-4,</span><span class="c2"> </span><span class="c4 c24">reproduced Madrid: El Instiuto de España, 1965. A brief list of six female artists: Sofonisba Anguissola (“Sofonisba Dama de la Reyna Doña Isabel”); the Duchess of Béjar (Teresa Sarmiento); the Countess of Bena; the Countess of Villaumbrosa; Doña Maria de Guadalupe, Duchess of Aveiro (1630-1715); </span><span class="c3">María de Abarca (miniaturist, active 1640-56 in Madrid).</span></p><p class="c11"><span class="c4">Géraud, Hercule (ed). </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DYTwDAAAAYAAJ%26q%3Daaeles%23v%3Donepage%26q%3Dtapiciere%26f%3Dfalse&sa=D&ust=1597863595928000&usg=AOvVaw04kbRsOqdIF00QPPmLyI13">Paris sous Philippe-le-Bel</a></span><span class="c4 c17">. </span><span class="c4">Paris: Crapelet, 1837. For the Paris tax rolls of 1292, which list the occupation of women who are taxed. See Archer (1995), under “</span><span class="c6 c4"><a class="c8" href="#kix.mlapizbdo32d">Women Artists and Patrons: Textiles and Needlework</a></span><span class="c3">” for women working in those crafts. There is also the case of “Aalis, l’ymaginière,” who paid a low tax (p. 169).</span></p><p class="c11"><span class="c4 c13">van Gool, Jan. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D0%26accessor%3Dtoc%26source%3D1&sa=D&ust=1597863595929000&usg=AOvVaw0ZkbHNa6xuqPzGTBT7PCOs">De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen</a></span><span class="c4 c13 c17">. </span><span class="c4">[The new theatre of Netherlandish male and female painters]. </span><span class="c4 c13">2 vols. </span><span class="c4">'s Gravenhage: Published by the author, </span><span class="c4 c13">1750-51. </span><span class="c4">Rpt Soest: Davaco, 1971. </span><span class="c4 c13">An update to Houbraken’s biographies, mainly discussing artists born after 1659. Most of the women artists discussed were born after 1700 but are listed here for completeness: Christina Maria Elliger (1731-1802),</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D329%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595930000&usg=AOvVaw03tb6g80t4pwuuB9S6Kd2s"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D329%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595930000&usg=AOvVaw03tb6g80t4pwuuB9S6Kd2s">vol. 2, pp. 303-4</a></span><span class="c4 c13">; </span><span class="c6 c4 c13"><a class="c8" href="#kix.1362c9x05k2b">Margaretha Haverman</a></span><span class="c4 c13"> (1639-after 1723)</span><span class="c4 c13">, </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D48%26accessor%3Dtoc%26source%3D2%26size%3D704%26view%3DimagePane&sa=D&ust=1597863595931000&usg=AOvVaw2iiiiazaVr87otTPqMvN72">vol. 2, pp. 82-84</a></span><span class="c4 c13">; Cornelia van der Myn (b, 1710-82, painter of portraits and flowers and member of a family of artists,</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D348%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595932000&usg=AOvVaw3L7KwPo3SuWOmle4DRRl9D"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D348%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595932000&usg=AOvVaw3L7KwPo3SuWOmle4DRRl9D">vol. 2, p. 321</a></span><span class="c4 c13">; </span><span class="c6 c4 c13"><a class="c8" href="#id.5enb919my3fp">Jacoba Maria van Nickelen</a></span><span class="c4 c13"> (c.1690-1749),</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D68%26accessor%3Dtoc%26source%3D2&sa=D&ust=1597863595933000&usg=AOvVaw2e2g-Sws4FjixKpdsP2htA"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D68%26accessor%3Dtoc%26source%3D2&sa=D&ust=1597863595933000&usg=AOvVaw2e2g-Sws4FjixKpdsP2htA">vol. 2, pp. 52-55</a></span><span class="c4 c13">; </span><span class="c6 c4 c13"><a class="c8" href="#id.l5s3fkd1m7rj">Henrietta van Pee</a></span><span class="c4 c13"> (1692-1741; married name Henrietta Wolters),</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D200%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595934000&usg=AOvVaw1fNQOwCM_QLTH4u-MwaJhx"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D200%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595934000&usg=AOvVaw1fNQOwCM_QLTH4u-MwaJhx">vol. 2, pp. 179-91</a></span><span class="c4 c13">; </span><span class="c6 c4 c13"><a class="c8" href="#kix.ecz02buro7bf">Rachel Ruysch</a></span><span class="c4 c13"> (</span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D232%26accessor%3Dtoc%26source%3D1%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595935000&usg=AOvVaw3flPXar-ybeK7EWSb1lrOF">vol. 1, pp. 210-33</a></span><span class="c4 c13"> including her portrait; see below); Sara Troost (1732-1803, daughter of the painter Cornelis Troost),</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D276%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595935000&usg=AOvVaw33ny17NP1og2Eixmsj4FkW"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D276%26accessor%3Dtoc%26source%3D2%26size%3D592%26view%3DimagePane&sa=D&ust=1597863595936000&usg=AOvVaw0PO29gX5IC_8EQc37bqld6">vol. 2, pp. 252-53</a></span><span class="c4 c13">; Margaretha Wulfraet (1678-1760; see below),</span><span class="c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D440%26accessor%3Dtoc%26source%3D1%26view%3DimagePane&sa=D&ust=1597863595936000&usg=AOvVaw0REb2SndtyXpqM1UrQfmcV"> </a></span><span class="c34 c4 c13"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/retroboeken/schouburg/%23page%3D440%26accessor%3Dtoc%26source%3D1%26view%3DimagePane&sa=D&ust=1597863595936000&usg=AOvVaw0REb2SndtyXpqM1UrQfmcV">vol. 1, pp. 415-18</a></span><span class="c4 c13">. Some extracts are translated in </span><span class="c4">Julia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Gratiano, Giulio Cornelio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D3r1eAAAAcAAJ%26pg%3DPA1%26lpg%3DPA1%26dq%3Dgratiano%2BDi%2B%2522Orlando%2BSanto%2Bvita%2522,%2Bet%2Bmorte%2Bcon%2Bventi%2Bmila%2BChristiani%26source%3Dbl%26ots%3D3-bgv44Ndn%26sig%3DACfU3U0TB9PwIwcptZVQ9gyj4N0AXMmeTg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwi66vK9n7XqAhUKG80KHe3rCQcQ6AEwA3oECAgQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595937000&usg=AOvVaw0hCzAt2n7BiwVRmiIRd7W0">Di Orlando Santo vita, et morte con venti mila Christiani uccisi in Roncisvalle Cavata del Catalogo de Santi</a></span><span class="c4">. Treviso: Evangelista Dehuchino, 1597, pp. 126-28. Recounting various worthy painters, past and present, in verse, he includes several women, such as Boccaccio’s Martia, and Dibutades (both p. 123; see Pliny), and then there is a section exclusively on women artists. “O che belle pittrici antique veggio / Seguir la schiera de li dotti mastri, / Et in arte si degna non far peggio, / Ch’a tesser veli, o bianche gonne, o nastri / Timarete, che tenne il primo seggio, / Che pinse loggie, case, asse, e pilastri, / Iterna figlia di Cratino, & anco / Aristarete di saper non manco. / ”Ma, che dirò di queste nostre adesso / Donne, che fan professione tale, / Ch’adoprano il color lo stilo, e’l gesso, / E spiegan poi de la lor fama l’ale / Ben sono certo à quelle antique apresso, / Et alcuna di lor molto più vale, / Credo del Tentoretto esse la figlia, / Che da valente padre l’arte piglia.” Artists thereafter mentioned are Irene of Spilimbergo, </span><span class="c6 c4"><a class="c8" href="#kix.crbn51a683dv">Properzia de’ Rossi</a></span><span class="c3">, and Sofonisba Anguissola.</span></p><p class="c33 c16"><span class="c4">Guasco, Annibale. </span><span class="c4 c17">Discourse to Lady Lavinia His Daughter: Concerning the Manner in Which She Should Conduct Herself When Going to Court as Lady-in-Waiting to the Most Serene Infanta, Lady Caterina, Duchess of Savoy.</span><span class="c3"> Ed and Trans Peggy Osborn. Chicago: University of Chicago Press, 2003.</span></p><p class="c11"><span class="c4">Houbraken, Arnold. </span><span class="c4 c17">De Groote Schouburgh der Nederlantsche konstschilders en schilderessen.</span><span class="c4"> 2nd ed. Amsterdam, 1718-21. The three-volume edition, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/houb005groo01_01/&sa=D&ust=1597863595939000&usg=AOvVaw3bzetL04ULTEkUXnms9jDA">’s Gravenhage: J. Swart, C. Bouquet, and M. Gaillard, 1753</a></span><span class="c3">, is online in a modern, searchable transcription.</span></p><p class="c11"><span class="c4">Houbraken, Arnold. </span><span class="c4 c17">The Golden Age Revisited; Arnold Houbraken’s Great Theatre of Netherlandish Painters and Paintresses.</span><span class="c3"> Ed. Hendrik Horn. Doornspijk: Davaco, 2000.</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/lastoriapittoric00lanz&sa=D&ust=1597863595940000&usg=AOvVaw3rFLTxn5ZIHKB7TigfTwUW">La storia pittorica della Italia inferior o sia delle Scuole Fiorentina, Senese, Romana, Napolitana</a></span><span class="c4 c17">.</span><span class="c4"> Florence: Pagani, 1792. In this survey, two women artists are mentioned in passing: Lavinia Fontana, p. 134; Plautilli Nelli, pp. 87, 515. See “</span><span class="c6 c4"><a class="c8" href="#kix.5d3a1dfofeqr">General, and Miscellaneous Artists: Southern Europe</a></span><span class="c3">” for the expanded edition of 1809.</span></p><p class="c11"><span class="c4">Malvasia, Carlo Cesare. </span><span class="c4 c17">Felsina Pittrice, vite de pittori bolognesi. </span><span class="c4">2 vols. Bologna: Erede di Domenico Barbieri, 1678. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Ducm.5319441470%26view%3D1up%26seq%3D9&sa=D&ust=1597863595941000&usg=AOvVaw0ttnP2XLVDP1x7ZTcBoc1t">Vol. 1</a></span><span class="c4">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t18k89g4c%26view%3D1up%26seq%3D7&sa=D&ust=1597863595941000&usg=AOvVaw2iLXm5AMmEmU-G0igd5WWa">Vol. 2</a></span><span class="c4">. Has Caterina de’ Vigri (vol. 1, pp. 33-34), Lavinia Fontana (vol. 1, pp. 214, 219-24) and Elisabetta Sirani (vol. 2, pp. 453-87). A critical edition and English translation is forthcoming as vols 4 (Fontana) and 15 (Sirani) in </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.nga.gov/research/casva/research-projects/malvasia-felsina-pittrice.html&sa=D&ust=1597863595942000&usg=AOvVaw2OXrg2V6_AxkhpXTA2ZEoV">the series </a></span><span class="c4">published by Harvey Miller. In passing, a few women artists are named, when closing a list: “lasciando quelli di Fede Galizia, di Lavinia Fontana, dell’Anguisola, che sono teneri sempre, e galanti la dove si dilettò egli dar ne’suoi maggior forza, più tondo, e rilievo; non contento di quella simiglianza, nella quale solo si fermò l’antico Demetrio, ma volendoli d’un bravo maneggio, quale abbiam poi dopo veduto in un Vandiche, in un Giusto” (</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t18k89g4c%26view%3D1up%26seq%3D144%26q1%3Dgalizia&sa=D&ust=1597863595942000&usg=AOvVaw26V08r0t7NrRDoqkL_qIhK">vol. 2, p. 134</a></span><span class="c3">).</span></p><p class="c11"><span class="c4">Malvasia, Carlo Cesare. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DZAJfAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595943000&usg=AOvVaw2UKLS8OtXwghKAT02rJ9zW">Le pitture di Bologna</a></span><span class="c4 c17">. </span><span class="c4">Bologna, 1686. Ed. A. Emiliani, Bologna, 1969. Expanded in </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://digital.ub.uni-duesseldorf.de/urn/urn:nbn:de:hbz:061:1-112105&sa=D&ust=1597863595944000&usg=AOvVaw2pHmiPesBYGQcyAo7QWk-E">1706 edition.</a></span><span class="c3"> </span></p><p class="c11"><span class="c4">Mancini, Giulio. </span><span class="c4 c17">Considerazioni sulla pittura. </span><span class="c3">(c. 1614-28). 2 vols. Ed. Adriana Marucchi and Luigi Salerno. Rome: Accademia nazionale dei Lincei, 1956-57 (the first publication).</span></p><p class="c11"><span class="c4">Masini, Antonio di Paolo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Dt8QAAAAAcAAJ%26dq%3Dintitle:Bologna%2BPerlustrata%26as_brr%3D3&sa=D&ust=1597863595944000&usg=AOvVaw18tdMe2tvHWxJ3z_YHuZlf">Bologna perlustrata.</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Dt8QAAAAAcAAJ%26dq%3Dintitle:Bologna%2BPerlustrata%26as_brr%3D3&sa=D&ust=1597863595945000&usg=AOvVaw3WYdInjUKovnjBPzO8jsBM"> Bologna, 1650</a></span><span class="c4">. Or </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/bub_gb_8iBXAAAAcAAJ&sa=D&ust=1597863595945000&usg=AOvVaw1bU7bIAHQpsJ6s4PRAYz-r">3rd ed of 1666</a></span><span class="c4">. Briefly mentions various women artists of Bologna.</span><span class="c3"> Includes “Tavola de’pittori, scultori, et altri artefici della scuola di Bologna,” pp. 612-40.</span></p><p class="c11"><span class="c4 c13 c14">Masini, Antonio di Paolo. For unpublished notes of 1690 see Adriana Arfelli. “</span><span class="c4 c13 c14 c17">Bologna Perlustrata</span><span class="c4 c13 c14">, di Antonio di Paolo Masini e l’</span><span class="c4 c13 c14 c17">Aggiunta </span><span class="c4 c13 c14">del 1690.” </span><span class="c4 c13 c14 c17">L’Archiginnasio </span><span class="c4 c13 c14">12 (1957): 188-237. Includes Ginevra Cantofoli, Lavinia Fontana, Lucrezia Scarfaglia, Anna Maria Sirani, and Elisabetta Sirani.</span></p><p class="c11"><span class="c4 c13">Moücke, Francesco. </span><span class="c4 c13 c17">Serie di ritratti degli eccellenti pittori dipinti di propria mano che esistono nell' Imperial galleria di Firenze </span><span class="c4 c17">colle vite in compendio de’ medesimi</span><span class="c4 c13">. 4 vols. Florence: Moückiana, 1752-62. Engravings of self-portraits in the Uffizi collection, with biographies. The women artists selected are Sofonisba Anguissola (see below), Rosalba Carriera (see below), Lavinia Fontana (see below), Giovanna Fratellini (see below), Arcangela Paladini (see below), Marietta Robusti (see below), and Violante Beatrice Siriès (1710-83; </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t9c568h8k%26view%3D1up%26seq%3D399&sa=D&ust=1597863595947000&usg=AOvVaw2TdrjE98kunT7Rs4JcQZJi">Vol. 4, Pl. LI and pp. 285-89</a></span><span class="c4 c13">). Some passages are translated into English in J</span><span class="c4">ulia K. Dabbs (ed). </span><span class="c4 c17">Life Stories of Women Artists, 1550-1800: An Anthology</span><span class="c3">. Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Pacheco, Francisco. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DIitPAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3Dfontana%26f%3Dfalse&sa=D&ust=1597863595948000&usg=AOvVaw0oxPOzBQHxCwQcUq-cqBPO">Arte de la Pintura</a></span><span class="c4 c17">.</span><span class="c3">(1638). Ed. D.G. Gruzada Villaamil. Vol. 1. Madrid: Manuel Galiano, 1866, pp. 127-28 (1.7). “A un señora llamada Lavinia Fontana, Florentina [sic], por un cuardo de una media imagen con el niño dormido le mandó dar mil ducados. Antes de pasar de aquí hare memoria de otras famosas mujeres pintoras italianas, como Sofonisba (que retrató al principe D. Cárlos, hio de Felipe II), Artemisia, que vive hoy en Roma (de quien trajo el dunque de Alcalá algunas pinturas); y de la antigüedad hace mencion de otras Pedro Mejia. Timareta, hija de Nicon (que pinto una famosa abla de Diana que se venera en Éfeso), Irene, Calipso Caliicena, Olimpias y otras, y señaladamente Marcia, hija de Varron, que nombrarémos adelante.”</span></p><p class="c11 c13"><span class="c4">Palomino, Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DAGVeAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595948000&usg=AOvVaw2uM8jUBvCcQOmVybTkJYU_">El Parnaso español pintoresco laureado</a></span><span class="c4">.</span><span class="c4"> Vol. 3 of </span><span class="c4 c17">El Museo pictórico y escala óptica</span><span class="c4">. </span><span class="c4">Madrid, 1715, pp. 162-63 (Book 2, ch. 10, section 3). Partial English translations include </span><span class="c4 c17">Lives of the eminent Spanish painters and sculptors.</span><span class="c4"> Trans. Nina Ayala Mallory. Cambridge: Cambridge University Press, 1987. The short section on female artists </span><span class="c4 c24">includes (in his order): Queen Maria Louise d’Orléans (miniaturist, 1662-89), Sofonisba Anguissola and her three sisters (“Hermanas Ana, Europa, y Luzia”), an unnamed Sicilian woman, Teresa Sarmiento, Maria de Guadalupe, the Countess of Villaumbrosa, “Mariana de la Cueva, Benavides, y Barradas,” Queen Isabel Farnesio [Elisabetta Farnese, to whom the volume was dedicated], Marietta Robusti, Margareta van Eyck, Properzia de’ Rossi, Plautilla Nelli, Lucrezia Quistelli della Mirandola, Artemisia Gentileschi, Lavinia Fontana, Properzia de’ Rossi (sic; ie named twice), Teresa del Pò, an unnamed daughter of the artist </span><span class="c4">Alonso Sánchez, Mariana Duarte, Madame le Hay [ie Élisabeth Sophie Chéron], “Susana Maria, Pintora en Augusta, hija de Juan Fischero,” Anna Maria Schurman, “Ana Felicitas de Neuburg,” Maria Sibylla Merian,</span><span class="c38"> </span><span class="c4">and </span><span class="c4 c24">Susanne Maria von Sandrart (1658-1716). The </span><span class="c3">final paragraph names various female painters of antiquity mentioned by Pliny. Elsewhere, he discusses the sculptor Luisa Roldán.</span></p><p class="c11 c13"><span class="c4">Ridolfi, Carlo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DxSc716Pc-w0C%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595950000&usg=AOvVaw0mdHgfEEKbp8j9_LUOviFB">Le Maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello stato</a></span><span class="c3">. Venice: Gio. Battista Sgava, 1648. Part 2, p. 71: lists modern women artists at the beginning of his life of Marietta Robusti: Lavinia Fontana, Irene di Spilimbergo, Chiara Varotari and Giovanna Garzoni.</span></p><p class="c11"><span class="c4">Rogers, Mary and Paola Tinagli. </span><span class="c4 c17">Women in Italy, 1350-1650: A sourcebook. </span><span class="c3">Manchester: Manchester University Press, 2005.</span></p><p class="c11"><span class="c4 c24">Rombouts, Ph. and Th. Van Lerius. </span><span class="c4 c17">De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde / Les Liggeren et autres archives historiques de la Gilde Anversoise de Saint Luc.</span><span class="c4"> Antwerp: Jules de Koninck, 1872. Rpt Amsterdam: Israël, 1961. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Dlt58DGdLbgQC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595951000&usg=AOvVaw0rZZ2Baf96BQoZg30V99sv">Vol. 1 (1453-1615 etc)</a></span><span class="c4">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_O5fAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595952000&usg=AOvVaw0TJvl3QHOfEHcs-woo7O-1">Vol. 2 (1629-1729 etc)</a></span><span class="c3">. Records of the artist’s guild of St Luke in Antwerp, which includes the occasional woman, chiefly entering under the aegis of a male relative or husband; some were widows.</span></p><p class="c11"><span class="c4 c13">Sanderson, William. </span><span class="c4 c13 c17">Graphice. The use of the Pen and Pensil. Or, the most excellent art of Painting.</span><span class="c4 c13"> London: Robert Crofts, 1658, </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/graphiceuseofpen00sand/page/20/mode/2up&sa=D&ust=1597863595952000&usg=AOvVaw2MSVidKkQgjpOJxUYUBcGM">p. 20</a></span><span class="c4 c13">: “And to make good that Maxime, that the ground of all excellencies in this Art is the Naturall fancie bon-esprite, quick wit, and ingenuity, which adds and enable the elaborate part, pick me out one equall to Madam Caris, a Brabanne [</span><span class="c6 c4 c13"><a class="c8" href="#id.y47wml2i44as">Anna Maria Carew</a></span><span class="c4 c13">]; Judgment and Art mixed together in her rare pieces of Limning, since they came into England. And in Oyl Colours we have a virtuous example in that worthy Artist, Mrs Carlisle [see below]: and of others Mr Beale [sic; see Mary Beale below], Mrs Brooman, and to</span><span class="c38 c13"> </span><span class="c4 c13">Mrs Weimes.”</span></p><p class="c11 c13"><span class="c4">Sandrart, Joachim von. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=http://www.deutschestextarchiv.de/book/view/sandrart_academie0102_1675/?hl%3DHoratio%26p%3D241&sa=D&ust=1597863595953000&usg=AOvVaw1y-py0ooJxQpK4gnGlnSHo">L’Academia Todesca. della Architectura, Scultura & Pittura: Oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste</a></span><span class="c4 c17">. </span><span class="c4">Nuremberg, 1675. Vol. 1, pt. 2, pp 203-04. Ch. 22. “A number of Italian women who are praised in the art of drawing and painting.” Properzia de’ Rossi, Plautilla Nelli, Lucrezia Quistelli, and Sofonisba Anguissola. An alternative site is </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.sandrart.net/en/&sa=D&ust=1597863595954000&usg=AOvVaw0LcXh94rdD3vzaM0pv6co_">here</a></span><span class="c4">. In conjunction with the life of Tintoretto, discusses his daughter Marietta Robusti, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.deutschestextarchiv.de/book/view/sandrart_academie0102_1675/?hl%3DHoratio;p%3D204&sa=D&ust=1597863595954000&usg=AOvVaw0SFCS6U55T9LzazQ5T8C85">vol. 1, p. 170</a></span><span class="c3">.</span></p><p class="c11 c13"><span class="c4">Sansovino, Francesco. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DwghXAAAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595954000&usg=AOvVaw0DmzDVyBJF-TO93vtb5537">Venetia città nobilissima et singolare descritta in XIIII libri</a></span><span class="c4 c17">.</span><span class="c4"> Rev. ed. Ed. Giustiniano Martinioni. Venice: Steffano Curti, 1663. A section appended at the end of the volume includes “Quinto catalogo de gli pittori di nome, che al presente vivono in Venetia.” At the end of the names of 41 male artists currently living in Venice, there is a sub-section with 11 women artists (that is, 21 percent): “Non solo in questa Inclita Città di Venetia vi sono li sopranominati Pittori: ma / ancora L’Infrascritte Pittrice, quali non ciedono, ne maneggi de pennelli, ad essi Pittori. Et sono / </span><span class="c6 c4"><a class="c8" href="#kix.qn8urwhpnxe1">Chiara Varottari</a></span><span class="c4">, sorella del già Alessandro Vaottari Padoana, valorosa nel dipignere. / </span><span class="c6 c4"><a class="c8" href="#id.q7jodvwbe72e">Catterina Tarabotta</a></span><span class="c4">. / </span><span class="c6 c4"><a class="c8" href="#id.3wmmlwln5dk2">Paulina Grandi</a></span><span class="c4">. / </span><span class="c6 c4"><a class="c8" href="#id.4j0d2u22skxg">Lucia Scaligera</a></span><span class="c4">. / </span><span class="c6 c4"><a class="c8" href="#id.2yvb70ra5c2y">Clorinda</a></span><span class="c4"> Consorte di Pierro Vecchia, e figlia di Nicolò Renieri & / </span><span class="c6 c4"><a class="c8" href="#id.2yvb70ra5c2y">Angelica</a></span><span class="c4"> sorella della detta. & / </span><span class="c6 c4"><a class="c8" href="#id.2yvb70ra5c2y">Lugretia </a></span><span class="c4">delle dette fù moglie di Daniel Vendich. / </span><span class="c6 c4"><a class="c8" href="#id.o9e8g2yxu9z9">Flaminia Triva</a></span><span class="c4">. / </span><span class="c6 c4"><a class="c8" href="#id.nr5ovsoow062">Regina</a></span><span class="c4"> figlia di Gioseppe Enzo. / </span><span class="c6 c4"><a class="c8" href="#id.3bewgcmbqeez">Mariana, & Gratia</a></span><span class="c4">, Sorelle Hebree. La prima copia bene le cose del Belotto” (p. 23). The list is of publicly known women, not “amateurs,” assistants or nuns. Female membership of the guild of artists in Bruges increased from around 12% in 1454 to 25% in the 1480s (Miner, </span><span class="c4 c17">Anastaise and Her Sisters,</span><span class="c4"> p. 24, relying on what is later reported in J.D. </span><span class="c4 c5">Farquhar, “The Vrelant enigma,” </span><span class="c0">Quaerendo </span><span class="c4 c5">4 no 2, 1974, p. 103 n. 9</span><span class="c4">)</span><span class="c4">. In comparable terms, a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.theguardian.com/artanddesign/2015/apr/29/the-guerrilla-girls-interview-art-world-sexism%23img-3&sa=D&ust=1597863595957000&usg=AOvVaw3nXcyt31NshppjFdxEihbr">poster by the Guerrilla Girls</a></span><span class="c4"> in 2014 pointed out that eighteen of the major commercial galleries in New York “show no more than 20% women artists or none at all.” Their classic lithograph of 1989, </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793&sa=D&ust=1597863595957000&usg=AOvVaw2Bz4DXObxCjfMbPamewegN">Do women have to be naked to get into the Met. Museum</a></span><span class="c4 c17">,</span><span class="c3"> stated: “Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female.”</span></p><p class="c11"><span class="c4">Slatkin, Wendy. </span><span class="c4 c17">The Voices of Women Artists. </span><span class="c3">Englewood Cliffs: Prentice Hall, 1993. For Artemisia Gentileschi and Rosalba Carriera see pp. 3-20.</span></p><p class="c11"><span class="c4">Soprani, Raffaele. </span><span class="c4 c17">Le vite de’ pittori, scultori, et architetti genovesi...</span><span class="c4"> Genoa: G. Bottaro and G.B. Tiboldi, 1674. Ed. in 2 vols, Carlo Giuseppe Ratti. Genoa: Casamara, 1768-69. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books/about/Vite_de_pittori_scultori_ed_architetti_g.html?id%3Dkkw3AQAAMAAJ&sa=D&ust=1597863595958000&usg=AOvVaw2py-iJ1biLsWN5cpkCOyJF">Vol. 1</a></span><span class="c4"> pp. 411-16 for Sofonisba Anguissola. The life of Orazio Gentileschi does not mention Artemisia.</span><span class="c4"> </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books/about/Delle_vite_de_pittori_scultori_ed_archit.html?id%3DvFcGAAAAQAAJ&sa=D&ust=1597863595959000&usg=AOvVaw2Q8atRWKS6I73OwTUsgO6h">Vol. 2</a></span><span class="c4">, pp. 14, 17 (Maria Vittoria Cassana), and 199-200 (the sisters </span><span class="c3 c13">Angiola Tavella and Teresa Tavella, daughters of the painter Carlo Antonio Tavella).</span></p><p class="c11"><span class="c4 c13">Strozzi, Alessandra Macinghi. </span><span class="c4 c13 c17">Lettere di una gentildonna Fiorentina del secolo XV.</span><span class="c4 c13"> Ed. Cesare Guast. Florence: Sansoni, 1877, pp. 224, 230-31. In late 1460, Lorenzo Strozzi sent several paintings from Bruges to his mother in Florence, Alessandra (c. 1408-71). She kept a </span><span class="c4 c13 c17">Holy Face</span><span class="c4 c13"> but intended to sell the others at a profit. She was by no means a professional art dealer, but an upper-class matron in Florence who clearly had access to people interested in purchasing art, either as possessions or investments. In English: Alessandra Macinghi Strozzi. </span><span class="c4 c13 c17">Letters to Her Sons (1447-1470).</span><span class="c4 c13"> Ed. and trans. Judith Bryce. Toronto: Iter Academic Press, 2016, pp. 94-95, 97.</span></p><p class="c11"><span class="c4">Tiraboschi, Girolamo. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t9t16jw6h%26view%3D1up%26seq%3D5&sa=D&ust=1597863595959000&usg=AOvVaw2VwJd4c3YczHxi8N0x0vII">Notizie de’ pittori, scultori, incisori e architetti.</a></span><span class="c4 c17"> </span><span class="c3">Modena: Società tipografica, 1786. </span></p><p class="c11"><span class="c4">Van Mander, Karel. </span><span class="c4 c17">Het schilder-boeck</span><span class="c4">. Haarlem: Passchier Wesbusch, 1604, fols 191 verso- 192 recto for </span><span class="c4">a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/mand001schi01_01/mand001schi01_01_0178.php&sa=D&ust=1597863595960000&usg=AOvVaw13MT_jFJ8peW-P-cJb5OGn">section on Italian women artists</a></span><span class="c4">, including Properzia de’ Rossi, Plautilla Nelli, Lucrezia Quistelli, and Sofonisba Anguissola. It draws heavily from Vasari. Van Mander mentions in passing a few women artists from other regions: </span><span class="c6 c4"><a class="c8" href="#id.ba3af92zvjqq">Margriete van Eyck</a></span><span class="c4">, Jan’s putative sister (fol. 199r); Anna Smijters (</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/mand001schi01_01/mand001schi01_01_0232.php?q%3DSmijters%23hl1&sa=D&ust=1597863595961000&usg=AOvVaw3vGe4uDAbzpd6OIrJNEcAv">fol. 255r</a></span><span class="c3">); Marguerite Bahuche (see below).</span></p><p class="c11"><span class="c4">Van Mander, Karel. </span><span class="c4 c17">The Lives of the Illustrious Netherlandish and German Painters</span><span class="c3">. 6 vols. Ed. Hessel Miedema. Doornspijk: Davaco, 1994-99.</span></p><p class="c11"><span class="c4">Vasari, Giorgio. </span><span class="c4 c17">Le vite de' più eccellenti pittori, scultori ed architettori. </span><span class="c4">(1568) Ed. Gaetano Milanesi. 9 vols. Florence: Sansoni, 1878-85 (rpt 1973). The key segment is </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/levitedepiecce05vasauoft/page/72/mode/2up&sa=D&ust=1597863595961000&usg=AOvVaw05_vtxVp6434t6cDYOSE5R">Vol. 5, pp. 73-81</a></span><span class="c4"> (1880)</span><span class="c4">, which begins with Properzia de’ Rossi, and then discusses Plautilla Nelli and Sofonisba Anguissola. Later editions include R. Bettarini and Paola Barocchi (eds). 4 vols, Florence: Sansoni, 1966. In English, the best, complete edition is Gaston du C. de Vere (trans). </span><span class="c4 c17">Lives of the Most Eminent Painters, Sculptors, and Architects by Giorgio Vasari. </span><span class="c4">10 vols. London: Medici Society, 1912-15, and rpts. For the chapter on Properzia and others in de Vere’s translation see </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/livesofmostemine05vasauoft/page/254/mode/2up&sa=D&ust=1597863595962000&usg=AOvVaw0mMfk3cQFiXB036hMfYLEq">vol. V, pp. 123-28</a></span><span class="c3">. For other women artists mentioned by Vasari, see under individual artists listed below.</span></p><p class="c11"><span class="c4 c13 c14">Vedriani, Lodovico. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D8kGtyO_P79AC%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595963000&usg=AOvVaw1AVrxWh6l2HFVOU7g1JmDc">Raccolta de'pittori, scultori, et architetti Modonesi più celebri</a></span><span class="c4 c13 c14">. Modena: Solitani Stampator Ducale, 1662, pp. 32-34 (the wife and daughter of the sculptor Guido Mazzoni), 35-37 (Properzia de’ Rossi).</span></p><p class="c11"><span class="c4">Vives, Juan Luis. </span><span class="c4 c17">De institutione feminae christianae </span><span class="c4">(1524). Book I. Ed. Charles Fantazzi and C. Matheeussen. Trans. C. Fantazzi. Leiden: Brill, 1996, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DI24XIEGvQbAC%26pg%3DPR4%26lpg%3DPR4%26dq%3DDe%2Binstitutione%2Bfeminae%2Bchristianae%2Bfantazzi%26source%3Dbl%26ots%3DvVtjNUz46O%26sig%3DACfU3U3guFfplmrZqcjFfBRYc1ujeFwdAg%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwigjN3t8_XpAhVIRjABHeBwBcwQ6AEwCXoECAoQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595963000&usg=AOvVaw0gSkdqH8t-zR9Us6rBZTxC">pp. 22-23 (Bk 1, ch. 3)</a></span><span class="c4">, with Latin and English in parallel. “It is dishonourable in the eyes of noble women to remain idle.” Isabella I of Castille (1451-1504) taught her daughters “spinning, sewing, and needlepoint” (“nere, suere, acu pingere”).</span></p><a id="kix.5d3a1dfofeqr"></a><h1 class="c77 c66" id="h.7vw2y26be8en"><span class="c7">General, and Miscellaneous Artists: Southern Europe</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">Albricci, G. “Donne incisori nei secoli XVI e XVII. Notizie su Properzia de’ Rossi, Annamaria Vaiani, Veronica Fontana, Teresa del Po, Diana Scultori, Elisabetta Sirani.” </span><span class="c4 c17">I quaderni del conosciatore di stampe </span><span class="c3">19 (1973): 20-25.</span></p><p class="c11"><span class="c4 c24">Alexander, John G. “Women and the Italian Renaissance Illuminated Manuscript.” In Elina Gertsman and Jill Stevenson</span><span class="c2"> </span><span class="c4 c24">(eds). </span><span class="c2">Thresholds of Medieval Visual Culture: Liminal Spaces</span><span class="c4 c24">. Woodbridge: Boydell, 2012, pp. 159-75. Women as owners, producers, educators.</span></p><p class="c11"><span class="c4">Barker, Sheila (ed). </span><span class="c4 c17">Women Artists in Early Modern Italy: Careers, Fame, and Collectors. </span><span class="c4">London: Harvey Miller, 2016. Includes Sheila ffolliott, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42212154/Pi%25C3%25B9_che_famose_Some_thoughts_on_Women_Artists_in_Early_Modern_Europe&sa=D&ust=1597863595965000&usg=AOvVaw146mObXcRuD93BjPXl0GFI">‘Più che famose’: Some Thoughts on Women Artists in Early Modern Europe</a></span><span class="c4">,” pp. 15-28; Julia Vicioso, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/35662326/Julia_VICIOSO_Costanza_Francini_A_Painter_in_the_Shadow_of_Artemisia_Gentileschi_in_Women_Artists_in_Early_Modern_Italy_Careers_Fame_and_Collectors_The_Medici_Archive_Project_Series_1_Sheila_Barker_editor_Brepols_2016_pp._99-120&sa=D&ust=1597863595966000&usg=AOvVaw2aEGsspd3WgGdcG-ttxKFf">Costanza Francini: A Painter in the Shadow of Artemisia Gentileschi</a></span><span class="c4">,” pp. 99-120; Eve Straussman-Pflanzer, “The Medici’s First Woman Court Artist: The Life and Career of Camilla Guerrieri Nati,” pp. 121-34; Roberta Piccinelli, “Female Painters and Cosimo III de’ Medici’s Art Collecting Project,” pp. 151-56; Nicole Escobdo, “The English Collectors of Italy’s Female Old Masters, 1700-1824,” pp. 157-71. Rev: Fredrika Jacobs. </span><span class="c4 c17">Early Modern Women </span><span class="c3">12 no 2 (Spring 2018): 288-92. Some items are listed elsewhere.</span></p><p class="c11"><span class="c4">Biagi Maino, Donatella. “Notizia delle donne pittrici in Bologna.”</span><span class="c4 c17"> Strenna Storica Bolognese </span><span class="c3">43 (1993): 49-67.</span></p><p class="c11"><span class="c4">Blumenthal, Arthur R. </span><span class="c4 c17">Italian Renaissance and Baroque Paintings in Florida Museums.</span><span class="c4"> Rollins College Winter Park, Florida: The George D. and Harriet W. Cornell Fine Arts Museum, 1991, no 12 Lavinia Fontana, </span><span class="c4 c17">Dead Christ with Symbols of Passion </span><span class="c4">1581; no 13 Sofonisba Anguissola, </span><span class="c4 c17">Holy Family.</span></p><p class="c11"><span class="c4">Bohn, Babette. “From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe.” In Babette Bohn and James Saslow (eds). </span><span class="c4 c17">A Companion to Renaissance and Baroque Art. </span><span class="c4">John Wiley & Sons,</span><span class="c4 c17"> </span><span class="c3">2013, pp. 229-250.</span></p><p class="c11"><span class="c4">Bohn, Babette. “Collecting Women’s Art in early Modern Bologna.” </span><span class="c2">Reframing Seventeenth-Century Bolognese Art</span><span class="c19 c4">. Amsterdam University Press, 2019.</span></p><p class="c11"><span class="c4">Bohn, Babette and R. Morselli (eds). </span><span class="c4 c17">Reframing Seventeenth-Century Bolognese Art: Archival Discoveries</span><span class="c3">. Amsterdam University Press, 2019.</span></p><p class="c11"><span class="c4">Bohn, Babette. </span><span class="c4 c17">Women Artists, Their Patrons, and Their Publics in Early Modern Bologna. </span><span class="c3">University Park: Pennsylvania State University Press, forthcoming.</span></p><p class="c11"><span class="c4">Bolognini Amorini, Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dnjp.32101060597638%26view%3D1up%26seq%3D405&sa=D&ust=1597863595968000&usg=AOvVaw1PY5QN03cZgdnEqHYal2Dn">Vite dei pittori ed artefici Bolognese</a></span><span class="c4 c17">. </span><span class="c3">Bologna: Fonderia e tipografia governativa, 1843. Elisabetta Sirani, pp. 359-88; Anna and Barbara Sirani, pp. 388-89; Ginevra Cantofoli, with Teresa Murtori, Maria Panzacchi, Antonia Pinelli and Eleonora Monti, pp. 389-93.</span></p><p class="c25"><span class="c4">Bonafede, C. </span><span class="c4 c17">Cenni biografici e ritratti d’insigni donne Bolognese. </span><span class="c3">Bologna, 1845. </span></p><p class="c46 c48"><span class="c4">Ciletti, Elena. “Patriarchal Ideology in the Renaissance Iconography of Judith.” In Marilyn Migiel and Juliana Schiesari (eds). </span><span class="c4 c17">Refiguring Woman. Perspectives on Gender and the Italian Renaissance.</span><span class="c3"> Ithaca: Cornell University Press, 1991, pp. 35-70.</span></p><p class="c11"><span class="c4">Cruz de Carlos, María. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/41349345/Mujeres_de_las_%25C3%25A9lites_y_cultura_art%25C3%25ADstica_en_el_Museo_Pict%25C3%25B3rico_de_Antonio_Palomino&sa=D&ust=1597863595970000&usg=AOvVaw3IoDKXHf8URlnvr6NgGPN5">Mujeres de las élites y cultura artística en el ‘Museo Pictórico’ de Antonio Palomino</a></span><span class="c4">.” </span><span class="c4 c17">Cuadernos de Historia Moderna</span><span class="c3"> 44 no 2 (2019): 419-447.</span></p><p class="c11"><span class="c4">Dabbs, Julia K. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://digitalcommons.morris.umn.edu/cgi/viewcontent.cgi?referer%3Dhttps://www.google.com/%26httpsredir%3D1%26article%3D1002%26context%3Darthistory&sa=D&ust=1597863595970000&usg=AOvVaw0r8wEXHx_CZqqpaYb6IFKy">Sex, Lies and Anecdotes: Gender Relations in the Life Stories of Italian Women Artists, 1550-1800</a></span><span class="c4">.” </span><span class="c4 c17">Aurora</span><span class="c3"> 6 (2005): 17-37.</span></p><p class="c11"><span class="c4">Davidson Reid, Jane. “The True Judith.” </span><span class="c4 c17">Art Journal</span><span class="c4"> 28 (Summer 1969): 376-87.</span></p><p class="c11"><span class="c4">Degli Angeli, A.M. “Il mito della donna artista nella Bologna del Seicento.” </span><span class="c4 c17">Il Carrobbio </span><span class="c3">13 (1987): 121-24 incl Ginevra Cantofoli.</span></p><p class="c11"><span class="c4">Dempsey, Charles. “Some Observations on the Education of Artists in Florence and Bologna during the later Sixteenth Century.” </span><span class="c4 c17">Art Bulletin </span><span class="c3">(1980): 552-69.</span></p><p class="c11"><span class="c4">Dotti, Davide (ed). </span><span class="c4 c17">Donne nell’arte. Da Tiziano a Boldini. </span><span class="c3">Milan: Silvana, 2020. Exhibition in Brescia.</span></p><p class="c11"><span class="c4">Fortunati, Vera (ed). </span><span class="c4 c17">Imago Virginis. Donne artiste e sacro fra passato e presente. </span><span class="c4">Bologna, </span><span class="c3">1996</span></p><p class="c11"><span class="c4 c24">Fortunati, Vera, Jordana Pomeroy and Claudio Strinati, et al. </span><span class="c2">Italian Women Artists: from Renaissance to Baroque</span><span class="c4 c24">. Milan: Skira, 2007. </span><span class="c4">Exh.cat. National Museum of Women in the Arts, Washington, DC. Contains Claudio Strinati, “On the Origins of Women Painters,” pp. 15-18; Jordana Pomeroy, “Italian Women Artists from Renaissance to Baroque,” pp. 19-22; Caroline Murphy, “The Economics of the Woman Artist,” pp. 23-30; Sheila ffolliott, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/42196279/Wife_Widow_Nun_Court_Lady_Women_Patrons&sa=D&ust=1597863595972000&usg=AOvVaw2aaNDAaASbjdg6PBWsgEnf">Wife, Widow, Nun, and Court Lady: Women Patrons of the Renaissance and Baroque</a></span><span class="c4">,” pp. 31-39; Vera Fortunati, “Toward a History of Women Artists in Bologna between the Renaissance and the Baroque: Additions and Clarifications,” pp. 41-48; Ann Sutherland Harris, “Sofonisba, Lavinia, Artemisia, and Elisabetta: Thirty Years after </span><span class="c4 c17">Women Artists, 1550-1950</span><span class="c4">,” pp. 49-62; Carole Collier Frick, “Painting Personal Identity: The Costuming of Nobildonne, Heroines, and Kings,” pp. 63-74; Alexandra Lapierre, “The ‘Woman Artist’ in Literature: Fiction or Non-Fiction?”, pp. 75-81. Rev: Katherine Poole. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">29 no 1 (Spring/Summer 2008): 41-43.</span></p><p class="c11"><span class="c4">Fortune, Jane with Linda Falcone. </span><span class="c4 c17">Invisible Women. Forgotten Artists of Florence.</span><span class="c4"> 2</span><span class="c4 c21">nd</span><span class="c3"> ed. Collana: The Florentine Press, 2010. On Nelli: pp. 32-36, 40-43, 176-79, 213. On Robusti, pp. 68-69, 215. On Clara Peeters, pp. 88-90, 213. On Oosterwyck and Ruysch, pp. 92-97, 215, 217. On Giovanna Garzoni and Margherita Caffi, pp. 100-6, 209-10. On Sirani, pp. 120-23. On Sofonisba Anguissola, pp. 144-46, 198. On Lavinia Fontana, pp. 150-55, 207. On Artemisia Gentileschi, pp. 156-61, 170-75, 210-11. On Rosalba Carriera, pp. 162-64, 201-2. On Maddalena Corvina, p. 205. On Fede Galizia, p. 209. Also 3rd ed. 2014.</span></p><p class="c25"><span class="c4">Fossi, Gloria (ed). </span><span class="c4 c17">Il Ritratto: gli artisti, i modelli, la memoria.</span><span class="c3"> Florence, 1996.</span></p><p class="c11"><span class="c4 c24">Gardonio-</span><span class="c4">Foat, Casey. “Daughters of Seville: Workshops and Women Artists in Early Modern Andalucia.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">31 no 1 (Spring/Summer 2010): 21-27.</span></p><p class="c11"><span class="c4">Ghirardi, Angela. “Women Artists of Bologna: The Self-Portrait and the Legend from Caterina Vigri to Anna Morandi Manzolini (1413-1774).” In Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614.</span><span class="c3"> Washington, DC: National Museum of Women in the Arts, 1998, pp. 32-47, for Caterina Vigri, Properzia de' Rossi, Lavinia Fontana, Antonia Pinelli, Elisabetta Sirani, Ginevra Cantofoli, Lucrezia Scarfaglia, Lucia Casalini Torelli, Anna Morandi Manzolini. See also pp. 118-45 for “Women Artists of Bologna” incl Caterina Vigri, Properzia de' Rossi, Elisabetta Sirani, Angela Teresa Muratori, Lucia Casalini Torelli, and Anna Morandi Manzolini; and pp. 147-49 for “Women Engravers in Bologna,” incl Veronica Fontana.</span></p><p class="c47"><span class="c4">Giordano, Gaetano. </span><span class="c4 c17">Notizie sulle donne pittrici di Bologna. </span><span class="c3">Bologna: Nobili, 1832. Not seen.</span></p><p class="c11"><span class="c4">Graziani, I. “La leggenda dell’artista donna in Emilia.” In </span><span class="c4 c17">Pittura del Cinquecento in Emilia Romagna. </span><span class="c3">Milan, 1994.</span></p><p class="c11"><span class="c4">Guidotti, Alessandro. “Battilore e dipintori a Firenze fra Tre e Quattrocento: Bastiano di Giovanni e la sua clientela (dal Catasto del 1427).” In </span><span class="c4 c17">Scritti di storia dell'arte in onore di Roberto Salvini.</span><span class="c3"> Florence: Sansoni, 1984, p. 243 and n. 24: Giovanna, wife of Piero di Antonio di Piero, matriculated in the Florentine guild of artists, Arte dei Medici e Speziali in April 1437; her husband with his brother Matteo only matriculated in that guild on 10 Oct 1444 and in the 1427 catasto (tax return) the brothers had been “lavoranti sottoposti” whereas later they were battiloro.</span></p><p class="c11"><span class="c4">Hanlon, Gregory. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/7820421/Early_Modern_Italy_1550-1790_A_Comprehensive_Bibliography_of_titles_in_English_and_French_12th_edition_2016&sa=D&ust=1597863595975000&usg=AOvVaw2_fVJiPFXcFt83_NNtQ57Y">Early Modern Italy 1550-1790: A Comprehensive Bibliography of titles in English and French, 12th edition, 2016</a></span><span class="c3">.” By a Professor of History, Dalhousie University: “This most recent edition of the bibliography contains almost 21,200 titles in English (64%) and French (36%), with an introductory section on historiography. It deals with every aspect of Italian history and culture from the Late Renaissance to the French Revolution.” The lack of Italian titles, including primary sources, is a striking omission, but this is a useful guide. For English publications on “Social Behaviour History,” beginning with “Domestic Life & Sexuality,” see pp. 152-67, and for “Fine Arts and Architecture” pp. 443-634; for French works on “Domestic Life” see pp. 865-71 and on “Art and Architecture,” pp. 1019-88.</span></p><p class="c11"><span class="c4">Harness, Kelly. </span><span class="c4 c17">Echoes of Women’s Voices. Music, Art, and Female Patronage in Early Modern Florence.</span><span class="c3"> Chicago: University of Chicago Press, 2006. Includes Ch. 4: “‘Una forte, magnanima, e generosa vedova’: Judith”.</span></p><p class="c11"><span class="c4">Hill, George Francis. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/portraitmedalsof00hill&sa=D&ust=1597863595976000&usg=AOvVaw1DLwwcNwO6avcYufVbimpW">Portrait Medals of Italian Artists of the Renaissance</a></span><span class="c4 c17">. </span><span class="c4">London: Warner, 1912.</span></p><p class="c11"><span class="c4">Hults, Linda. “‘Lady without Equal’: Lucrezia Paolina, Salvator Rosa, and Feminist Art History.” </span><span class="c2">Early Modern Women </span><span class="c4 c24">5 (2010): 11-43.</span></p><p class="c11"><span class="c4">Janulardo, Ettore. “Le artiste nelle Vite del Vasari.” In Luisa Secchi Tarugi (ed). </span><span class="c4 c17">La Donna nel Rinascimento.</span><span class="c3"> Florence, 2019, pp. 433-42.</span></p><p class="c11"><span class="c4">King, Catherine E. “Late sixteenth-century careers’ advice: a new allegory of artists’ training: Albertina Inv. No. 2763.” </span><span class="c4 c17">Wiener Jahrbuch für Kunstgeschichte</span><span class="c3"> 41 (1988): 77-96.</span></p><p class="c11"><span class="c4">Lanaro, Anna. “La presenza di donne pittrici nel Veneto e in particolare nel Vicentino.” In Giuseppina Menin Muraro and Daniela Puppulin (eds). </span><span class="c4 c17">Terzo Incontro in Ricordo di Michelangelo Muraro.</span><span class="c3"> Sossano, 1995, pp. 53-66. Includes Margherita Caffi, Rosalba Carriera, Elisabetta Lazzarini, Giulia Lama, Irene di Spilimbergo, Marietta Tintoretto, and Chiara Varotari.</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">Storia pittorica della Italia. Dal risorgimento delle belle arti fin presso al fine del XVIII secolo. </span><span class="c4">3</span><span class="c4 c21">rd</span><span class="c4"> ed. 6 vols. Bassano: G. Remondini, 1809. Vol. 1: </span><span class="c4 c17">La Scuola Fiorentina e la Senese.</span><span class="c4"> The only woman artist is Artemisia Gentileschi, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000012721399%26view%3D1up%26seq%3D310&sa=D&ust=1597863595978000&usg=AOvVaw2VqE4mDywSYxs76PV7EZV8">pp. 256-57</a></span><span class="c4"> (after Orazio). Vol. 2: </span><span class="c4 c17">La Scuola Romana, e Napolitana.</span><span class="c4"> Notes Caterina Ginnasi, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000012721405%26view%3D1up%26seq%3D185&sa=D&ust=1597863595979000&usg=AOvVaw3eIxkXPWe2eEytQozeVQpH">pp. 173-74</a></span><span class="c4"> (see below) and Laura Bernasconi, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000012721405%26view%3D1up%26seq%3D221&sa=D&ust=1597863595979000&usg=AOvVaw1aOir9ynL2pDN_aWsb1pSo">pp. 208-09</a></span><span class="c4"> (see below). Vol. 3: </span><span class="c4 c17">La Scuola Veneziana.</span><span class="c4"> Irene di Spilimbergo, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540828%26view%3D1up%26seq%3D133&sa=D&ust=1597863595980000&usg=AOvVaw35L-Z1KUoAkbx1I3C9Vtcg">p. 123</a></span><span class="c4"> (see below); Marietta Robusti </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540828%26view%3D1up%26seq%3D156&sa=D&ust=1597863595980000&usg=AOvVaw3GOUZCsEOUczcSxff9yzLw">p. 146</a></span><span class="c4"> (see below), Rosalba Carriera, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540828%26view%3D1up%26seq%3D295&sa=D&ust=1597863595980000&usg=AOvVaw2sWoTv3iz2iRZuelZPgn4R">pp. 285-86</a></span><span class="c4"> (see below); Chiara Varotari (with Caterina Tarabotti and Lucia Scaligeri), </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540828%26view%3D1up%26seq%3D235&sa=D&ust=1597863595981000&usg=AOvVaw3HNOlL67draal5NUAwJHYa">p. 225 </a></span><span class="c4">(see below). Vol. 4: </span><span class="c4 c17">Le Scuole Lombarde di Mantova, Modena, Parma, Cremona, e Milano. </span><span class="c4">Diana Mantuana, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D30&sa=D&ust=1597863595981000&usg=AOvVaw0gy9YTjGWRC-E6JxfS2t2K">p. 18</a></span><span class="c4"> (see below); Sofonisba Anguissola, and her sisters, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D159&sa=D&ust=1597863595982000&usg=AOvVaw0aKAS7O0pxARP2nOlXAWmc">pp. 147-48</a></span><span class="c4">; the embroiderers Caterina Cantona, Antonia or Lodovica Pellegrini, Dorothea Aromatari and Arcangela Paladini, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540835%26view%3D1up%26seq%3D233&sa=D&ust=1597863595982000&usg=AOvVaw0teb5hNs9mpQlnwjYvmysp">pp. 221-22</a></span><span class="c4"> (see below, under Needlework, and Paladini); Fede Galiza, pp. 233-34 (see below). Vol. 5: </span><span class="c4 c17">Le Scuole Bolognese e Ferrarese, e quelle di Genova e del Piemonte. </span><span class="c4">Sofonisba Anguissola, pp. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D321&sa=D&ust=1597863595982000&usg=AOvVaw30Zk7meCOwQ_h--afRjKPJ">311</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D329&sa=D&ust=1597863595983000&usg=AOvVaw0bOO5NIw-tWUCbkPYvzuVj">319</a></span><span class="c4"> (see below); Orsola Caccia and her sister Francesca, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D381&sa=D&ust=1597863595983000&usg=AOvVaw1Y-UScZk56ZpFR18FOkBMt">p. 371</a></span><span class="c4"> (see below); Rosalba Carriera, p. 198 n; Lucia Casalini, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D185&sa=D&ust=1597863595983000&usg=AOvVaw0C2onBp520QitLZ0tzKxHk">pp. 175-76</a></span><span class="c4"> (see below); Maria Vittoria Cassana, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D339&sa=D&ust=1597863595984000&usg=AOvVaw0ne-Obcq8AWI3kxoNtc_Wk">pp. 329-30</a></span><span class="c4"> (see below); Lavinia Fontana, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D59&sa=D&ust=1597863595984000&usg=AOvVaw37cMAUjFiLe5RN08zptpcA">pp. 49-50</a></span><span class="c4"> (see below); Barbara Longhi, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D74&sa=D&ust=1597863595984000&usg=AOvVaw09N6EDUovTf-6Py7l-Y3Hp">pp. 64-65 </a></span><span class="c4">(see below); Teresa Muratori Scannabecchi, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D186&sa=D&ust=1597863595985000&usg=AOvVaw1LdFLa9yi_DZOVnMYYVxP1">p. 176</a></span><span class="c4"> (English translation, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015073730775%26view%3D1up%26seq%3D242&sa=D&ust=1597863595985000&usg=AOvVaw0X69Zj2f-djqn-qKPRCJUJ">pp. 228-29</a></span><span class="c4">); Isabella Maria Dal Pozzo, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D395&sa=D&ust=1597863595985000&usg=AOvVaw1IOgCk1krB-l7VebEmJ0XS">p. 385</a></span><span class="c4"> (see below); Elisabetta Sirani, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dpst.000009540842%26view%3D1up%26seq%3D125&sa=D&ust=1597863595986000&usg=AOvVaw3HEY8wH3TgSXk_wldg6tJl">pp. 115-16</a></span><span class="c3"> (whose named female pupils include Ginevra Cantofoli; see below for both).</span></p><p class="c11"><span class="c4">Lanzi, Luigi. </span><span class="c4 c17">The History of Painting in Italy from the period of the revival of the fine arts to the end of the eighteenth century. </span><span class="c3">6 vols. Trans. Thomas Roscoe. London: W. Simpkin and R. Marshall, 1828. For more details, see the entry above on the Italian edition used by Roscoe, and below under individual artists for specific references.</span></p><p class="c11"><span class="c4 c24">Lollobrigida, Consuelo. </span><span class="c2">Donne che dipingono: itinerary romani; sulle trace delle artiste dal XVI al XXI secolo.</span><span class="c19 c4"> Foligno, 2013.</span></p><p class="c11"><span class="c4">Lucas, Peter J. “</span><span class="c4 c17">Judith</span><span class="c4"> and the Woman Hero.” </span><span class="c4 c17">The Yearbook of English Studies</span><span class="c3"> 22 (1992): 17-27.</span></p><p class="c11"><span class="c4">Matter, E. Ann and John Coakley (eds). </span><span class="c4 c17">Creative Women in Medieval and Early Modern Italy. </span><span class="c3">Philadelphia: Uni of Pennsylvania Press, 1994.</span></p><p class="c11"><span class="c4">McIver, Katherine. “Vasari’s Women.” In Anne B. Barriault, Andrew Ladis, Norman E. Land and Jeryldene M. Wood (eds). </span><span class="c4 c17">Reading Vasari. </span><span class="c3">London: Philip Wilson Publishers, 2005.</span></p><p class="c25 c53"><span class="c4">Minghetti, Marco. “Le donne italiane nelle belle arti nel secolo XV e XVI.” </span><span class="c4 c17">Nuova antologia di scienze lettere e arte </span><span class="c4">ser. 2, 35 (1877): 308-30. or pp. 5-21. See </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/ledonneitalianen00minguoft/page/n1/mode/2up&sa=D&ust=1597863595988000&usg=AOvVaw3xISOl2aeBruR6odu25HB3">here</a></span><span class="c3"> for an offprint.</span></p><p class="c11"><span class="c4">Monteverdi, M. </span><span class="c4 c17">Storia della pittura italiana vista attraverso l’opera delle pittrici, dal ’300 all ’800. </span><span class="c3">Milan: Edizioni del Sigillo, 1981.</span></p><p class="c11"><span class="c4">Pérez Sánchez, Alfonso E. “Las mujeres ‘pintoras’ en España.” </span><span class="c4 c17">La imagen e la mujer en el arte español: Actas de las terceras jornadas de investigación interdisciplinaria. </span><span class="c3">Madrid: Univeridad Autónoma de Madrid, 1984, pp. 73-86.</span></p><p class="c25"><span class="c4">Porzio, Francesco (ed). </span><span class="c4 c17">La natura morta in Italia</span><span class="c3">. 2 vols. Milan: Electa, 1989.</span></p><p class="c11"><span class="c4">Ragg, Laura. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/cu31924020692624/page/n9/mode/2up&sa=D&ust=1597863595989000&usg=AOvVaw0FbXMrqoOjZt0aFHmcxA32">Women Artists of Bologna</a></span><span class="c4">.</span><span class="c4 c17"> </span><span class="c4">London: Methuen and Co., 1907. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/43000535/Re-view_of_The_Women_Artists_of_Bologna_by_Laura_M._Ragg_1907_&sa=D&ust=1597863595990000&usg=AOvVaw1R0CXwNOkNHsQ7vVbSy41U">Rev: Mary Garrard</a></span><span class="c4">. </span><span class="c4 c17">Woman's Art Journal </span><span class="c3">1 no 2 (Fall 1980/Winter 1981): 58-64.</span></p><p class="c11"><span class="c4">Rocco, Patricia. </span><span class="c4 c17">The Devout Hand. Women, Virtue, and Visual Culture in Early Modern Italy</span><span class="c4">. McGill-Queen’s University Press, 2017. Focuses on Bologna and Lavinia Fontana; also discusses embroidery; Sirani; Sirani pupils. Rev: Amy Cymbala. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">39 no 2 (Fall/Winter 2018): 63-64.</span></p><p class="c11"><span class="c4">Sabbatini, Stefania. “Per una storia delle donne pittrici Bolognese: Anna Maria Sirani e Ginevra Cantofoli.” </span><span class="c4 c17">Schede Umanistiche </span><span class="c3">2 (1995): 83-101.</span></p><p class="c11"><span class="c4">Salerno, Luigi. </span><span class="c4 c17">La natura morta italiana, 1560-1805/Still Life Painting in Italy, 1560-1805</span><span class="c3">. Rome: Bozzi, 1984.</span></p><p class="c11"><span class="c4">Serrano, Matilde López. </span><span class="c4 c17">Presencia femenina en las artes del libro español. </span><span class="c3">Madrid: Fundacíon Universitaria Española, 1976.</span></p><p class="c11"><span class="c4">Sgarbi, Vittorio, Hans Albert Peters and Beatrice Buscaroli (eds). </span><span class="c4 c17">L’arte delle donne dal Rinascimento al Surrealismo.</span><span class="c3"> Exh.cat. Palazzo Reale, Milan. Milan: F. Motta, 2007.</span></p><p class="c11"><span class="c4 c17">Le Signore del Barocco</span><span class="c4">. Exhibition of around eighty paintings by 17th C women artists planned for the Palazzo Reale, Milan, Dec 2020-March 2021. Includes Sofonisba Anguissola, Plautilla Bricci, Orsola Maddalena Caccia, Ginevra Cantofoli, Lavinia Fontana, Fede Galizia, Giovanna Garzoni, Artemisia Gentileschi, Barbara Longhi, Diana Scultori, Elisabetta Sirani and Virginia da Vezzo. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artslife.com/2019/12/10/non-solo-artemisia-gentileschi-tutte-le-signore-del-barocco-in-mostra-a-milano/&sa=D&ust=1597863595992000&usg=AOvVaw25y5KokcBKABolyFQMBf5i">Announcement here</a></span><span class="c3">.</span></p><p class="c11"><span class="c4">Simons, Patricia. </span><span class="c4 c17">Gender and Sexuality in Renaissance and Baroque Italy, A Working Bibliography.</span><span class="c3"> Sydney: University of Sydney, 1988.</span></p><p class="c11"><span class="c4">Simons, Patricia. “The Sex of Artists in Renaissance Italy.” In D. Medina Lasansky (ed). </span><span class="c4 c17">The Renaissance: Revised, Expanded, Unexpurgated. </span><span class="c3">Pittsburgh: Periscope, 2014, pp. 64-84, 575-79.</span></p><p class="c33 c16"><span class="c4">Sohm, Philip. “Gendered Style in Italian Art Criticism from Michelangelo to Malvasia.” </span><span class="c4 c17">Renaissance Quarterly</span><span class="c3"> 48 no 4 (Winter 1995): 759-808.</span></p><p class="c25"><span class="c4">Spike, J.T. </span><span class="c4 c17">Italian Still-Life Paintings from Three Centuries. </span><span class="c3">New York, 1983</span></p><p class="c11"><span class="c4">Tinagli, Paola. </span><span class="c4 c17">Women in Italian Renaissance Art. Gender, Representation, Identity. </span><span class="c4">Manchester: Manchester University Press, 1997. Rev: Lilian Zirpolo. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">20 no 1 (Spring/Summer 1999): 46-47.</span></p><p class="c11"><span class="c4">Urbini, Silvia. “Women Engravers in Bologna.” In Vera Fortunati (ed). </span><span class="c4 c17">Lavinia Fontana of Bologna 1552-1614</span><span class="c3">. Washington, DC: National Museum of Women in the Arts, 1998, pp. 147-49.</span></p><p class="c25"><span class="c4">Voss, Hermann. </span><span class="c4 c17">Die Malerei des Barock in Rom. </span><span class="c3">Berlin, 1924. </span></p><p class="c11"><span class="c4">Welch, Evelyn. “Engendering Italian Renaissance Art: A Bibliographic Review.” </span><span class="c4 c17">Papers of the British School at Rome </span><span class="c3">68 (2000): 201-16.</span></p><p class="c11"><span class="c4">Winspeare, Maddalena Paola. </span><span class="c4 c17">Donne & colori. Women & colours. Artiste nei Musei Statali Fiorentini. Women Artists in the Florentine State Museums</span><span class="c3">. Florence: Sillabe, 2002.</span></p><p class="c11"><span class="c4">Zanasi, F. “Donne alla ricerca della fama.” In G. Roversi (ed). </span><span class="c4 c17">Donne celebri dell'Emilia Romagna.</span><span class="c3"> Bologna, 1993.</span></p><a id="kix.lpvkhogc8p1e"></a><h1 class="c77 c66" id="h.8a4r23gmbfli"><span class="c7">General, and Miscellaneous Artists: Northern Europe</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">Baetjer, Katharine. “The Women of the French Royal Academy.” In Joseph Baillio et al. </span><span class="c4 c17">Vigée Le Brun</span><span class="c3">. New York: Metropolitan Museum of Art, 2016, pp. 33-45. Includes 17th C.</span></p><p class="c11"><span class="c4">Bergstrom, Ingvar. </span><span class="c4 c17">Dutch Still-Life Painting in the Seventeenth Century. </span><span class="c3">New York: Thomas Yoseloff, 1956.</span></p><p class="c11"><span class="c4 c13 c51">Campbell, Lorne. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://warwick.ac.uk/fac/arts/history/students/modules/hi3j3/timetable/seminar13/campbell_-_art_market_in_southern_netherlands.pdf&sa=D&ust=1597863595996000&usg=AOvVaw2tllmYfxvFn6tweC8vaaJ6">The Art Market in the Southern Netherlands in the Fifteenth Century.</a></span><span class="c4 c13 c51">” </span><span class="c4 c13 c51 c17">Burlington Magazine </span><span class="c4 c13 c51">118 (April 1976): 188-98, at 195: Artists’ “wives, who are sometimes cited in their husbands’ contracts and who occasionally took over the running of the business when their husbands died, may often have acted as agents.” In 1508 the painter Jean Le Bacre and his wife were both named in the dispute over a contract for an altarpiece for a chapel around 20 km south of Tournai. Widow Snellaerts was dealing in pictures in Antwerp in 1480, presumably those produced by her husband. “In 1436 the wife of the Brussels painter Jan van der Stockt negotiated the sale of an altarpiece at Antwerp. Jan’s daughter Catherine in 1441 became a burgess [citizen] of Bruges in order to set up as a painter there [or as a dealer, selling his works], and may have obtained commissions for her father at Bruges” (which was 100 kms / 63 miles northwest of Brussels).</span></p><p class="c46 c13 c48"><span class="c4 c14">Clayton, Elllen C. </span><span class="c4 c14 c17">English Female Artists</span><span class="c4 c14">. 2 vols, London: Tinsley Brothers, 1876. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DcIZAAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595997000&usg=AOvVaw3TEPf_N1fJPbH0NLubp3qQ">Vol. 1</a></span><span class="c4 c14">. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DeM8DAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863595998000&usg=AOvVaw1CXHzubaHO_38X7nWk4rmN">Vol. 2</a></span><span class="c22 c4 c14">. </span></p><p class="c46 c13 c48"><span class="c4 c14">Cornelis, Els. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://ojs.ugent.be/hmgog/article/view/259/251&sa=D&ust=1597863595998000&usg=AOvVaw2uABX5PBrFfnEcmpLmNf4i">De kunstenaar in het laat-middeleeuwse Gent. II. De sociaal-economische positie van de meesters van de Sint-Lucasgilde in de 15de eeuw</a></span><span class="c4 c14">.” </span><span class="c4 c14 c17">Handelingen der Maatschappij voor Geschiedenis en Oudheidkunde te Gent</span><span class="c22 c4 c14"> n.s. 42 (1988): 95-138. On members of the painters’ guild of St Luke in Ghent in the 15th C. </span></p><p class="c11"><span class="c4">Van Elk, Martine. “Female Glass Engravers in the Early Modern Dutch Republic.” </span><span class="c4 c17">Renaissance Quarterly</span><span class="c4"> 73 no 1 (2020): 165-211. Abstract: “This essay explores glass engravings by Dutch authors Anna Roemers Visscher, Maria Tesselschade Roemers Visscher, and Anna Maria van Schurman. I place these engravings in their rich contemporary contexts, comparing them to other art forms that were the product of female pastime. Like embroidery, emblems, and </span><span class="c4 c17">alba amicorum</span><span class="c3">, engraved glasses combined text and image, transforming each glass into an object that fulfilled key social and cultural functions. Above all, engraving glasses allowed women to forge new self-representations, specifically through their use of play to question binary oppositions and moral certainties.”</span></p><p class="c11"><span class="c4 c13">Fellenberg, Valentine von. “Die Künsterinnen an der Académie royal de peinture et de sculpture 1648-1793.” </span><span class="c4 c23">In Birgit Ulrike Münch, Markwart Herzog and Andreas Tacke (eds). </span><span class="c4 c17">Künstlergrabmäler: Genese, Typologie, Intention, Metamorphosen</span><span class="c3">. Petersberg: Imhof, 2011, pp. 111-32.</span></p><p class="c11"><span class="c4">Gaffney, Erika. “</span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/women-artists-of-the-dutch-golden-age-exhibit-at-nmwa/&sa=D&ust=1597863596000000&usg=AOvVaw3ecu_-e5ForuXfZnqRz9OZ">Women Artists of the Dutch Golden Age</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/women-artists-of-the-dutch-golden-age-exhibit-at-nmwa/&sa=D&ust=1597863596000000&usg=AOvVaw3ecu_-e5ForuXfZnqRz9OZ"> at the National Museum of Women in the Arts</a></span><span class="c4">.” </span><span class="c4">Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">22 Dec 2019. Exhib.rev. Includes Judith Leyster, Rachel Ruysch, Alida Withoos, Clara Peeters, Maria Schalcken, Maria Sibylla Merian, Anna Maria van Schurman, Magdalena va de Passe.</span></p><p class="c11"><span class="c4 c5">Gil, Marc. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://journals.openedition.org/clio/10349%23ftn10&sa=D&ust=1597863596001000&usg=AOvVaw3HdDSaujtFYXn9FlyfwKfx">Les femmes dans les métiers d’art des Pays-Bas bourguignons au XV</a></span><span class="c6 c4 c13 c21"><a class="c8" href="https://www.google.com/url?q=https://journals.openedition.org/clio/10349%23ftn10&sa=D&ust=1597863596002000&usg=AOvVaw1BHonu0S02zj19Gy8aVD7P">e </a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://journals.openedition.org/clio/10349%23ftn10&sa=D&ust=1597863596002000&usg=AOvVaw1BHonu0S02zj19Gy8aVD7P">siècle</a></span><span class="c4 c5">.” </span><span class="c0">Clio. Femmes, Genre, Histoire </span><span class="c22 c4 c5"> 34 (2011): 231-54. Available in French and English.</span></p><p class="c47"><span class="c4">Gray, Sara. </span><span class="c4 c17">The Dictionary of British Women Artists.</span><span class="c3"> Cambridge: Lutterworth, 2009.</span></p><p class="c12"><span class="c4">van der Haeghen, Victor. “Mémoires sur des documents faux relatifs aux anciens peintres, sculpteurs et graveurs flamands.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com.gt/books?id%3DhyhEAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596003000&usg=AOvVaw1WKRH5coBnwjvMnyUL7OSp">Mémoires Couronnés et autres mémoires</a></span><span class="c4 c17"> </span><span class="c4">58 (1898-99). The main focus is on false documents, but there is a list of authentic members of the painters’ guild in Ghent (pp. 51-63, covering the years 1400-1538). Very few women appear, and only one is a member (</span><span class="c6 c4"><a class="c8" href="#id.g0n5kfawj30z">Agnes van de Bossche</a></span><span class="c4">, p. 57). On 27 July 1401 Lysbette, widow of Gheeraerd</span><span class="c38"> </span><span class="c3">Mulaerd, paid in relation to his death (Cornelis, p. 129). The same is true of Yde van Bulleghem, widow of Pieter Goes, mentioned on 20 August 1461 (p. 56; Cornelis, p. 121) and Elisabeth de Grave, widow of Willem van Belle, on 9 Feb 1501 (p. 61; Cornelis, p. 110).</span></p><p class="c11"><span class="c4">Honig, Elizabeth, “The Space of Gender in Seventeenth-Century Dutch Painting.” In Wayne Franits (ed). </span><span class="c4 c17">Looking at Seventeenth-Century Dutch Art: Realism Reconsidered</span><span class="c3">. Cambridge: Cambridge University Press, 1997, pp. 187-201, 240-44.</span></p><p class="c11"><span class="c4">Honig, Elizabeth Alice. “The Art of Being “Artistic”: Dutch Women’s Creative Practices in the 17</span><span class="c4 c21">th</span><span class="c4"> Century.” </span><span class="c4 c17">Woman’s Art Journal</span><span class="c3"> 22 no 1 (Fall 2001/Winter 2002): 31-39.</span></p><p class="c11"><span class="c4">Huet, Leen and Jan Grieten. </span><span class="c4 c17">Oude meesteressen: vrouwelijke kunstenaars in de Nederlanden. </span><span class="c3">Leuven: Van Halewyck, 1998.</span></p><p class="c11"><span class="c4">Huiskamp, Marloes. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/bwn1780-1830/DVN/lemmata/data/Veen&sa=D&ust=1597863596005000&usg=AOvVaw3poBGqBUA5YquN1uNBgqr7">Veen, Jacoba van (1635-1687/1694)</a></span><span class="c4">.” At </span><span class="c2 c13">Digitaal Vrouwenlexicon van Nederland</span><span class="c4 c13 c24">, under the aegis of </span><span class="c2 c13">Instituut voor Nederlandse Geschiedenis</span><span class="c4 c13 c24"> (</span><span class="c4">posted 13 January 2014; accessed 30 June 2020). Daughter of a lawyer who was an amateur painter and brother of the artist </span><span class="c6 c4"><a class="c8" href="#id.xhwuyhh96uoz">Apollonia van Veen</a></span><span class="c3">; wrote a 454-page recipe book and guide for amateur artists (including how to paint nudes) but it is not clear whether she herself painted. One chapter addresses how to make dolls, and decorations consisting of ornamental fruits and flowers; another describes how to make the new material of pastel chalk.</span></p><p class="c11"><span class="c4">Humphrey, Carol (ed). </span><span class="c4 c17">Sampled Lives: Samplers from the Fitzwilliam Museum. </span><span class="c4">Cambridge: Fitzwilliam Museum, 2017. Rev: Michele Osherow. </span><span class="c4 c17">Early Modern Women </span><span class="c4">12 no 2 (Spring 2018): 200-06. From the 17</span><span class="c4 c21">th</span><span class="c3"> C on.</span></p><p class="c11"><span class="c4">Jacobs, Lynn F. and Els Kloek. “Guilds and the Open Market. The Example of the Netherlands.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. I, Chicago: Fitzroy Dearborn Publishers, 1997, pp. 28-36.</span></p><p class="c11"><span class="c4">James, Susan E. </span><span class="c4 c17">The Feminine Dynamic in English Art, 1485-1603: Women as Consumers, Patrons and Painters. </span><span class="c3">Aldershot: Ashgate, 2009.</span></p><p class="c11"><span class="c4">Kelchtermans, Leen. “Portret van een zeventiende-eeuwse schildersvrouw: Anna Schut, huisvrouw en weduwe van Peter Snayers.” </span><span class="c4 c17">Oud-Holland </span><span class="c3">126 (2013): 178-97. The housekeeping booklet of Anna, wife then widow of Snayers (a painter of battle scenes), shows that she was active and self-employed.</span></p><p class="c11"><span class="c4">Kloek, Els, Catherine Peters Sengers and Esther Tobé. </span><span class="c4 c17">Vrouwen en kunst in de Republiek. Een Overzicht</span><span class="c4">. Hilversum: Verloren, 1998. Includes lists of all known female artists working in the Netherlands c. 1550-1800.</span></p><p class="c11"><span class="c4">Mitchell, Peter. </span><span class="c4 c17">European Flower Painters. </span><span class="c3">London: Adam and Charles Black, 1973.</span></p><p class="c11"><span class="c4 c13">Moffitt Peacock, Martha. “Mirrors of Skill and Renown: Women and Self-Fashioning </span><span class="c4">in Early-Modern Dutch Art.” </span><span class="c4 c17">Mediaevistik</span><span class="c3"> 28 (2015): 325–52.</span></p><p class="c11"><span class="c4">Mongan, A. “A Fete of Flowers: Women Artists’ Contribution to Botanical Illustration.” </span><span class="c4 c17">Apollo </span><span class="c3">119 (April 1984): 264-67.</span></p><p class="c25"><span class="c4">Pavière, S.H. </span><span class="c4 c17">Floral Art. </span><span class="c3">Leigh-on-Sea: F. Lewis, 1965.</span></p><p class="c11"><span class="c4">Pearson, </span><span class="c4 c24">Andrea. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://jhna.org/articles/sensory-piety-social-intervention-mechelen-besloten-hofje/&sa=D&ust=1597863596009000&usg=AOvVaw324WqAAB0HC4xrSQzyPx_k">Sensory Piety as Social Intervention in a Mechelen </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://jhna.org/articles/sensory-piety-social-intervention-mechelen-besloten-hofje/&sa=D&ust=1597863596009000&usg=AOvVaw324WqAAB0HC4xrSQzyPx_k">Besloten Hofje</a></span><span class="c2">.</span><span class="c4 c24">” </span><span class="c2">Journal of Historians of Netherlandish Art </span><span class="c4 c24">9 no 2 (Summer 2017).</span></p><p class="c11"><span class="c4">Russell, Margarita. “The Women Painters in Houbraken’s </span><span class="c4 c17">Groote Schouburgh</span><span class="c4">.” </span><span class="c4 c17">Women’s Art Journal </span><span class="c3">2 no 1 (Spring/Summer 1981): 7-11. </span></p><p class="c11"><span class="c4">Schleif, Corine. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/12073088/Corine_Schleif_The_Many_Wives_of_Adam_Kraft._Early_Modern_Workshop_Wives_in_Legal_Documents_Art-historical_Scholarship_and_Historical_Fiction&sa=D&ust=1597863596011000&usg=AOvVaw3r77AilrMQYhfiKQWAFt7P">The Many Wives of Adam Kraft: Early Modern Artists' Wives in Legal Documents, Art-historical Scholarship, and Historical Fiction</a></span><span class="c4">.” </span><span class="c4 c17">Georges-Bloch-Jahrbuch</span><span class="c4"> 4 (1998): 61-74. Rpt in Jane Carroll and Alison Stewart (eds). </span><span class="c4 c17">Saints, Sinners and Sisters. Women and the Pictorial Arts in Northern European Art</span><span class="c3">. Basingstoke 2003, pp. 202-22.</span></p><p class="c11"><span class="c4">Schleif, Corine. “Agnes Frey Dürer, verpackt in Bildern und vereinnahmt in Geschichten” [Agnes Frey Dürer, Packaged in Pictures and Appropriated in Stories]. In Gaby Franger and Nadja Bennewitz (eds). </span><span class="c4 c17">Am Anfang war Sigena. Ein Nürnberger Frauengeschichtsbuch</span><span class="c3">. Cadolzburg: Ars Vivendi, 1999, 2000, pp. 67-77.</span></p><p class="c11"><span class="c4">Schleif, Corine. “Das pos weyb Agnes Frey Dürer: Geschichte ihrer Verleumdung und Versuche der Ehrenrettung” [The Bad Wife Agnes Frey Dürer: History of her Defamation and Attempts at her Rehabilitation]. </span><span class="c4 c17">Mitteilungen des Vereins für Geschichte der Stadt Nürnberg</span><span class="c3"> 86 (1999): 47-79.</span></p><p class="c11"><span class="c4">Schleif, Corine. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/39015251/Albrecht_D%25C3%25BCrer_between_Agnes_Frey_and_Willibald_Pirckheimer&sa=D&ust=1597863596012000&usg=AOvVaw39Vbtr5LTUd2cK_Rgfpihj">Albrecht Dürer between Agnes Frey and Willibald Pirckheimer</a></span><span class="c4">.” In Larry Silver and Jeffrey Chipps Smith (eds) </span><span class="c4 c17">The Essential Dürer.</span><span class="c3"> Philadelphia: University of Pennsylvania Press, 2010, pp. 185-205.</span></p><p class="c12 c13"><span class="c4 c13 c51">Van der Stighelen, Katlijne and Mirjam Westen. </span><span class="c4 c17">Elck zijn waerom: vrouwelijke kunstenaars in België en Nederland 1500-1950</span><span class="c3">. Gent: Ludion, 1999. The French version is listed below.</span></p><p class="c11"><span class="c4">Van der Stighelen, Katlijne and Mirjam Westen (eds). </span><span class="c4 c17">A chacun sa grace: Femmes Artistes en Belgique et aux Pays-Bas 1500-1950.</span><span class="c4"> Gent: Ludion, Flammarion, 1999. Includes Clara Peeters and Judith Leyster. Rev: Britta Dwyer. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">22 no 2 (Autumn 2001/Winter 2002): 40-42.</span></p><p class="c11"><span class="c4">Sutton, Elizabeth (ed). </span><span class="c4 c17">Women Artists and Patrons in the Netherlands 1500-1700. </span><span class="c3">Amsterdam: Amsterdam University Press, 2019. Includes Elizabeth Sutton. “Introduction: An Historiographical Perspective on Women Making Netherlandish Art History,” pp. 13-26; Saskia Beranek, “In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch,” pp. 85-112; Arthur J. DiFuria, “Towards an Understanding of Mayken Verhulst and Volcxken Diericx,” pp. 157-78. Other items are listed elsewhere.</span></p><p class="c11"><span class="c4">Sylph, Ann. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://artherstory.net/women-in-zoological-art-and-illustration/&sa=D&ust=1597863596014000&usg=AOvVaw3Anq6tHNlvfx-ObYiojq-c">Women in Zoological Art and Illustration</a></span><span class="c4">.” Posted on </span><span class="c4 c17">ArtHerstory </span><span class="c3">25 March 2020. Includes Merian.</span></p><p class="c11"><span class="c4">Tobé, Esther. “Parels en penseelprinsessen. Kunstanaressen in drie lexica (1550-1800).” In </span><span class="c4 c13 c51">Katlijne Van der Stighelen and Miraim Westen. </span><span class="c4 c17">Elck zijn waerom: vrouwelijke kunstenaars in België en Nederland 1500-1950</span><span class="c3">. Gent: Ludion, 1999, pp. 59-67.</span></p><p class="c11"><span class="c4">Verhave, Jan Peter and Joke Verhave, </span><span class="c4 c17">Geknipt! Geschiedenis van de papierkunst in Nederland</span><span class="c4">. Zutphen: Walburg Pers, 2008. Paper-cut art from the 17</span><span class="c4 c21">th</span><span class="c4"> to 20</span><span class="c4 c21">th</span><span class="c3"> C.</span></p><p class="c11"><span class="c4 c13">Walpole, Horace. </span><span class="c4 c13 c17">Anecdotes of painting in England</span><span class="c4 c13">. Strawberry Hill: Thomas Farmer, 1771. </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dgri.ark:/13960/t57d5r268%26view%3D1up%26seq%3D76&sa=D&ust=1597863596015000&usg=AOvVaw30MZ-CKwxLxhHjwH3xkjnM">Vol. 4, p. 40</a></span><span class="c4 c13">: Sarah Curtis, married name Mrs Hoadley, trained by Mary Beale “and a paintress of portraits by profession” but after marriage “she only practiced the art for her amusement; though if we may judge of her talents by the print from her portrait of Whiston, the art lost as much as she gained”; died 1743. “In the library at Chatsworth, in a collection of poems is one addressed by a lady to Mrs. Sarah Hoadley, on her excellent painting.” The British Museum has four sheets of George Vertue’s engraving of the Reverend William Whiston (1720), after Hoadley’s, including the earliest one without an inscription, </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.britishmuseum.org/collection/object/P_P-8-240&sa=D&ust=1597863596016000&usg=AOvVaw16QGTW2gHbJEI-Sb_EnPrF">P,8.240</a></span><span class="c4 c13">.</span></p><p class="c11"><span class="c4">Walsh, John. “Jan Steen's </span><span class="c4 c17">Drawing Lesson</span><span class="c4"> and the Training of Artists.” </span><span class="c4 c17">Source: Notes in the History of Art </span><span class="c3"> 8-9 (Summer/Fall 1989): 80-86.</span></p><p class="c11"><span class="c4">Weststeijn, Thijs. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/16258621/_The_Gender_of_Colors_in_Dutch_Art_Theory_in_A.S._Lehmann_F._Scholten_H._Perry_Chapman_eds._Meaning_in_Materials_1400-1800._Netherlands_Yearbook_for_History_of_Art_62_1_2013_pp._177-201&sa=D&ust=1597863596017000&usg=AOvVaw14eCBA5bQYAe1sXwddQLnz">The Gender of Colors in Dutch Art Theory.</a></span><span class="c4">” </span><span class="c4 c17">Nederlands Kunsthistorisch Jaarboek </span><span class="c3">62 no 1 (2012): 176-201.</span></p><p class="c11"><span class="c4">Willigen, Adriaan van der and Fred G. Meijer. </span><span class="c4 c17">A Dictionary of Dutch and Flemish Still-Life Painters Working in Oil: 1525-1725.</span><span class="c3"> Leiden: Primavera, 2003.</span></p><p class="c11"><span class="c4">Wolfthal, Diane. “From Margarethe van Eyck to Agnes van den Bossche: Writing of the Early Netherlands Female Painters.” In Liana De Girolami Cheney (ed). </span><span class="c4 c17">Essays on Women Artists, I.</span><span class="c3"> Lewiston: Edwin Mellen Press, 2003, pp. 19-40.</span></p><p class="c11 c56"><span class="c3"></span></p><a id="id.kab9u13mbv5a"></a><h1 class="c77 c66" id="h.p7er10ja72xb"><span class="c7">Women Artists Who Did Not Exist: Europe</span></h1><p class="c47"><span class="c3">While far too many women artists are lost to history (“Anonymous was a woman”), on rare occasions romantic leanings and errors have led to the putative but imaginary existence of a few.</span></p><p class="c47 c39"><span class="c4">More often, historical errors mount up due to a lack of proper research. See </span><span class="c6 c4"><a class="c8" href="#id.8eb3z3bp5mvg">Gentile Zanardi</a></span><span class="c4"> for an artist who was either a man or a woman. In other cases, the names of their fathers and husbands have been exchanged or other familial relationships and dates mis-reported and thus their own history confused (see </span><span class="c6 c4"><a class="c8" href="#id.fpzjmpwbenc3">Anthonyna / Anthonia Houbraken</a></span><span class="c4">,</span><span class="c4"> </span><span class="c6 c4"><a class="c8" href="#id.vg4laf7z6wvp">Catharina Sperling-Heckel</a></span><span class="c4">, and Neeffs at </span><span class="c6 c4"><a class="c8" href="#kix.ra1vtlf6wfq0">Maria Faydherbe</a></span><span class="c4"> as examples</span><span class="c4">). Or the first and second wives of a male sculptor have been conflated (</span><span class="c6 c4"><a class="c8" href="#id.oo54qhmhw9u1">Pellegrina Mazzoni</a></span><span class="c4">). Or, beyond her first mention in 1567 when she was already dead, </span><span class="c6 c4"><a class="c8" href="#id.rlfojc3d2wkk">Anna Cobleger</a></span><span class="c4">s</span><span class="c4"> has left no trace and has been situated around eighty years later. </span><span class="c6 c4"><a class="c8" href="#id.vl5idurc12uq">Anna Maria Thelott</a></span><span class="c4">, who died in 1710, is nevertheless categorized as “</span><span class="c4 c9">active during the first half of the 18th century” (this and other basic errors often occur in the standard reference work, the </span><span class="c4 c9 c17">Benezit Dictionary of Artists</span><span class="c4 c9">).</span></p><p class="c47 c39"><span class="c4">Then there are cases where the lack of surviving works, clear attributions, or early documentation make it difficult, if not impossible, to be sure that the woman was an artist (see </span><span class="c6 c4"><a class="c8" href="#id.rvsh3vuuysel">Cornelia Cnoop</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.buxs6225hudo">Mayken/Marie Coecke</a></span><span class="c4">, </span><span class="c6 c4"><a class="c8" href="#id.3iqzhe9m232d">Christina Houbraken</a></span><span class="c4"> and </span><span class="c6 c4"><a class="c8" href="#id.nmv6bm56je7e">Magdalena Pietersz</a></span><span class="c4">). No more than local oral tradition is explicitly acknowledged as the sole source for the existence of the sixteenth-century painter </span><span class="c6 c4"><a class="c8" href="#id.xsfb4vz9nd67">Vittoria Farinato</a></span><span class="c4"> when she is first mentioned in print in 1718. All notice of the learned Bolognese woman </span><span class="c6 c4"><a class="c8" href="#kix.g87ehlf1shgp">Caterina Pepoli</a></span><span class="c4"> as an artist (probably an “amateur”) go back to a single, rare source of 1617. Similarly, only one text of 1635 records the story of what has become a local legend, </span><span class="c6 c4"><a class="c8" href="#id.jxe20t6kbm6v">Onorata Rodiani</a></span><span class="c4">,</span><span class="c3"> a young painter who, in 1423, became a cross-dressed mercenary and hero.</span></p><p class="c47 c39"><span class="c4">At times, early sources on women artists might name personal acquaintances as an exercise in condescension, male networking and flattery. For instance, the author Johan </span><span class="c4 c13">van Beverwijck (1639)</span><span class="c4">, said that two daughters of a male mentor were artists, when they were not yet five years old, early in </span><span class="c4 c13">developing artistic skills that did not extend beyond those of an “amateur” lady (see under </span><span class="c6 c4 c13"><a class="c8" href="#kix.fcdy24fbd94e">Primary Sources</a></span><span class="c3 c13">).</span></p><p class="c47 c39"><span class="c4">Nationalistic fervour, familial enthusiasm, gender assumptions, and condescending interest in the “novelty” value of women’s work all play a part in the historiography of women artists. T</span><span class="c3">he following are clear instances where the woman did not exist. </span></p><p class="c31"><span class="c3"></span></p><a id="id.zevmap6velvi"></a><p class="c47"><span class="c7">Sabina von Steinbach (13th-early 14th C sculptor at the Cathedral of Strasbourg)</span></p><p class="c12"><span class="c4">Considered an actual, if exceptional, artist by some to this day, despite it being understood since 1850 (Schneegans) that Sabina is a legend. </span><span class="c4">A </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://commons.wikimedia.org/wiki/File:Schwind_-_Sabina_von_Steinbach.jpg%23/media/File:Moritz_von_Schwind_Sabina_von_Steinbach_1844.jpg&sa=D&ust=1597863596023000&usg=AOvVaw0VSLtD2qW0mefyG0aR94Aj">painting</a></span><span class="c4"> (1844) by Moritz Ludwig von Schwind in the Staatliche Museen, Berlin shows her demurely wielding hammer and chisel, an incongruous vase of flowers nearby, and she has a place in Judy Chicago’s </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/sabina_von_steinbach&sa=D&ust=1597863596023000&usg=AOvVaw39Lw_EhEdOPKIcezYth8SJ">Dinner Party </a></span><span class="c4">(1974-79), in the Brooklyn Museum, New York. That institution’s </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/sabina_von_steinbach&sa=D&ust=1597863596024000&usg=AOvVaw01tnJyGD_fsNm3awYAp9N3">webpage</a></span><span class="c4"> admirably summarizes the history: “</span><span class="c4 c13 c23">According to legend, Sabina von Steinbach was the daughter of Erwin von Steinbach [1244-1318], a sculptor who had a major role in the creation of the sculptural program at Strasbourg Cathedral. Local tradition has it that Sabina stepped in to complete the project upon the death of her father and ostensibly created two figures for the south portal [</span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Ecclesia_and_Synagoga%23/media/File:Statues_'L'%25C3%2589glise'_et_'La_Synagogue'_de_la_Cath%25C3%25A9drale_de_Strasbourg,_original_gothique_conserv%25C3%25A9_au_Mus%25C3%25A9e_de_l'Oeuvre_Notre-Dame.JPG&sa=D&ust=1597863596024000&usg=AOvVaw0Lho1OrvvwhL9uca6hOnFE">Ecclesia </a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Ecclesia_and_Synagoga%23/media/File:Statues_'L'%25C3%2589glise'_et_'La_Synagogue'_de_la_Cath%25C3%25A9drale_de_Strasbourg,_original_gothique_conserv%25C3%25A9_au_Mus%25C3%25A9e_de_l'Oeuvre_Notre-Dame.JPG&sa=D&ust=1597863596025000&usg=AOvVaw0hH93s1uPxJs0ywlILtXjE">and </a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Ecclesia_and_Synagoga%23/media/File:Statues_'L'%25C3%2589glise'_et_'La_Synagogue'_de_la_Cath%25C3%25A9drale_de_Strasbourg,_original_gothique_conserv%25C3%25A9_au_Mus%25C3%25A9e_de_l'Oeuvre_Notre-Dame.JPG&sa=D&ust=1597863596026000&usg=AOvVaw0D6zqznRfAF5ZJIQvDnngi">Synagoga</a></span><span class="c4 c13 c23">]. In fact, the style of the figures indicates a date of circa 1225, long before her father’s death around 1318, and certainly well before Sabina’s birth, if she had in fact existed. The legend of Sabina arose from a mistranslation of an inscription on the portal that names a Sabina as the </span><span class="c4 c13 c23 c17">donor</span><span class="c4 c13 c23"> of the expensive stone </span><span class="c4 c13 c23 c17">(Stein)</span><span class="c4 c13 c23"> from which the sculptures were cut. This mistranslation was elaborated by a sixteenth-century chronicler [see </span><span class="c4">Schneegans</span><span class="c4 c13 c23">, p. 262] into the legend that has come down to us.</span><span class="c3">”</span></p><p class="c12"><span class="c4">Baddeley, Orana, Griselda Pollock and Marsha Weidner; revised Sonja Gandert. “Women and Art History.” </span><span class="c4 c17">Grove Art Online. </span><span class="c4">Published online 2003, revised and updated 2019 (accessed 16 July 2020). “</span><span class="c4 c5">Sabina von Steinbach’s stone sculptures (14th century) on Strasbourg Cathedral are signed, and legend, recounted by Vachon (1893), suggests that she was given the task of completion of the façade sculptures on the cathedral on the death of the master builder.</span><span class="c3">”</span></p><p class="c12"><span class="c4">Grandidier, Abbé. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DkgUTWF7JXQoC%26printsec%3Dfrontcover%26source%3Dgbs_book_other_versions_r%26cad%3D3%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596028000&usg=AOvVaw0I2zcfeipR0ruf2ua1dHFx">Essais Historiques et Topographiques sur L’Église Cathédrale de Strasbourg</a></span><span class="c4 c17">. </span><span class="c3">Strasbourg: Levrault, 1782, pp. 41, 239.</span></p><p class="c12"><span class="c4">Petersen, Karen and J.J. Wilson. </span><span class="c4 c17">Women Artists: Recognition and Reappraisal. From the Early Middle Ages to the Twentieth Century. </span><span class="c3">New York: Harper Colophon, 1976, pp. 20-21, 121. Believes she existed. Supplies the now-lost Latin inscription with English translation: “Gratia divinae pietatis adesto Savinae de petra dura per quam sum facta figura” / “Thanks be to the holy piety of this woman, Sabina, who from this hard stone gave me form.”</span></p><p class="c12"><span class="c4">Pierer, Heinrich August. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DF2oYAQAAIAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596029000&usg=AOvVaw3Bvj_YET2AKTvDSqDt3xDT">Pierer’s Universal-Lexikon der Vergangenheit und Gegenwart</a></span><span class="c4 c17">: oder, Neuestes encyclopädisches Wörterbuch der Wissenschaften, Künste und Gewerbe</span><span class="c3">. New York: Schmidt, 1863, Vol. 16, p. 904. An example of the matter-of-fact acceptance of “Sabine” as one of Erwin’s children.</span></p><p class="c12"><span class="c4">Recht, Roland. “Le mythe romantique d’Erwin Steinbach.” </span><span class="c4 c17">L’Information d’histoire de l’art </span><span class="c3">15 (1970): 38-45.</span></p><p class="c12"><span class="c4">Reuss, Rodolphe. </span><span class="c4 c17">Les Collectanées de Daniel Specklin, Chronique Strassbourgeoise du XVIme Siècle</span><span class="c3">. Strasbourg: Librairie J. Noiriel, 1890. Not seen. The relevant passage is quoted in Schneegans p. 262.</span></p><p class="c12"><span class="c4">Roff, Shelley E. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8223032/_Appropriate_to_Her_Sex_Womens_Participation_on_the_Construction_Site_in_Medieval_and_Early_Modern_Europe&sa=D&ust=1597863596030000&usg=AOvVaw3JfY3UKVs4bw2ENt5MuPYx">‘Appropriate to Her Sex’? Women’s Participation on the Construction Site in Medieval and Early Modern Europe</a></span><span class="c4">.” In Theresa Earenfight (ed). </span><span class="c4 c17">Women and Wealth in Late Medieval Europe</span><span class="c4">. New York, 2010, pp. 109–34. See the abstract under “</span><span class="c6 c4"><a class="c8" href="#id.tss2f1c8oeq">Women Artists: Architecture</a></span><span class="c4">.” Women </span><span class="c4 c17">did </span><span class="c3">participate in construction.</span></p><p class="c12"><span class="c4">Schadeus, Oseas. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D2hxXAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596031000&usg=AOvVaw13NzBZjHp4EuvcRbtIRjEk">Summum Argentoratensium Templum</a></span><span class="c4">.</span><span class="c4"> Strasbourg: Zetzner, 1617, pp. 14, 559: an inscription of 1277 names “Magister Erwinus de Steinbach,” and also quotes the inscription held by St John, saying that it is about Erwin’s “Tochter Savina,” his daughter Sabina.</span></p><p class="c12"><span class="c4">Schneegans, L. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015068435323%26view%3D1up%26seq%3D263&sa=D&ust=1597863596032000&usg=AOvVaw2pPsKeLy26T_wh7cVrUtQh">La statuaire Sabine</a></span><span class="c4"> et les statues et sculptures des portails du transept meridional de la cathedral de Strasbourg.” </span><span class="c4 c17">Revue d’Alsace </span><span class="c4">1 (1850): 255-91, at 261-70. Notes that at the end of the 16</span><span class="c4 c21">th</span><span class="c3"> C Daniel Specklin [see Reuss] was the first to say that Erwin had a daughter, Sabine, who worked on the portal sculptures. Traces the tradition from Specklin (d.1589) through Schadeus (1617) and Schilter’s edition of Twinger von Königshofen (1698) to Grandidier (1782) and beyond.</span></p><p class="c12"><span class="c4">Twinger von Königshofen, Jakob. </span><span class="c4 c17">Chronik</span><span class="c4">. (c. 1455, with additions, 1542-66). Ed. Johann Schilter, Johann. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DCmVgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596033000&usg=AOvVaw2qm5-LuBxnu8dkFSc6OsQ0">Die alteste teutsche so wol allgemeine als insonderheit elsassische strassburgische Chronicke von Jacob von Königshoven</a></span><span class="c3">. Strasbourg: J. Städel, 1698, pp. 558-59.</span></p><p class="c12"><span class="c4">Vachon, Marius. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D3n0RH-QVoH8C%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596033000&usg=AOvVaw1V7I-wPZS3fvCfXRgGXFMS">La Femme dans l’art, les protectrices des arts, les femmes artistes</a></span><span class="c4 c17">. </span><span class="c4">Paris:</span><span class="c4 c17"> </span><span class="c4">J. Rouam & Cie,</span><span class="c4 c17"> </span><span class="c3">1893, pp. 134-36. A colourful elaboration of the legend.</span></p><p class="c12"><span class="c4">York, Laura. “</span><span class="c4">Steinbach, Sabina von</span><span class="c4">.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/steinbach-sabina-von-fl-13th-c&sa=D&ust=1597863596034000&usg=AOvVaw3zrn3PDV4HhCBLgctvtBqw">Encyclopedia.com</a></span><span class="c4 c17">.</span><span class="c4"> Said to have been updated “Aug 15 2020” when accessed on 16 </span><span class="c4 c17">July </span><span class="c4">2020. An egregious example of why one needs to be wary of material on the internet. Says she was an “Austrian sculptor. Flourished in the 13</span><span class="c4 c21">th</span><span class="c3"> century in Strasbourg,” which shows no sense of geography, and mistakes Alsace for Austria. Claims multiple works, beyond the cathedral. </span></p><a id="id.ba3af92zvjqq"></a><h2 class="c1" id="h.duz2irk9gcwd"><span>Margareta van Eyck (15th C sister of Flemish painters Hubert, Lambert and Jan van Eyck)</span><span class="c3"> </span></h2><p class="c46"><span class="c4 c13 c14">In 1565 and 1568, two writers claimed that Margareta, sister of three male painters in the van Eyck family, was also a painter. The slightly later texts (van </span><span class="c4">Vaernewijck</span><span class="c4 c13 c14">) add details to the former (d’Heere) and in 1604 d’Heere’s poem is quoted in an influential book written by his erstwhile pupil van Mander. However, no archival evidence records the existence of any sister, who is first given a name in 1566-68. In fact, records were falsified in 1847 (Carton). Weale (1908), and some other scholars since, doubt her very existence, and there is no page on her in the </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://rkd.nl/en/explore%23query%3Dmargareta%2520van%2520eyck&sa=D&ust=1597863596036000&usg=AOvVaw1eLINm35iogtL3LYz80yfG">RKD database</a></span><span class="c4 c13 c14">. A flurry of attributions arose in the nineteenth century (by 1831, in Wolfthal, pp. 24-27; for earlier, see </span><span class="c4 c13 c14 c17">Salon de 1820</span><span class="c4 c13 c14">) and she was a passing character in a romance novel published in 1861 (Reade). Discussions of her were often informed by assumptions about gender, a mode still reflected in Dhanens’s comment of 1980 that “</span><span class="c3">a feminine touch” is likely to appear in miniatures. Feminist scholarship of the 1970s fervently accepted Margaret’s existence (Wolfthal, p. 29).</span></p><p class="c46"><span class="c4 c13 c14">Furthermore, it is believed that after his death on 9 July 1441 Jan’s wife ran his workshop for several years, a claim </span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://www.museabrugge.be/en/calendar/exhibitions/jan-van-eyck-in-bruges-1&sa=D&ust=1597863596036000&usg=AOvVaw2fpsnyGGCaJXOlc6UT-q2l">still mentioned at the time of an exhibition in 2020 </a></span><span class="c22 c4 c13 c14">by the Groeningmuseum, Bruges (and Paviot, p. 79), which holds Jan’s portrait of her (1439). If so, this points to entrepreneurial and managerial interests, not necessarily artistic skills. Less than two weeks after his death she was granted a pension by the Duke of Burgundy (Weale, p. xlvii) and she sold the house in 1444 (Weale, p. 26), so any visual output was brief. In print, her name, Margaret, was not known until the early twentieth century (Weale, 1908, pp. xlvii, 20). Perhaps the mid-sixteenth century men from Ghent confused oral tradition regarding a wife at the Bruges workshop called Margaret and turned her into a painting sister in Ghent with the same name (for rivalry between the two towns influencing art historical scholarship into the twentieth century see Wolfthal, p. 29, who dismisses the possibility of such a conflation of two Margarets in n. 17).</span></p><p class="c46"><span class="c22 c4 c13 c14">Hubert is documented on several occasions, but never Margaret. Records are sparse for any person at the time, especially women, and perhaps d’Heere relied on a tomb inscription, now lost. So, it is just possible that Margaret did exist. But a large, unwarranted and partisan edifice has been built on the basis of no surviving evidence, archival or pictorial. “Each generation has redefined Margaret in its own image” (Wolfthal, p. 19) and so far the twenty-first century has all but ignored her.</span></p><p class="c46"><span class="c4 c13 c14">van Buren, Anne. “Eyck, van family.” </span><span class="c4 c13 c14 c17">Grove Art Online.</span><span class="c4 c13 c14"> Published online 2003; updated and revised by John Decker, 7 Oct 2019; accessed 13 July 2020. “</span><span class="c4 c5">The brothers </span><span class="c3">(1) Hubert van Eyck, (2) Jan van Eyck and (3) Lambert van Eyck were all painters; a sister, Margaret, was also identified as a painter by van Vaernewijck (1568) [which misses d’Heere], who recorded that she was unmarried and was buried next to Hubert in Ghent.”</span></p><p class="c46"><span class="c4">Carton, Charles. “Les Trois Frères van Eyck.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3Ds5UEAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596038000&usg=AOvVaw2DfcaXXqy741yjfmk7B3Ng">Annales de la Société d’Emulation pour l’étude de l’Histoire et des Antiquités de la Flandre</a></span><span class="c4 c17"> </span><span class="c4">2</span><span class="c4 c21">nd</span><span class="c3"> ser., 5 (1847): 237-326, at 269, 324-25. Admittance to a confraternity at S. Bavo, Ghent in 1391 of Jan van Eyck and his relative Margaret; records in 1412 and 1418 of Hubert and Margaret in that confraternity. He claims to have received the information from “Goetghebuer,” probably Pierre-Jacques Goetghebuer (1788-1866), an architect, artist and writer in Ghent. All these documents do not exist (Weale, 1861, 1864-65; van der Haeghen, 1898-99). Notably, the supposed records did not describe her as an artist.</span></p><p class="c46"><span class="c4">Dhanens, Elisabeth. </span><span class="c4 c17">Hubert and Jan van Eyck.</span><span class="c4"> New York: Tabard Press, 1980, pp. 12, 32. Cites d’Heere and van Vaernewijck. Believes the sister existed, mentioning as corroborating evidence that women artists existed at the time and noting that a woman painter is not exceptional. Also, “spinsterhood was considered an honourable social status.” Hence, “not even the grotesque sarcasm of Renders (1933, p. 22) can invalidate or weaken this reliable tradition.” On her work: “we know nothing. … It would certainly be a mistake to trust the attributions made to her in 19</span><span class="c4 c21">th</span><span class="c3">-century sales catalogues, but it would be worth while examining whether a feminine touch can be recognized in any of the miniatures attributed so often to one or other of the Van Eyck brothers.” Since 1965, various publications by Dhanens argued for Margaret’s existence (Wolfthal, pp. 28-29).</span></p><p class="c46"><span class="c4">Dumolyn, Jan and Frederik Boylaert. “Van Eyck’s World.” In Maximiliaan Martens et al (eds). </span><span class="c4 c17">Van Eyck.</span><span class="c3"> London: Thames and Hudson, 2020, pp. 85-121, at 88. Voices some skepticism. “It is certainly plausible” that she was a painter given the existence of other women in artistic families, such as Levina Teerlinc. “There is a great deal, however, that is ‘not impossible,’ and many a speculative edifice has been constructed around the Van Eycks, with one ‘probable’ hypothesis building on another.” But they do not dismiss the possibility: the brothers all painted “and their sister Margaret might have done so too” (p. 89). Notably, they accept that she existed, but are not sure she was an artist.</span></p><p class="c11"><span class="c4">Greer, Germaine. </span><span class="c4 c17">The Obstacle Race.</span><span class="c4"> </span><span class="c4 c17">The fortunes of women painters and their work. </span><span class="c3">London: Secker and Warburg, 1979, pp. 29, 164.</span></p><p class="c46"><span class="c4">van der Haeghen, Victor. “Mémoires sur des documents faux relatifs aux anciens peintres, sculpteurs et graveurs flamands.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com.gt/books?id%3DhyhEAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596039000&usg=AOvVaw3oPgZZL7WS4UpYhuKz_BhR">Mémoires Couronnés et autres mémoires </a></span><span class="c3">58 (1898-99), p. 122 n. 1 on the “apocryphal” nature of the supposed documents about Margaret van Eyck published by Carton in 1847. Notes that the church archivist Lavaut could find no such records.</span></p><p class="c46"><span class="c4 c5">d’Heere, Lucas. </span><span class="c0">Ode, den hof en boomgaerd der poesien</span><span class="c4 c5">. Ghent, 1565. Ed. Werner Waterschoot, Zwolle: Teenk Willink, 1969, p. 36.</span><span class="c4"> Composed in 1559. Transcribed in Weale, p. </span><span class="c4 c5">lxxix. Does not name the sister: Hubert “leit hier begraven, ende zijn zuster mee, / die occ in schildereyen dede groote zaken.” That is, he “lies buried here, and with his sister / Who also did great things in painting.” The poet and painter d’Heere was familiar with the idea of women artists: his mother was </span><span class="c6 c4 c13"><a class="c8" href="#id.x3ucc1dme7g1">Anna Smijters</a></span><span class="c22 c4 c5">.</span></p><p class="c46"><span class="c4 c5">Le Comte de Laborde. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=http://e.com/books?id%3D04svBBeOdGwC%26printsec%3Dfrontcover%26hl%3Dnl%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596040000&usg=AOvVaw2PgQClUaerh4d_Uq5A77Bl">Les Ducs de Bourgogne.</a></span><span class="c22 c4 c5"> Paris: Plon Frères, 1849. Vol. 1, p. cviii. Republishes, as genuine, some of the false documents from Carton.</span></p><p class="c46"><span class="c4 c5">Lampsonius, Dominicus. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DhGxOAAAAcAAJ%26printsec%3Dfrontcover%26hl%3Dit%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596041000&usg=AOvVaw11JLGIPrME3y440nm2BvFs">Pictorum aliquot celebrium Germaniae inferioris effigies</a></span><span class="c4 c5">. </span><span class="c22 c4 c5">Antwerp: Hieronymous Cock, 1572. The first two images, with verse underneath, are imagined portraits of Hubert and Jan van Eyck. No mention is made of a sister.</span></p><p class="c11"><span class="c4">Van Mander, Karel. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/mand001schi01_01/mand001schi01_01_0182.php&sa=D&ust=1597863596041000&usg=AOvVaw0uBcGrxz-JOra0i_ZGggUZ">Het schilder-boeck</a></span><span class="c4">. Haarlem: Passchier Wesbusch, 1604, fol. 199r: “het schijnt dat hun huys gheheel met den Constigen Schilder-gheest is bestort, en overgoten gheweest, dewijle dat oock hun suster Margriete van Eyck is vermaert, dat sy met grooter Const het schilderen gheoeffent heeft, en als een gheestighe Minerva (schouwende Hymen en Lucina) in Maeghdlijcken staet tot den eyndt haers levens ghebleven is.” “It seems that their entire household was altogether bathed in and permeated by the artistic spirit of painting, for their sister Margriete van Eyck is also famous because she applied herself to painting with great ability, and as a spiritual Minerva (shunning Hymen and Lucian) remained a virgin to the end of her life” (trans. Wolfthal, p. 23). He also repeats d’Heere’s entire poem, in updated language (</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/mand001schi01_01/mand001schi01_01_0182.php?q%3Dbegraven%23hl2&sa=D&ust=1597863596041000&usg=AOvVaw0gcI7W9WZt5lWVpOrc4EVM">fol. 201v</a></span><span class="c4">; “he rests here buried beside the sister / Who also astonished many with her art of painting,” trans. Wolfthal, p. 36 n. 24</span><span class="c3">).</span></p><p class="c46"><span class="c4">Michiels, Alfred. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/histoiredelapei01michgoog/page/n10/mode/2up&sa=D&ust=1597863596042000&usg=AOvVaw1_k3HAa-3v4GZlG0TTROrh">Histoire de la Peinture Flamande et Hollandaise</a></span><span class="c4 c17">.</span><span class="c3"> Brussels: Vandale, 1845. Vol. 2, pp. 10, 12, 20, 66-67, 106, 151-54, 157, 162, 165, 388-89.</span></p><p class="c46"><span class="c4">Michiels, F. X. Alfred. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DqsI9AAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596042000&usg=AOvVaw1oSMRE4VPDfkRaNgqxWySa">Histoire de la Peinture Flamande</a></span><span class="c4 c17">. </span><span class="c4">2</span><span class="c4 c21">nd</span><span class="c4"> ed. Paris: Librarie internationale, 1866. Vol. 2, pp. 103, 105-06, 145, 176, 185, 204-04, 210, 321, 351-55 passim. On </span><span class="c4 c17">The Fountain of Living Water </span><span class="c4">panel in the Museo del Prado, which adapts one of the central panels of the </span><span class="c4 c17">Ghent Altarpiece. </span><span class="c3">Weale (p. 164) reports that this author “thinks the design was made by Hubert, and the painting executed by John and Margaret!!” (sic). Weale is scathing about the author’s integrity and originality (p. xcix). Discerning her hand in various works, and characterizing her as a miniaturist, is typical of such early studies.</span></p><p class="c11 c13"><span class="c4">Palomino, Antonio. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DAGVeAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596043000&usg=AOvVaw1epTPAebfwzzbfHJUlYmIK">El Parnaso español pintoresco laureado</a></span><span class="c4">. Vol. 3 of </span><span class="c4 c17">El Museo pictórico y escala óptica</span><span class="c3">. Madrid, 1715, pp. 162-63 (Book 2, ch. 10, section 3). </span></p><p class="c46"><span class="c4">Paviot, Jacques. “The Van Eyck Family.” In Maximiliaan Martens et al (eds). </span><span class="c4 c17">Van Eyck.</span><span class="c3"> London: Thames and Hudson, 2020, pp. 59-83, at 60 cites nothing other than d’Heere and van Vaernewyck but believes she existed: “As Hubert died without an heir in the city of Ghent, she must have predeceased her brother” (p. 60; Hubert died in 1426). And re Jan’s wife Margaret: “We can imagine her taking on the direction of her husband’s workshop, as was authorized by the customs of the painters’ guild in Bruges” (p. 79); she does not, however, appear in the extant registers of that guild. The possibility that she directed manuscript illuminators after Jan’s death is raised in another essay in the volume (p. 297).</span></p><p class="c11 c13"><span class="c4">Reade, Charles. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D01QOAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596043000&usg=AOvVaw2Thp0czpItXwt1jQ8s3Jar">The Cloister and the Hearth;</a></span><span class="c4 c17"> or, Maid, Wife, and Widow. A Matter-of-Fact Romance.</span><span class="c3"> New York: Rudd & Carleton, 1861, p. 7: “Margaret, sister and survivor of the brothers Van Eyck” is an “old lady” who, with “female sympathy” furthered the hero’s artistic training.</span></p><p class="c46"><span class="c4">Renders, E. </span><span class="c4 c17">Hubert van Eyck, personage de légende.</span><span class="c3"> Paris, 1933, p. 22. Cited by Dhanens.</span></p><p class="c46"><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.be/books?vid%3DGENT900000135133%26printsec%3Dfrontcover%26hl%3Dnl%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596044000&usg=AOvVaw3gK2LiQ5xebYxY61wCOssM">Salon de 1820</a></span><span class="c4 c17">.</span><span class="c4"> Ghent: P.F. de Goesin-Verhaeghe, 1820. Exhibition of work by living artists, including Joseph-François Ducq’s </span><span class="c4 c17">Antonello da Messina visiting Jan van Eyck’s Studio </span><span class="c4">(which survives in a drawing, and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.flickr.com/photos/museabrugge/22313532431/in/photostream/&sa=D&ust=1597863596044000&usg=AOvVaw0CNRD23dKZL4tT3YMjx3tu">a painted copy</a></span><span class="c3">, the latter in the Musée de Brou, Bourg-en-Bresse). The 1820 description of the painting notes that the personnel includes “Marguerite van Eyck, soeur de Jean est assise devant ne table poignant les miniatures d’un manuscript” (p. 48 no. 241), Margaret, the sister, seated at a table on the right handling the illuminated pages of a manuscript.</span></p><p class="c46"><span class="c4">Sanderus, Antonius. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DWsxUAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_atb%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596045000&usg=AOvVaw3zPpVX8oHhjG3aAkl_w25q">Burgensibus eruditionis </a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DWsxUAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_atb%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596045000&usg=AOvVaw3zPpVX8oHhjG3aAkl_w25q">fama claris</a></span><span class="c4 c13 c14">. </span><span class="c4 c13 c14">Antwerp: Guglielmum a Tongris, 1624, pp. 38-39. Cites Guicciardini and Vasari. Describes the location of Hubert van Eyck’s burial but does not mention an inscription there or a sister. Rpt in the second edition of Antonius Sanderus, </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DX5lMAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596045000&usg=AOvVaw1fINxwmt0jiA26YdlidZKS">Flandria illustrate,</a></span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DX5lMAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596046000&usg=AOvVaw19yCsn0TXXtTBho-Ethoh_"> vol. 2</a></span><span class="c22 c4 c13 c14">. Cologne, 1735, pp. 163-64.</span></p><p class="c46"><span class="c4">van Vaernewijck, Marcus</span><span class="c4 c17">. Van die beroerlicke tijden in die Nederlanden en voornamelick in Ghendt 1566-1568.</span><span class="c4"> Ed. Ferdinand Vanderhaeghen.</span><span class="c4 c17"> </span><span class="c4">5 vols. Ghent, 1872-81. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.dbnl.org/tekst/vaer003vand01_01/vaer003vand01_01_0027.php&sa=D&ust=1597863596046000&usg=AOvVaw16lViUrKqOR_yHxcHh1x6m">Vol. 2, p. 146</a></span><span class="c4">: “Zijn broeder Hubertus was ooc hier inne een wonderlic gheest ende Marghareta zijn zustere, maer beede verre beneden desen Johannes.” That is, Jan’s brother Hubertus was also a marvelous spirit and Marghareta his sister, but both were inferior (</span><span class="c4 c17">beneden</span><span class="c4">) to this Jan.</span></p><p class="c46"><span class="c4">van Vaernewijck, Marcus</span><span class="c4 c17">. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DwLcTAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596047000&usg=AOvVaw3cm9_2F_12-mr_vKFMtEE0">Den spieghel der Nederlandscher audtheyt</a></span><span class="c4 c5">. Ghent: Gheeraert van Salencon, 1568, fol. 119r.</span><span class="c4"> Adds the name Margareta, and her spinsterhood. Transcribed in Weale, p. lxxxvi. “A sister named Margareta, who kept her virginity until her death / and is also highly prized in the noble art of </span><span class="c4 c17">pictoria </span><span class="c4">or </span><span class="c4">painting (</span><span class="c4 c17">pictoria oft Schilderye</span><span class="c4">)</span><span class="c3">” (Wolfthal, p. 22).</span></p><p class="c46"><span class="c4">Weale, W.H. James. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.be/books?id%3Do15NAAAAcAAJ%26printsec%3Dfrontcover%26hl%3Dnl%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596048000&usg=AOvVaw2D0aEMUrKjoHxhQg4zrFNr">Notes sur Jean van Eyck</a></span><span class="c4 c17">: Réfutations des erreurs de M. L’Abbé Carton et des Théories de M. le Comte de Laborde.</span><span class="c3"> London: Barthès and Lowell, 1861, p. 31. Cannot find the records referred to by Carton. Also points out that the name “van Eyck” and variants was common at the time (as was Margaret).</span></p><p class="c46"><span class="c4">Weale, W.H. James. “Bibliographie archéologie et artistique.” </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.tt/books?id%3DkgwFAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_atb%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596048000&usg=AOvVaw3rc9yIkXodX8F8xyHLpqIl">Le Beffroi </a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.tt/books?id%3DkgwFAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_atb%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596048000&usg=AOvVaw3rc9yIkXodX8F8xyHLpqIl">2</a></span><span class="c3"> (1864-65): 197-234, at 212-13.</span></p><p class="c46"><span class="c4 c5">Weale, W. H. James. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DtUk3AQAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596049000&usg=AOvVaw0U3tYifljm5SMiHqgu53RW">Hubert and John van Eyck: Their Life and Work</a></span><span class="c4 c5">. London: John Lane, 1908, pp. xlvii, lxxix-lxxxi,</span><span class="c38 c5"> </span><span class="c22 c4 c5">lxxxvi, lxxxviii, 4, 20, 26, 164. Not finding any records of her in his exhaustive archival research, Weale was “inclined to consider her as merely an airy conception of the over-fecund imagination of the poet-painter Luke De Heere” (p. 4) and she is referred to as the “alleged sister” (p. 215).</span></p><p class="c46"><span class="c4">Wolfthal, Diane. “From Margarethe van Eyck to Agnes van den Bossche: Writing of the Early Netherlands Female Painters.” In Liana De Girolami Cheney (ed). </span><span class="c4 c17">Essays on Women Artists, I.</span><span class="c3"> Lewiston: Edwin Mellen Press, 2003, pp. 19-40. Points to patriotism and romantic sensibilities [and] financial considerations” for nineteenth-century attributions to Margaret (p. 24). Concludes that “the early sources suggest the strong possibility of Margaret’s existence, but no specific works can be attributed to her with any degree of certainty” (p. 30; a similar statement is on p. 34). In an email of 29 June 2020 to Pat Simons, Wolfthal referred to Margaret as “an imaginary painter.”</span></p><a id="id.qbedgpni6tb2"></a><h2 class="c1 c16" id="h.pt5i9tby7ehf"><span class="c7">Penelope Cleyn / Clein / Klein (17th C miniaturist in London)</span></h2><p class="c12"><span class="c4">It has been said that, along with three brothers (born in 1625, 1627 and 1629) and her sisters Sarah (b. 1630) and Magdalen (b.1632), a Penelope worked in London with their father the German painter and tapestry designer Francis Cleyn (c.1582-1658). Supposedly, she was active as a miniaturist in the 1660s and 1670s, but judging by the birthdates of the siblings she would have been in her mid-thirties or older before she began to paint, highly unlikely in such a productive household. In fact, there is no archival record of her existence (see Hefford), and it is difficult to find surviving examples of work ascribed to her. As of 3 July 2020, a </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Penelope_Cleyn&sa=D&ust=1597863596050000&usg=AOvVaw1KVvKU4NAacQ184MC6t6hb">Wikipedia page still discussed Penelope</a></span><span class="c3">, relying chiefly on Cust (1887), who in turn relied on a few sentences in Walpole (1765), and those derived from notes of Vertue (d. 1756).</span></p><p class="c12"><span class="c4">Brown, David Blayney. “Cleyn [Clein], Francis [Frantz].” </span><span class="c4 c17">Grove Art Online </span><span class="c4">(published online 2003, updated bibliography 15 July 2008; accessed 8 August 2020): </span><span class="c4">“Cleyn’s sons Francis the younger (1625-50) and John (1629-?c.1660) and his daughter Penelope (fl 1668-77) were also painters and miniaturists.”</span></p><p class="c12"><span class="c4">Charlton, William Henry. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D0KxCAAAAYAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596050000&usg=AOvVaw10KR35mh4ZVJxBUhzHeujQ">Burghley. The Life of William Cecil, Lord Burghley.</a></span><span class="c4 c17"> </span><span class="c4">Stamford: William Langley, 1847, p. 265 notes the 1677 miniature of William Cecil, Lord Roos, signed P.C. See Walpole, below. It is now known that it represents </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.burghley.co.uk/collection/john-5th-earl-of-exeter-by-peter-cross-signed-with-initials-and-dated-1677/&sa=D&ust=1597863596051000&usg=AOvVaw0fzV2iq2PrZuxXQVBxmMCO">John, 5th Earl of Exeter </a></span><span class="c4 c24">(c.1648-1700), and </span><span class="c3">is convincingly given to Peter Cross.</span></p><p class="c12"><span class="c4 c14">Clayton, Elllen C. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/englishfemalear00claygoog/page/n43/mode/2up&sa=D&ust=1597863596051000&usg=AOvVaw1O4jLdHhnVQGWlPiwonM3N">English Female Artists</a></span><span class="c3">. 2 vols, London: Tinsley Brothers, 1876. Vol. 1 pp. 30-32. Mainly relies on Walpole.</span></p><p class="c12"><span class="c4 c14">Cust, Lionel Henry. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://en.wikisource.org/wiki/Clein,_Francis_(DNB00)&sa=D&ust=1597863596051000&usg=AOvVaw0RFCrcyF2UMaTWgXI-zfFM">Clein, Francis</a></span><span class="c4 c14">.” In </span><span class="c4">Leslie Stephen</span><span class="c4 c14"> (ed). </span><span class="c4 c17">Dictionary of National Biography</span><span class="c3">. London: Smith, Elder & Co., 1887, Vol. 11, pp. 26-27. Discusses Penelope. See the re-written version by Hefford, below.</span></p><p class="c12"><span class="c4 c14">Foster, J. J. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D1jhIAQAAIAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596052000&usg=AOvVaw0VxgchJBANmeGhDNHNyKo8">Miniature Painters British and Foreign</a></span><span class="c4 c14 c17">.</span><span class="c4 c14"> London: Dickinsons, 1903, Vol. 1, pp. 52-53. After repeating the information from Walpole: “In the Ashmolean collection at Oxford is a portrait exactly in the manner of Lawrence Crosse, but it is signed P.C. and is probably the work of Penelope Cleyn.” This is the miniature of the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/relevance/object/84512&sa=D&ust=1597863596052000&usg=AOvVaw3KmusX_TYvI3nxLWPdwW6j">Duke of Lauderdale</a></span><span class="c22 c4 c14">, bequeathed by Reverend Hawkins and now assigned to Peter Cross. </span></p><p class="c12"><span class="c4 c14">Foster, J. J. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Ddul1.ark:/13960/t47q09c1f%26view%3D1up%26seq%3D18&sa=D&ust=1597863596053000&usg=AOvVaw1ufg_Rw1eD_d6HwT51IeYv">A List alphabetically arranged of works of English Miniature Painters of the XVII Century</a></span><span class="c4 c14">. </span><span class="c22 c4 c14">London: Dickinsons, 1914-1916, p. 6 no. 5. Attributes the Burghley miniature to Paolo Carandini. And p. 7 lists three works by “F. or P. Cleyn,” two of which are doubted, and the other, of Lady Elizabeth Howard, “has been ascribed by Messrs. Duveen Bros. [dealers] to Penelope Cleyn. I am more inclined to consider it the work of Paolo Carandini.” And pp. 159-60 lists five miniatures, two signed P.C., all assigned to Carandini or Penleope Cleyn.</span></p><p class="c12"><span class="c4 c14">Gray, Sara. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_-fkDwAAQBAJ%26pg%3DPA70%26lpg%3DPA70%26dq%3Dminiature%2B%2522Dorothea%2522,%2Byoungest%2Bdaughter%2Bof%2BRichard%2BCromwell,%26source%3Dbl%26ots%3DS3jwpr9B41%26sig%3DACfU3U0KIFi9DQ9foCYIFCv8MzPUDkpgoA%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjYgqWrvJPqAhWPB80KHV3pBe8Q6AEwD3oECAcQAQ%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596053000&usg=AOvVaw1p3ZvWUVb7EK19Bf2xVSqM">The Dictionary of British Women Artists</a></span><span class="c4 c14 c17">.</span><span class="c4 c14 c17"> </span><span class="c4 c14">Cambridge: Lutterworth Press, 2009, p. 70</span><span class="c4 c14 c17">.</span><span class="c22 c4 c14"> Summarizes and accepts Walpole and Cust, saying she was active “1660s-70s.”</span></p><p class="c12"><span class="c4 c13 c14">Heath, Dudley. </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D_38FAAAAMAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596054000&usg=AOvVaw0wGFhlFy1lm0FYghHebLhj">Miniatures</a></span><span class="c4 c13 c14 c17">.</span><span class="c22 c4 c13 c14"> London: Methuen, 1905, p. 138. Quotes Walpole, and adds: “there are also signed examples in the possession of Earl Spencer, Mr Wingfield Digby, and the Rev. W. B. L. Hawkins.” The Ashmolean now owns miniatures from Hawkins’ collection, several of which are given to Peter Cross.</span></p><p class="c12"><span class="c4">Hefford, Wendy. “Clein [Cleyn], Francis.” </span><span class="c4 c17">Oxford Dictionary of National Biography </span><span class="c4">online (posted 3 Jan 2008; accessed 21 June 2020). Having checked all baptismal and other archival records, the author concludes: “</span><span class="c4 c5">No evidence exists of a daughter, </span><span class="c3">Penelope, to whom Vertue and Walpole ascribed two miniatures signed P. C. (possibly Peter Cross) dated 1677 and 1683.”</span></p><p class="c12"><span class="c4">Murdoch, John. “Hoskins’ and Crosses: Work in Progress.” </span><span class="c4 c17">Burlington Magazine </span><span class="c3">120 (May 1978): 284-90, at 288-89. Reviews the clear evidence that the signature P.C. is that of Peter Cross, who is also the same as Lawrence Cross. </span></p><p class="c12"><span class="c4">Vertue, George. “Vertue’s Note Book A.x.” </span><span class="c4 c17">The Volume of the Walpole Society </span><span class="c3">24 (1935-36): 101-97, at 113: “Dorothea Cromwell. youngest daughter of Richard Cromwell aeta 4. 1668. P.C. the limners mark. not unlike Coopers manner – but not so well (sett in Gold) this mark P.C. I conceive to be the insignia of Penelope Cleyn. daughter of Francisco Cleyn-painter.”</span></p><p class="c12"><span class="c4 c13 c24">Walpole, Horace. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DIFsEAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596055000&usg=AOvVaw0LszqIya_TVkRP4Cc17uqS">Anecdotes of painting in England</a></span><span class="c4">. Strawberry Hill: Thomas Farmer, 1765. Rpt 1849. </span><span class="c4">Vol. 2, p. 378</span><span class="c3">. Citing the notes of the engraver and antiquary George Vertue (1684-1756): “Vertue saw a miniature, like [Samuel] Cooper’s manner, but not so well, of Dorothea, youngest daughter of Richard Cromwell, aet. 4 [that is, aged 4], 1668, with those letters, P.C. which he thought signified Penelope Cleyn.” A note added: “At Burleigh, is a head of Cecil, Lord Roos, 1677, with the same letters.” See Charlton, above, for the 1677 miniature. Several authors who reiterate Walpole’s information inexplicably misread the Latin abbreviation “aet” and thus claim the miniature that is actually of a child was dated 4 February 1668.</span></p><p class="c12"><span class="c4">Williamson, George C. </span><span class="c4 c17">The History of Portrait Miniatures. </span><span class="c4">London: George Bell and Sons, 1904, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/gri_33125009509601/page/n179/mode/2up?q%3Dcleyn&sa=D&ust=1597863596055000&usg=AOvVaw0l5JcaYYOA7cceVJ98_H5i">vol. 1, Pl. XXIV no 5</a></span><span class="c4"> (miniature of Lord Lauderdale, said to be signed Penelope Cleyn and in the “University Galleries, Oxford.” Bequeathed by Hawkins, it is in the </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/relevance/object/84512&sa=D&ust=1597863596056000&usg=AOvVaw2lgCT7eUUFTyvl1A_iTdRC">Ashmolean Museum, WA 1897.43</a></span><span class="c4">, dated c. 1675-80 and given to Peter Cross) and </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://archive.org/details/gri_33125009509601/page/n237/mode/2up?q%3Dcleyn&sa=D&ust=1597863596056000&usg=AOvVaw0ZIZtK1oLfLsN9pEX3oUo6">Pl. XXXIV no 2</a></span><span class="c3"> (the “William Cecil, Lord Roos of Hamlake” miniature of 1677 said to be signed by Penelope Cleyen, in the Burghley collection, now given to Peter Cross).</span></p><a id="id.lsp2awyy8wdc"></a><h2 class="c1" id="h.2aje63o5t0me"><span class="c7">Eva van Marle (portraitist in Zwolle 1642-54)</span></h2><p class="c12"><span class="c4">Once said to be the portrait painter who used the monogram E.M. or E.M.F. (E.M. fecit). Six paintings with that signature hang in the </span><span class="c4 c17">Vrouwenhuis,</span><span class="c4"> Zwolle (see </span><span class="c6 c4"><a class="c8" href="#id.4f5er5lh7oww">Aleida Greve</a></span><span class="c3">), five of them dated 1648. However, there is no genealogical information on an Eva in the family. She first appears in an inventory listing these six works in 1875 (see Zwiers below).</span></p><p class="c12"><span class="c4 c51">Groenendijk, Pieter. </span><span class="c4 c17">Beknopt biografisch lexicon van Zuid- en Noord-Nederlandse schilders, graveurs, glasschilders, tapijtwevers et cetera van ca. 1350 tot ca. 1720</span><span class="c3">. Leiden: Primavera, 2008, pp. 516, 556. Not seen, but seems to list Eva as real.</span></p><p class="c12"><span class="c4 c13">de Jong, L. “‘Mijn vermaak en kroone.’ Schilderessen in het Vrouwenhuis in Zwolle.” In Els </span><span class="c4">Kloek, Catherine Peters Sengers and Esther Tobé (eds). </span><span class="c4 c17">Vrouwen en kunst in de Republiek. Een Overzicht</span><span class="c4">. Hilversum: Verloren, 1998, </span><span class="c4 c10">pp. 59-63, </span><span class="c3 c13">151-52.</span></p><p class="c12"><span class="c4">Thieme, Ulrich and Felix Becker (eds). </span><span class="c4 c17">Allgemeines Lexikon der bildenden Künstler.</span><span class="c3"> Leipzig: E.A. Seemann, 1930. Vol. 24.</span></p><p class="c12"><span class="c4 c13 c14">Verbeek, J. and J. W. Schotman. </span><span class="c4 c13 c14 c17">Hendrick ten Oever: een vergeten Overijssels meester uit de zeventiende eeuw</span><span class="c22 c4 c13 c14">. Exhib.cat. Zwolle: Provinciaal Overijssels Geschiedkundig Museum, 1957, pp. 8, 14, 18, 20. Suggests that “E.M.” may have been the teacher of the Zwolle painter Hendrick ten Oever (1639-1716).</span></p><p class="c12"><span class="c4">Zwiers, Saskia. “</span><span class="c4 c13">Het Raadsel EM. Schilder zonder oeuvre of oeuvre zonder schilder.” </span><span class="c4 c17">Zwols Historisch Tijdschrift</span><span class="c3"> 1 (2014): 4-12.</span></p><p class="c12"><span class="c4">Zwiers, Saskia. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/MarleEva&sa=D&ust=1597863596058000&usg=AOvVaw1eav29xOF2ws2rVnQ0cCvo">Marle, Eva van (actief ca. 1650-).</a></span><span class="c4">” </span><span class="c4 c13 c24">At </span><span class="c4 c17">Digitaal Vrouwenlexicon van Nederland</span><span class="c4">, under the aegis of </span><span class="c4 c17">Instituut voor Nederlandse Geschiedenis</span><span class="c3"> (last modified 26 Aug 2017; accessed 30 June 2020). Notes that her existence is as uncertain as her oeuvre. There are no records of such a person and she is first mentioned in the nineteenth century. “Dit maakt haar reputatie als schilderes dubieus.” That is, “this makes her reputation as a painter dubious.” The 1875 inventory first mentioning her (unpublished, but recorded in a later copy) was drawn up by a descendant of one of the heirs of Aleida Greve, that is, Helena Eva Golts, who was his grandmother. A few exhibitions then began to accept the existence of the artist Eva, solidified by Thieme/Becker in 1930. The monogram E.M. is probably that of Evert Meertman, one of six painters in the local guild, and who is probably Everardt Moermans from Antwerp, who married the daughter of a goldsmith in Zwolle in 1634 and died there in 1659.</span></p><h1 class="c77 c66" id="h.yh4vl545i6dh"><span> </span><a id="kix.t1w94wg4ey3u"></a><span class="c7">Women Artists in Mediterranean Antiquity</span></h1><a id="kix.czrbkx3kr0j"></a><h3 class="c1 c16" id="h.1aiq42w40llj"><span class="c38 c57 c17">Primary Sources</span></h3><p class="c11"><span class="c4">Clement of Alexandria. </span><span class="c4 c17">Stromata </span><span class="c4">(</span><span class="c4 c17">Miscellanies</span><span class="c4">). (c.150-215 CE). </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://www.earlychristianwritings.com/text/clement-stromata-book4.html&sa=D&ust=1597863596059000&usg=AOvVaw1lZ1340taw55l7NZmMnkvg">Bk. 4</a></span><span class="c4">. Mentions two female painters from antiquity, “Irene the daughter of Cratinus [mentioned by Pliny], and Anaxandra the daughter of Nealces.” The latter is praised by Lucrezia Marinella. </span><span class="c4 c17">The Nobility and Excellence of Women and the Defects and Vices of Men</span><span class="c4">. (1600). Ed and trans. Anne Dunhill. Chicago: University of Chicago Press, 1999,</span><span class="c4 c17"> </span><span class="c3">p. 91 (1.5.1).</span></p><p class="c11"><span class="c4">Photius. </span><span class="c4 c17">Myriobiblion</span><span class="c4"> (</span><span class="c4 c17">Bibliotheca</span><span class="c4">, 9</span><span class="c4 c21">th</span><span class="c4"> C). In </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DE8cUAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_book_other_versions_r%26cad%3D4%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596059000&usg=AOvVaw2w0Eq2ciIaDXqRfbck0D6J">Opera Omnia.</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DE8cUAAAAQAAJ%26printsec%3Dfrontcover%26source%3Dgbs_book_other_versions_r%26cad%3D4%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596060000&usg=AOvVaw0cdW1gRrbbgooNXn3mxiiY"> Vol. 3</a></span><span class="c3">. Ed. J.-P. Migne. Paris: Garnier Fratres, 1900, col. 619 (149 B). Greek text and Latin translation in parallel. On Helen/Helene, daughter of Timon of Egypt, who painted a famous picture of the Battle of Issus in which the Greek Alexander the Great defeated the Persian king Darius III (c. 333 B.C.E). Photius reports that Emperor Vespasian (69-79 CE) transferred the painting to the Temple of Peace in Rome.</span></p><p class="c11"><span class="c4">Pliny the Elder. </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://en.wikisource.org/wiki/Natural_History_(Rackham,_Jones,_%2526_Eichholz)/Book_35&sa=D&ust=1597863596060000&usg=AOvVaw0I-R9VeEpfp-2sTwjqBqJJ">Natural History</a></span><span class="c4 c17"> </span><span class="c4">(written c. 77 CE). </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://penelope.uchicago.edu/Thayer/L/Roman/Texts/Pliny_the_Elder/35*.html&sa=D&ust=1597863596061000&usg=AOvVaw1HWdBe3heucO6Zv8K9YwTD">35.40.147-48</a></span><span class="c4">. Trans. H. Rackham. Cambridge: Harvard University Press, 1968, Vol. 9, pp. 368-71. Mentions six female artists: Aristarete (daughter of an artist), Calypso, Eirene/Irene (daughter of a painter), Iaia of Cyzicus (her paintings included a self-portrait and she was also an engraver of ivory; called Marcia by Boccaccio, and the name is thus picked up by others, including Filarete, on which see above), Olympias, and Timarete/Thamyris/Tamaris (daughter of the painter Micon). Some are mentioned later by Boccaccio, and by Christine de Pizan (above), as well as others. Pliny also notes that the potter Butades/Dibutades of Sicyon invented portraiture in clay relief on the basis of a profile drawing made by his daughter of her beloved’s shadow: 35.43.151 (pp. 370-73). Simply “maiden” (κόρᾱ</span><span class="c4 c24">,</span><span class="c4"> </span><span class="c4 c14">kórā</span><span class="c4">, in Greek), she is sometimes referred to as Kora or Callirhoe.</span></p><a id="kix.webbn6edr517"></a><h3 class="c1 c16" id="h.avmrjawi0o8e"><span class="c38 c57 c17">Secondary Sources</span></h3><p class="c11"><span class="c4 c14">Baldwin, Barry. “Germaine Greer and the Female Artists of Greece and Rome.” </span><span class="c4 c14 c17">Échos du Monde Classique</span><span class="c22 c4 c14"> 25 no 1 (1981): 18-21.</span></p><p class="c11"><span class="c4 c14">Bundrick, Sheramy D. “The Fabric of the City: Imaging Textile Production in Classical Athens.” </span><span class="c4 c14 c17">Hesperia </span><span class="c22 c4 c14">77 (2008): 283-334.</span></p><p class="c11"><span class="c4 c14">Corbeill, Anthony. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://eugesta-revue.univ-lille.fr/pdf/2017/6.Corbeill-Eugesta-7_2017.pdf&sa=D&ust=1597863596062000&usg=AOvVaw0ZMUKqzpzhSqSSNLmMaR9_">A New Painting of Calypso in Pliny the Elder</a></span><span class="c4 c14">.” </span><span class="c4 c14 c17">Eugesta Revue</span><span class="c4 c14"> 7 (2017): 184- 98. </span></p><p class="c25"><span class="c4 c14">Kampen, Natalie. “Hellenistic Artists: Female.” </span><span class="c4 c14 c17">Archeologia classica</span><span class="c22 c4 c14"> 27 (1975): 9-17.</span></p><p class="c11"><span class="c4 c14">Kehrberg, I. “The Potter-Painter’s Wife.” </span><span class="c4 c14 c17">Hephaistos </span><span class="c22 c4 c14">4 (1982): 25-35.</span></p><p class="c11"><span class="c4 c14">Linderski, J. “The Paintress Calypso and Other Painters in Pliny.” </span><span class="c4 c14 c17">Zeitschrift für Papyrologie und Epigraphik</span><span class="c22 c4 c14"> 145 (2003): 83-96.</span></p><p class="c11"><span class="c4 c14">Lovén, Lena Larsson. “Textile Production, Female Work and Social Values in Athenian Vase Painting.” In Ann-Louise Shallin (ed). </span><span class="c4 c14 c17">Perspectives on Ancient Greece: Papers in Celebration of the 60th Anniversary of the Swedish Institute of Athens</span><span class="c22 c4 c14">. Stockholm, 2013, pp. 135-51.</span></p><p class="c11"><span class="c4 c14">Muller-Dufeu, M. </span><span class="c4 c14 c17">Créer du vivant: Sculpteurs et artistes dans l’antiquité grecque</span><span class="c22 c4 c14">. Villeneuve d’Ascq: Presses Universitaires du Septentrion, 2011, pp. 173-75.</span></p><p class="c11"><span class="c4 c14">Pomeroy, Sarah B. “Technikai and Mousikai Women.” </span><span class="c4 c14 c17">American Journal of Ancient History </span><span class="c22 c4 c14">2 (1977): 51-68.</span></p><p class="c11"><span class="c4 c14">Venit, Marjorie Susan. “The Caputi Hydria and Working Women in Classical Athens.” </span><span class="c4 c14 c17">The Classical World </span><span class="c22 c4 c14">81 no 4 (Mar-April 1998): 265-72.</span></p><p class="c11"><span class="c4 c14">Vollkommer, Rainer. “Greek and Roman Artists.” In Clemente Marconi (ed). </span><span class="c4 c14 c17">The Oxford Handbook of Greek and Roman Art and Architecture. </span><span class="c4 c14">Oxford: Oxford University Press, 2015.</span><span class="c4 c14 c17"> </span><span class="c22 c4 c14">Small section on “Female Artists,” chiefly “painters in the Hellenistic period and goldsmiths in the Roman Imperial period,” the latter “documented by funerary inscriptions.”</span></p><p class="c11"><span class="c4 c14">Williams, Dyfri. “Picturing Potters and Painters.” In John H. Oakley and Olga Palagia (eds). </span><span class="c4 c14 c17">Athenian Potters and Painters. </span><span class="c22 c4 c14">Oxford: Oxbow Books, 2009. Vol. II, pp. 306-17 . See pp. 308-9 and fig. 1/Col.Pl. 26A for the possibility of female vase painters.</span></p><p class="c11"><span class="c4 c23">Younger, John G. “</span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://kuscholarworks.ku.edu/handle/1808/8339&sa=D&ust=1597863596064000&usg=AOvVaw2r7sSuMEil7uIJmhVtnrah">Tekhnitides</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://kuscholarworks.ku.edu/handle/1808/8339&sa=D&ust=1597863596064000&usg=AOvVaw2r7sSuMEil7uIJmhVtnrah">: Women Artists in Ancient Greece</a></span><span class="c4 c23">.” In Diane Tourliatos-Miles (ed). </span><span class="c4 c23 c17">Her Art: Greek Women in the Arts from Antiquity to Modernity</span><span class="c4 c23">. Frankfurt: Peter Lang, 2011, pp. 33-50.</span></p><p class="c15"><span class="c7"></span></p><a id="kix.fgf6fqq9fnji"></a><h1 class="c77 c66" id="h.tmd2q17v6nsm"><span class="c7">Medieval Women Artists in Europe (chiefly secular)</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">See also </span><span class="c4">“</span><span class="c6 c4"><a class="c8" href="#kix.mlapizbdo32d">Women Artists and Patrons: Textiles and Needlework</a></span><span class="c4">,”</span><span class="c38"> </span><span class="c4">“</span><span class="c6 c4"><a class="c8" href="#kix.dyhatdkz0vf9">Catholic nuns as Artists and Patrons</a></span><span class="c4">,”and “</span><span class="c6 c4"><a class="c8" href="#kix.ila9n6manluy">Women Patrons: Medieval</a></span><span class="c4">.”</span></p><p class="c11"><span class="c4 c24">Amt, Emilie. </span><span class="c2">Women’s Lives in Medieval Europe: A Sourcebook. </span><span class="c19 c4">London: Routledge, 1993, pp. 197-98 for London metalworkers. 2nd ed., 2010.</span></p><p class="c11"><span class="c4 c24">Bleeke, Marian, Jennifer Borland, Rachel Dressler, Martha Easton, and Elizabeth L’Estrange. “Artistic Representation: Women in/and Visual Culture.” In Kim Phillips (ed). </span><span class="c2">A Cultural History of Women in the Middle Ages</span><span class="c4 c24">, 2nd volume in a 6-volume series, Linda Kalof (general ed.). </span><span class="c2">A Cultural History of Women</span><span class="c4 c24">. </span><span class="c19 c4">Oxford, Berg Publishers, 2013, pp. 179-213.</span></p><p class="c11"><span class="c4 c24">Carr, Annemarie Weyl. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D6_0Y0PALzQMC%26printsec%3Dfrontcover%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596066000&usg=AOvVaw08KEvm5iOYXKvxGszhu4KE">Women as Artists in the Middle Ages: ‘The Dark is Light Enough’.</a></span><span class="c4 c24">” In Delia Gaze (ed). </span><span class="c2">Dictionary of Women Artists</span><span class="c19 c4">. Vol. 1. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 3-21.</span></p><p class="c11"><span class="c4 c24">Caskey, Jill. ‘Whodunnit? Patronage, the Canon and the Problematics of Agency in Romanesque and Gothic Art.” In Conrad Rudolph (ed). </span><span class="c2">A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 1000-1300</span><span class="c19 c4">. Malden, MA and Oxford: Blackwell Publishers, 2006, pp. 193-212. </span></p><p class="c11"><span class="c4 c13 c24">Easton, Martha. “</span><span class="c6 c4 c13"><a class="c8" href="https://www.google.com/url?q=https://ir.uiowa.edu/mff/vol25/iss1/10/&sa=D&ust=1597863596067000&usg=AOvVaw3SAO4xD30elhunS8TLsaH4">Gender Issues in the Art of the Middle Ages</a></span><span class="c4 c13 c24">.” </span><span class="c2 c13">Medieval Feminist Newsletter</span><span class="c4 c13 c24"> 25 (1998).</span></p><p class="c11"><span class="c19 c4">Easton, Martha. “Gender and Art in the Middle Ages.” In Thomas daCosta Kaufmann (ed). Oxford Bibliographies in Art History. New York, Oxford University Press, 9/28/16,</span></p><p class="c11"><span class="c4 c24">Easton, Martha. “Feminist Art History and Medieval Iconography.” In Colum Hourihane (ed). </span><span class="c2">Routledge Companion to Medieval Iconography</span><span class="c4 c24">. </span><span class="c19 c4">Abington, Routledge, 2017, pp. 425-36.</span></p><p class="c11"><span class="c4">Farmer, Sharon. </span><span class="c4 c17">The Silk Industries of Medieval Paris: Artisanal Migration, Technological Innovation, and Gendered Experience</span><span class="c3">. Philadelphia: University of Pennsylvania Press, 2016. </span></p><p class="c11"><span class="c4">Garver, Valerie L. “Weaving Words in Silk: Women and Inscribed Bands in the Carolingian World.” </span><span class="c4 c17">Medieval Clothing and Textiles</span><span class="c3"> 6 (2010): 33-56. Analyzes three silk woven bands surviving from Carolingian Germany: Witgar’s belt, Ailbecunda band, and the Speyer band. Witgar’s belt was a gift from Emma, wife of King Louis the German, to Witgar, the future bishop of Augsburg. In these three cases women not only donated high-status silk inscribed bands, but evidence also points to women as weavers of the tablet bands. </span></p><p class="c11"><span class="c4">Graf, </span><span class="c4">Katrin. </span><span class="c4 c17">Bildnisse</span><span class="c4 c17"> schreibender Frauen im Mittelalter 9. bis Anfang 13. Jahrhundert</span><span class="c4">. </span><span class="c4">Basel: Schwabe, 2002.</span></p><p class="c11"><span class="c4">Havice, Christine. “Women and the Production of Art in the Middle Ages: The Significance of Context.” In Natalie Harris Bluestone (ed). </span><span class="c4 c17">Double Vision. Perspectives on Gender and the Visual Arts. </span><span class="c3">Madison: Associated University Presses, 1995, pp. 67-94.</span></p><p class="c11"><span class="c4">Havice, Christine. “Approaching Medieval Women Through Medieval Art.” In Linda E. Mitchell (ed). </span><span class="c4 c17">Women in Medieval Western European Culture</span><span class="c3">. New York: Garland Publishing, 1999, pp. 345-89.</span></p><p class="c11"><span class="c4 c24">Jones, Sara Rees. “Women’s Influence on the Design of Urban Homes.” In Mary C. Erler and Maryanne Kowaleski (eds). </span><span class="c2">Gendering the Master Narrative: Women and Power in the Middle Ages</span><span class="c19 c4">. Ithaca and London, 2003, pp. 190–211, esp. 193, 211.</span></p><p class="c11"><span class="c4">Kurmann-Schwartz, Brigitte. “Gender and Medieval Art.” In Conrad Rudolph (ed). </span><span class="c4 c17">A Companion to Medieval Art: Romanesque and Gothic in Northern Europe</span><span class="c4">. Oxford and Malden, MA: Blackwell, 2006, pp. 128–158. “If the hierarchy of the arts that was prevalent [in the medieval period]...is taken seriously, then the artistic work of women at that time accordingly assumes central importance,” (132).</span></p><p class="c11"><span class="c4 c24">Mariaux, Pierre Alain. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/15444772/_Women_in_the_Making_Early_Medieval_Signatures_and_Artists_Portraits_9th-12th_c._in_Therese_Martin_%25C3%25A9d._Reassessing_the_Roles_of_Women_as_Makers_of_Medieval_Art_and_Architecture_2_vols_Leiden_Brill_2012_I_393-427&sa=D&ust=1597863596069000&usg=AOvVaw0rCW3nr7uF2BOzcYM5UmAr">Women in the Making: Early Medieval Signatures and Artists’ Portraits (9th–12th c.).</a></span><span class="c4 c24">” </span><span class="c4">In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c4">2 Vols. Leiden: Brill, 2012, vol. 1,</span><span class="c19 c4"> pp. 393-428. Discusses Gerberga’s “battle flag” (Lotharingia, c. 960), Guda’s portrait in a Homilary (Germany, second half of the 12th C), Maria on the “stole of St. Narcissus” (Girona, late 10th C), Elisava on the “Standard of St. Ot” (Urgell, first quarter of the 12th C).</span></p><p class="c11"><span class="c4 c24">Martin, Therese. “Exceptions and Assumptions: Women in Medieval Art History.” </span><span class="c4">In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c4">2 Vols. Leiden: Brill, 2012,</span><span class="c19 c4"> pp. 1-36.</span></p><p class="c11"><span class="c4">McKitterick, Rosamond. “Les femmes, les arts et la culture en occident dans le haut moyen âge.” In Alain Dierkens, Stéphane Lebecq, Régine Le Jan, and Jean-Marie Sansterre (eds). </span><span class="c4 c17">Femmes et pouvoirs des femmes, à Byzance et en Occident (VIe – XIe siècles)</span><span class="c3">.Villeneuve d’Ascq: Centre de Recherche sur l’histoire de l’Europe du Nord-Ouest, Université de Charles de Gaulle-Lille, 1999, pp. 227-49.</span></p><p class="c11"><span class="c4">Mecham, June L. “Breaking Old Habits: Recent Research on Women, Spirituality, and the Arts in the Middle Ages.” </span><span class="c4 c17">History Compass</span><span class="c3"> 4 no 3 (2006): 448-80.</span></p><p class="c11"><span class="c4">Miner, Dorothy E. </span><span class="c4 c17">Anastaise and her Sisters: Women Artists of the Middle Ages</span><span class="c4">.</span><span class="c3"> Baltimore: Walters Art Gallery, 1974. </span></p><p class="c11"><span class="c4">Owen-Crocker, Gale R. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://digital.library.leeds.ac.uk/429/&sa=D&ust=1597863596070000&usg=AOvVaw1VNMKsqY3qD_YuUYEtUnI5">Anglo-Saxon Women: The Art of Concealment</a></span><span class="c4">.” </span><span class="c4 c17">Leeds Studies in English</span><span class="c3">, n.s. 33 (2002): 31-51.</span></p><p class="c11"><span class="c4">Parsons Lillich, Meredith. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/35789852/_Gothic_Glaziers_Monks_Jews_Taxpayers_Bretons_Women._&sa=D&ust=1597863596071000&usg=AOvVaw1Uohf4MQXN2iPKPNhyCznW">Gothic Glaziers: Monks, Jews, Taxpayers, Bretons, Women.</a></span><span class="c4">” </span><span class="c4 c17">Journal of Glass Studies</span><span class="c3"> 27 (1985): 72-92. In the Parisian tax rolls for 1292-1300 and 1313, Dame Jehanne sold glass vessels and four women were glaziers or glass painters, 12% of the total (pp. 80-82).</span></p><p class="c11"><span class="c4">Schöller, Wolfgang. “Frauenarbeit in der mittelalterlichen Bauwirtschaft.” </span><span class="c4 c17">Archiv für Kulturgeschichte</span><span class="c3"> 76 (1994): 305-20.</span></p><p class="c11"><span class="c4">Sharpe, Reginald R. (ed). </span><span class="c4 c17">Calendar of Wills proved and enrolled in the Court of Husting, London, A.D. 1258-A.D. 1688.</span><span class="c4"> London: John C. Francis, 1889, </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dmdp.39015011270967%26view%3D1up%26seq%3D636&sa=D&ust=1597863596072000&usg=AOvVaw1MXWJevC41RJ4xYMJEqnvz">vol. I, p. 576</a></span><span class="c4">. The will of Matilda de Myms, owner of a brewery, </span><span class="c4">10 April 1349 </span><span class="c3">left “to William her apprentice the third best part of copies and instruments appertaining to the making of pictures, and one of her best chests for keeping them in.”</span></p><p class="c11"><span class="c4">Sheingorn, Pamela. “The Medieval Feminist Art History Project.” </span><span class="c2 c13">Medieval Feminist Newsletter</span><span class="c4 c13 c24"> 12 (1991): 5-10.</span></p><p class="c11"><span class="c4">Simons, Patricia. “In Search of Old Mistresses.” </span><span class="c4 c17">Lip</span><span class="c3"> 3 (1978-79): 25-30. </span></p><p class="c11"><span class="c4">Smith, Kathryn A. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://arthistoriography.files.wordpress.com/2013/12/smith-rev.pdf&sa=D&ust=1597863596072000&usg=AOvVaw1sZklAPBZEoEYx7_YrmAQY">Medieval Women Are ‘Good to Think With’</a></span><span class="c4">: review of Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture</span><span class="c4">. Leiden: Brill, 2012. In </span><span class="c4 c17"> Journal of Art Historiography</span><span class="c3"> 9 (2013).</span></p><p class="c11"><span class="c4">Wicker. Nancy L. “Nimble-fingered Maidens in Scandinavia: Women as Artists and Patrons.” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c3">Vol. 2. Leiden: Brill, 2012, pp. 865-902.</span></p><p class="c11"><span class="c4">Yawn-Bonghi, Lila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://ir.uiowa.edu/cgi/viewcontent.cgi?article%3D1592%26context%3Dmff&sa=D&ust=1597863596073000&usg=AOvVaw3ToA0HUhthkeZq6pksXueK">Medieval women artists and modern historians</a></span><span class="c4">.” </span><span class="c4 c17">Medieval Feminist Newsletter </span><span class="c3">12 (1992): 10-19.</span></p><p class="c11 c56"><span class="c3"></span></p><a id="kix.dyhatdkz0vf9"></a><h1 class="c77 c66" id="h.q720e1t6y2m2"><span class="c7">Catholic Nuns as Artists and Patrons</span></h1><p class="c30"><span class="c49 c22"></span></p><p class="c11"><span class="c4">See also below for various individual artists and patrons who were nuns and abbesses; and above for</span><span class="c4"> “</span><span class="c6 c4"><a class="c8" href="#kix.g34oofczcc3x">Women Artists and Patrons: The Americas</a></span><span class="c4">” and for “</span><span class="c6 c4"><a class="c8" href="#kix.mlapizbdo32d">Women Artists and Patrons: Textiles and Needlework</a></span><span class="c4">.”</span><span class="c4"> </span></p><p class="c11"><span class="c4">Arthur, Kathleen G. “</span><span class="c4 c24">‘Feminizing’ Saint Augustine’s </span><span class="c2">City of God</span><span class="c4 c24">: Sister Veronica, the library and scriptorium at Santo Spirito, Verona.” </span><span class="c2">Renaissance Studies</span><span class="c4 c24"> (forthcoming; after April 2020). Marginalia of 1472.</span></p><p class="c11"><span class="c4">Baert, Barbara. </span><span class="c4 c17">Late Medieval Enclosed Gardens of the Low Countries: Contributions to Gender and Artistic Expression.</span><span class="c3"> Leuven: Peeters, 2016. Blurb: “During the Late Middle Ages a unique type of 'mixed media' recycled and remnant art arose in houses of religious women in the Low Countries: Enclosed Gardens. These are retables, sometimes with painted side panels, the central section filled not only with narrative sculpture, but also with all sorts of trinkets and hand-worked textiles. Adornments include relics, wax medallions, gemstones set in silver, pilgrimage souvenirs, parchment banderoles, flowers made from textiles with silk thread, semi-precious stones, pearls and quilling (a decorative technique using rolled paper). The ensemble is an impressive and one-of-a-kind display and presents as an intoxicating garden. … The Enclosed Garden is studied as a symbol of paradise and mystical union, as the sanctuary of interiority, as the sublimation of the sensorium (in particular the sense of smell), as a typical gendered product, and as a centre of psycho-energetic creative processes.”</span></p><p class="c11"><span class="c4">Barker, Sheila, with Luciano Cinelli (ed). Special issue of </span><span class="c4 c17">Memorie Domenicane </span><span class="c4">132 no 46 (2015) on “Artiste nel chiostro. Produzione artistica nei monasteri femminilli in età moderna.” Fourteen essays, including Sheila Barker and Luciano Cinelli. “Foreword,” </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/30721163/Foreword_Women_Artists_in_the_Cloister&sa=D&ust=1597863596075000&usg=AOvVaw1oRYyexWCMCoWMppVoiVSF">pp. 15-17 (with TOC);</a></span><span class="c4"> Sharon Strocchia, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/28210305/_Knowing_Hands_Nuns_and_the_Needle_Arts_in_Renaissance_Italy_in_Artiste_nel_chiostro._Produzione_artistica_nei_monasteri_femminili_in_eta_moderna_Florence_2015_ed._Sheila_Barker_with_Luciano_Cinelli_pp._31-52._Special_issue_of_Memorie_Domenicane_46_2015_&sa=D&ust=1597863596075000&usg=AOvVaw0r9jwPwPvWV29WosU6xuxC">Knowing Hands: Nuns and the Needle Arts in Renaissance Italy</a></span><span class="c4">,” pp. 31-52; Adelina Modesti, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/29294663/Nun_Artisans_Needlecraft_and_Material_Culture_in_the_Early_Modern_Florentine_Convent&sa=D&ust=1597863596076000&usg=AOvVaw3RxncF_GbB7XgFO9axBSjW">Nun Artisans, Needlecraft and Material Culture in the Early Modern Florentine Convent</a></span><span class="c4">,” pp. 53-72; Sheila Barker, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/29269313/Painting_and_Humanism_in_Early_Modern_Florentine_Convents&sa=D&ust=1597863596076000&usg=AOvVaw1l30ynEfB3XjUsK6GQOXAR">Painting and Humanism in Early Modern Florentine Convents</a></span><span class="c4">,” pp. 105-40; Denise Zaru, “Dai manoscritti alle tavole dipinte. La cultura figurative delle Domenicane del Corpus Domini a Venezia durante il Quattrocento,” pp. 213-24; Mercedes Pérez Vidal, “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/29292194/_Art_Visual_Culture_and_Liturgy_of_Dominican_nuns_in_Late_Medieval_and_Early_Modern_Castile_in_Artiste_nel_chiostro._Produzione_artistica_nei_monasteri_femminili_in_et%25C3%25A0_moderna._Special_issue_of_Memorie_domenicane_46_ed.Sheila_Barker_and_Luciano_Cinelli_pp._225-242&sa=D&ust=1597863596076000&usg=AOvVaw3vr97e20LS14hCCeQIcihV">The Art, Visual Culture and Liturgy of Dominican Nuns in Late Medieval and Early Modern Castile</a></span><span class="c3">,” pp. 225-42; Select Bibliography, pp. 265-72.</span></p><p class="c11"><span class="c4">Barker, Sheila. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/38491524/The_First_Biography_of_Artemisia_Gentileschi_Self-Fashioning_and_Proto-Feminist_Art_History_in_Cristofano_Bronzini_s_Notes_on_Women_Artists&sa=D&ust=1597863596077000&usg=AOvVaw1iyuXWYBih34rMTK6yx9cV">The First Biography of Artemisia Gentileschi</a></span><span class="c4">: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” </span><span class="c4 c17">Mitteilungen des Kunsthistorischen Institutes </span><span class="c3">60 no 3 (2018): 404-35. Of the thirty-three women he names, “the majority of Florence’s active women artists were nuns” (p. 412).</span></p><p class="c11"><span class="c4">Beach, Alison I. </span><span class="c4 c14 c17">Women as Scribes. Book Production and Monastic Reform in Twelfth-Century Bavaria</span><span class="c22 c4 c14">. Cambridge: Cambridge University Press, 2004.</span></p><p class="c47"><span class="c4 c14">Beach, Alison I. </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://scriptrix.org/&sa=D&ust=1597863596077000&usg=AOvVaw0zetMVZyEP97AwYCdqvABv">Scriptrix</a></span><span class="c22 c4 c14">. A blog on “female book artists, female scribes.”</span></p><p class="c11"><span class="c4">Beach, Alison I., Anita Radini, and Monica Tromp. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://advances.sciencemag.org/content/5/1/eaau7126&sa=D&ust=1597863596078000&usg=AOvVaw3jrWcjWoj4cAt34U6e8HjS">Medieval Women’s Early Involvement in Manuscript Production Suggested by Lapis Lazuli Identification in Dental Calculus</a></span><span class="c4">.” </span><span class="c4 c17">Science Advances</span><span class="c4"> 5 no 1 ( 2019): 1-8. On the same topic with photos: </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.ancient-origins.net/news-history-archaeology/female-scribe-middle-ages-0011304&sa=D&ust=1597863596078000&usg=AOvVaw3RTKeEOQPtZ8eJfTQ4yd1A">Blue Pigment Found on Medieval Teeth Reveals Secret Existence of Female Scribes</a></span><span class="c4"> </span><span class="c4 c17">Ancient Origins</span><span class="c4"> (January 10, 2019). Dental remains demonstrate that at least one German nun in a small convent in Dalheim, Germany during the late 10th or early 11th C was a scribe working with expensive lapus lazuli.</span></p><p class="c11"><span class="c4 c14">Bonnet, Philippe. “La pratique des arts dans les couvents de femmes au XVIIe siècle.” </span><span class="c4 c14 c17">Bibliothèque de l’Ecole des Chartres </span><span class="c22 c4 c14">147 (1989): 433-72.</span></p><p class="c11"><span class="c4 c14">Blanton-Whetsell, Virginia. “</span><span class="c4 c14 c17">Imagines Aetheldredae</span><span class="c4 c14">: Mapping Hagiographic Representation of Abbatial Power and Religious Patronage.” </span><span class="c4 c14 c17">Studies in Iconography</span><span class="c22 c4 c14"> 23 (2002): 55-107.</span></p><p class="c11"><span class="c4 c14">Bruzelius, Caroline. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/1996018/Monastic_Architecture_for_Women&sa=D&ust=1597863596079000&usg=AOvVaw2HX2wR0CEzjVNeO1CaJdRR">Hearing is Believing: Clarissan Architecture ca. 1213-1340</a></span><span class="c4 c14">.” </span><span class="c4 c14 c17">Gesta</span><span class="c22 c4 c14"> 31 no 2 (1992): 83-91.</span></p><p class="c11"><span class="c4 c14">Bruzelius, Caroline. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/2568453/Nuns_in_Space_Strict_Enclosure_and_the_Architecture_of_the_Clarissas_in_the_Thirteenth_century&sa=D&ust=1597863596079000&usg=AOvVaw2kZSUhz_2DFhinVMe_IW6J">Nuns in Space: Strict Enclosure and the Architecture of the Clarisses in the Thirteenth Century</a></span><span class="c4 c14">.” In Ingrid Petersen (ed). </span><span class="c4 c14 c17">Clare of Assisi: A Medieval and Modern Woman</span><span class="c22 c4 c14">. St. Bonaventure, NY: Franciscan Institute Publications, 1996, pp. 53-74.</span></p><p class="c11"><span class="c4 c24">Campagnol. Isabella. </span><span class="c2">Forbidden Fashions: Invisible Luxuries in Early Venetian Convents</span><span class="c4 c24">. Lubbock: Texas Tech University Press, 2014. </span></p><p class="c11"><span class="c4 c14">Carrasco, Magdalena Elizabeth. “The Imagery of the Magdalen in Christina of Markyate's Psalter (St. Albans Psalter).” </span><span class="c4 c14 c17">Gesta</span><span class="c22 c4 c14"> 38 no 1 (1999): 67-80. </span></p><p class="c11"><span class="c4">Carr, Annemarie Weyl. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/2575782/Women_artists_in_the_Middle_Ages&sa=D&ust=1597863596080000&usg=AOvVaw2HlwjCk-waA9rAFJ2yhWLJ">Women Artists in the Middle Ages</a></span><span class="c4">.” </span><span class="c4 c17">Feminist Art Journal </span><span class="c3">5 no 1 (Spring 1976): 5-9, 26. </span></p><p class="c25 c53"><span class="c4">Carroll, Jane. “Subversive Obedience: Images of Spiritual Reform by and for Fifteenth-Century Nuns.” In Therese Martin (ed). </span><span class="c4 c17">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c3">Vol. 2. Leiden: Brill, 2012, pp. 705-38. </span></p><p class="c25 c53"><span class="c4">Castiñeiras, Manuel. </span><span class="c4 c17">El tapiz de la Creación</span><span class="c4">.</span><span class="c4 c17"> </span><span class="c3">Girona, 2011, pp. 85-91. Attributes the creation of the Girona Tapestry to the female monastery of Sant Daniel de Girona.</span></p><p class="c25 c53"><span class="c4 c24">Cavalca, Cecilia. </span><span class="c2">La pala d'altare a Bologna nel rinascimento. Opere, artisti e città 1450-1500</span><span class="c4 c24">. Milan: Silvana, 2013, cat. 30. The altarpiece of </span><span class="c2">Benedict giving the rule to monks and nuns </span><span class="c4 c24">(1485)</span><span class="c19 c4">, from the chapel of Benedict in the church of the Benedictine nunnery, documented as under patronage of the nuns themselves.</span></p><p class="c25 c53"><span class="c4 c24">Conti, Giuseppe. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D2ZQuAAAAYAAJ%26pg%3DPA368%26lpg%3DPA368%26dq%3D%2522Vincenza%2BBrandolini%2522%26source%3Dbl%26ots%3DKg49yFDnKd%26sig%3DACfU3U0lqAyJLEp3xCZKfbhlOj5zdYc5hA%26hl%3Den%26sa%3DX%26ved%3D2ahUKEwjGvdvcpbfqAhVEbs0KHe_YBxIQ6AEwCnoECAsQAQ%23v%3Donepage%26q%3D%2522Vincenza%2520Brandolini%2522%26f%3Dfalse&sa=D&ust=1597863596081000&usg=AOvVaw3fkVCVRHnqI93gqCBDenwK">Monache artiste seguaci del Savonarola (1500)</a></span><span class="c4 c24">.” In his </span><span class="c2">Fatti e aneddoti di storia Fiorentina (secoli XIII-XVIII).</span><span class="c19 c4"> Florence: Bemporad, 1902, pp. 363-68.</span></p><p class="c25 c53"><span class="c4 c24">Coonin, A. Victor. “New Documents Concerning Desiderio Da Settignano and Annalena Malatesta.” </span><span class="c2">Burlington Magazine </span><span class="c4 c24">137 (1995): 792-99. Annalena Malatesta, founder of the Annalena convent in Florence in 1455, is identified as the patron of Desiderio’s wooden sculpture of the </span><span class="c2">Magdalene</span><span class="c19 c4"> (1458-60).</span></p><p class="c11"><span class="c4">Dunlop, Anne. “The Dominicans and Cloistered Women: The Convent of Sant’Aurea in Rome.” </span><span class="c4 c17">Early Modern Women</span><span class="c3"> 2 (2007): 43-71.</span></p><p class="c11"><span class="c4">Dunn, Marilyn. “Nuns as Art Patrons: The Decoration of Santa Marta al Collegio Romano.” </span><span class="c4 c17">Art Bulletin</span><span class="c3"> 70 (1988): 451-77. </span></p><p class="c11"><span class="c4">Dunn, Marilyn. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3D6_0Y0PALzQMC%26printsec%3Dfrontcover%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596082000&usg=AOvVaw163XxkBySugEnJlUWiysn3">Convents</a></span><span class="c4">.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. London: Fitzroy Dearborn, 1997, Vol. 1, pp. 21-28.</span></p><p class="c11"><span class="c4">Dunn, Marilyn. “</span><span class="c4 c17">Invisibilia per visibilia: </span><span class="c4">Roman Nuns, Art Patronage, and the Construction of Identity.” In Katherine A. McIver (ed). </span><span class="c4 c17">Wives, Widows, Mistresses, and Nuns in Early Modern Italy: Making the Invisible Visible through Art and Patronage. </span><span class="c4">Burlington VT</span><span class="c3">:</span></p><p class="c18"><span class="c3">Ashgate, 2011, pp. 181-206.</span></p><p class="c11"><span class="c4">Dunn, Marilyn. “Convent Creativity.” In Jane Couchman, Allyson M. Poska and Katharine McIver (eds). </span><span class="c4 c17">The Ashgate Research Companion to Women and Gender in Early Modern Europe. </span><span class="c3">Farnham: Ashgate, 2013.</span></p><p class="c11"><span class="c4">Ehrenschwendtner, Marie-Luise. “A Library Collected by and for the Use of Nuns: St. Catherine’s Convent, Nuremberg.” In L. Smith and J. H. M. Taylor (eds). </span><span class="c4 c17">Women and the Book: Assessing the Visual Evidence</span><span class="c3">. Toronto: University of Toronto Press, 1997, pp. 123-32. </span></p><p class="c11"><span class="c4">Elliott, Janis and Cordelia Warr (eds).</span><span class="c4 c17"> The Church of Santa Maria Donna Regina: Art, Iconography, and Patronage in Fourteenth-Century Naples</span><span class="c4">. Burlington VT: Ashgate, 2004. Includes: Caroline Bruzelius, “The architectural context of Santa Maria Donna Regina,” pp. 79-92; Hisashi Yakou, “Contemplating angels and the </span><span class="c4 c17">Madonna of the Apocalypse</span><span class="c4">.” pp. 93-108 ; Kathleen Fleck, “‘To exercise yourself in these things by continued contemplation’: visual and textual literacy in the frescoes at Santa Maria Donna Regina,” pp. 109-28; Adam S. Hoch, “The ‘Passion’ cycle: images to contemplate and imitate amid Clarissan </span><span class="c4 c17">clausura</span><span class="c3">,” pp. 128-54; Julian Gardner, “Conclusion: Santa Maria Donna Regina in its European context,” pp. 195-202. </span></p><p class="c11"><span class="c4">Flora, Holly. </span><span class="c4 c17">The Devout Belief of the Imagination: The ‘Meditations on the Life of Christ’ and Female Franciscan Spirituality in Trecento Italy</span><span class="c3">. Turnhout: Brepols, 2009.</span></p><p class="c11"><span class="c4">Flora, Holly and Arianna Pecorini Cignoni. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/15040990/Requirements_of_Devout_Contemplation&sa=D&ust=1597863596084000&usg=AOvVaw1UjKAXWIs0ZWbqnKW_RE2r">Requirements of devout Contemplation: Text and Image for the Poor Clares in Trecento Pisa</a></span><span class="c4">.” </span><span class="c4 c17">Gesta</span><span class="c3"> 35 no 1 (2006): 61-76.</span></p><p class="c12 c13"><span class="c4 c24">Flora, Holly. “Order, gender, and image: art for Dominican and Franciscan women.” In Trinita Kennedy</span><span class="c2"> </span><span class="c4 c24">(ed). </span><span class="c2">Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy</span><span class="c4 c24">. Nashville: Frist Center for the Visual Arts, 2014, pp. 63-76.</span></p><p class="c11"><span class="c4 c24">Fortunati, Vera, Jordana Pomeroy and Claudio Strinati, et al. </span><span class="c2">Italian Women Artists: from Renaissance to Baroque</span><span class="c4 c24">. Milan: Skira, 2007, pp. 85-89.</span></p><p class="c11"><span class="c4">Fortunati Pietrantonio, Vera. (ed). </span><span class="c4 c17">Vita artistica nel monastero femminile: exampla.</span><span class="c3"> Bologna: Compositori, 2002. </span></p><p class="c11"><span class="c4 c24">Gardner, Julian. “Nuns and Altarpieces: Agendas for Research.” </span><span class="c2">Römisches Jahrbuch der Bibliotheca Hertziana </span><span class="c4 c24">30 (1995): 27-57. Late 13</span><span class="c4 c24 c21">th</span><span class="c4 c24"> C & mid/late 14</span><span class="c4 c24 c21">th</span><span class="c4 c24"> C. </span></p><p class="c11"><span class="c4">Gilbert, Creighton E. “Tuscan Observants and Painters in Venice, ca. 1400.” In David Rosand (ed). </span><span class="c4 c17">Interpretazioni veneziana: Studi di storia dell'arte in onore di Michelangelo Muraro.</span><span class="c3"> Venice, 1985, pp. 109-20. Incl manuscript illumination by Dominican nuns. </span></p><p class="c11"><span class="c4">Gilchrist, Roberta. </span><span class="c4 c17">Gender and Material Culture: The Archaeology of Religious Women</span><span class="c3">, chapters 4 (“In the Cloister,” 92-127) and 5 (“The Meanings of Nunnery Architecture,” 128-49). </span></p><p class="c11"><span class="c4">Graf, Katrin. </span><span class="c4 c17">Bildnisse schreibender Frauen im Mittelalter 9. bis Anfang 13. Jahrhundert</span><span class="c3">. Basel: Schwabe, 2002.</span></p><p class="c11"><span class="c4">Hamburger, Jeffrey F. “Art, Enclosure and the ‘Cura Monialium’: Prolegomena in the Guise of a Postscript.” </span><span class="c4 c17">Gesta</span><span class="c4"> 31 no 2 (1992): 108-34. </span></p><p class="c11"><span class="c4">Hamburger, Jeffrey F. “A Liber Precum in Sélestat and the Development of the Illustrated Prayer Book in Germany.” </span><span class="c4 c17">Art Bulletin</span><span class="c3"> 73 no 2 (June 1991): 209-236. </span></p><p class="c11"><span class="c4">Hamburger, Jeffrey F. </span><span class="c4 c17">The Rothschild Canticles</span><span class="c3">. New Haven: Yale University Press, 1990.</span></p><p class="c11"><span class="c4">Hamburger, Jeffrey F. </span><span class="c4 c17">Nuns as Artists. The Visual Culture of a Medieval Convent. </span><span class="c4">Berkeley: University of California Press, 1997. Rev: Pia Cuneo. </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">20 no 1 (Spring/Summer 1999): 43-46.</span></p><p class="c11"><span class="c4">Hamburger, Jeffrey. </span><span class="c4 c17">The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany</span><span class="c3">. Cambridge, MA: MIT Press, 1998.</span></p><p class="c11"><span class="c4">Hamburger, Jeffrey F. and Susan Marti (eds). </span><span class="c4 c9 c17">Crown and Veil: Female Monasticism from the Fifth to the Fifteenth Centuries</span><span class="c22 c4 c9">. New York: Columbia University Press, 2008.</span></p><p class="c11"><span class="c4 c24">Hamburger, Jeffrey F. and Eva Schlotheuber. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/14732954/Books_in_Womens_hands_Liturgy_Learning_and_the_Libraries_of_Dominican_Nuns_in_Westfalia&sa=D&ust=1597863596087000&usg=AOvVaw0pm6AgkvqSK5koIOwTQgEw">Books in Women’s Hands: Liturgy, Learning, and the Libraries of Dominican Nuns in Westphalia</a></span><span class="c4 c24">.” In Nicole Bériou, Martin Morard and Donatella Nebbiai (eds). </span><span class="c2">Entre Stabilité Et Itinerance: Livres Et Culture Des Ordres Mediants (13e–15e Siècle)</span><span class="c19 c4">. Turnhout: Brepols, 2014, pp. 127–55.</span></p><p class="c11"><span class="c4">Hammer, Kirsten. “</span><span class="c4 c17">Monjas Coronadas</span><span class="c4">: The Crowned Nuns of Viceregal Mexico.” In </span><span class="c4 c17">Retratos. 2,000 Years of Latin American Portraits. </span><span class="c4">New Haven: Yale University Press, 2004, pp. 86-101.</span></p><p class="c11"><span class="c4">Havice, Christine. “Women and the Production of Art in the Middle Ages: The Significance of Context.” In Natalie Harris Bluestone (ed). </span><span class="c4 c17">Double Vision. Perspectives on Gender and the Visual Arts. </span><span class="c3">Madison: Associated University Presses, 1995, pp. 67-94.</span></p><p class="c11"><span class="c4">Havice, Christine. “Approaching Medieval Women Through Medieval Art.” In Linda E. Mitchell (ed). </span><span class="c4 c17">Women in Medieval Western European Culture</span><span class="c3">. New York: Garland Publishing, 1999, pp. 345-89.</span></p><p class="c11"><span class="c4">Hayum, Andrée. “The Nuns at S. Apollonia and Castagno’s </span><span class="c4 c17">Last Supper.</span><span class="c4">” </span><span class="c4 c17">Art Bulletin</span><span class="c3"> 88 (June 2006): 243-66.</span></p><p class="c11"><span class="c4">Holladay, Joan A. “Der Mann als Vorbild – die Frau als Betrachterin: Frauen des französischen Königshauses und Bilderzyklen zum Leben des heiligen Louis.” </span><span class="c4 c17">Frauen Kunst Wissenschaft</span><span class="c3"> 24 (1997): 45-53.</span></p><p class="c11"><span class="c4">Jacobs, Fredrika H.</span><span class="c4 c17"> Defining the Renaissance ‘Virtuosa.’ Women Artists and the Language of Art History and Criticism. </span><span class="c4">New York: Cambridge University Press, 1997, passim. “Of the thirty-seven sixteenth-century [Italian] women artists named in early texts, twelve were Dominican nuns. Three … are identified as miniaturists. Six … are called painters. Three … are said to have ‘worked in </span><span class="c4 c17">rilievo</span><span class="c4">’ and modeled devotional terra-cotta figures. Only </span><span class="c6 c4"><a class="c8" href="#id.rq7akfnqsd8g">Tommasa del Fiesca</a></span><span class="c3"> is referred to as an embroiderer” [and a painter] (p. 111).</span></p><p class="c11"><span class="c4">Jäggi, Carola. “Eastern Choir or Western Gallery? The Problem of the Place of the Nuns’ Choir in Königsfelden and Other Early Mendicant Nunneries.” </span><span class="c4 c17">Gesta</span><span class="c3"> 40 no 1 (2001): 79-93. </span></p><p class="c11"><span class="c4 c9 c17">Krone und Schleier: Kunst aus mittelalterlichen Frauenklöstern</span><span class="c22 c4 c9">. Exh.cat. Bonn: Kst- & Ausstellhal, and Essen: Ruhrlandmus, 2005.</span></p><p class="c11"><span class="c4">Kurmann-Schwartz, Brigitte. “Gender and Medieval Art.” In Conrad Rudolph (ed). </span><span class="c4 c17">A Companion to Medieval Art: Romanesque and Gothic in Northern Europe</span><span class="c4">. Oxford and Malden, MA: Blackwell, 2006, pp. 128–158. “If the hierarchy of the arts that was prevalent [in the medieval period]...is taken seriously, then the artistic work of women at that time accordingly assumes central importance” (132).</span></p><p class="c11"><span class="c3">Latham, Helen. “Dominican Nuns and the Book Arts in Renaissance Florence: The Convent of San Jacopo di Ripoli, 1224-1633.” Ph.D. diss. Texas Woman’s University, 1986.</span></p><p class="c11"><span class="c4">Levi d’Ancona, Mirella. </span><span class="c4 c17">Miniatura e miniatori a Firenze dal XIV al XVI secolo. Documenti per la storia della miniatura.</span><span class="c3"> Florence: Olschki, 1962, p. 11 for Suora Benedettina (Angela di Antonio de’ Rabatti), active as a miniaturist in 1518.</span></p><p class="c11"><span class="c4">Lewis, Flora. “The Wound in Christ’s Side and the Instruments of the Passion: Gendered Experience and Response.” In Jane Taylor and Lesley Smith (eds). </span><span class="c4 c17">Women and the Book: Assessing the Visual Evidence</span><span class="c3">. Toronto: University of Toronto Press, 1997, pp. 204-29.</span></p><p class="c11"><span class="c4 c24">Loconte, Aislinn. “The Convent of Santa at S. Maria della Sapienza: visual culture and women’s religious experience in early modern Naples.” </span><span class="c4">In Katherine A. McIver (ed). </span><span class="c4 c17">Wives, Widows, Mistresses, and Nuns in Early Modern Italy: Making the Invisible Visible through Art and Patronage. </span><span class="c4">Burlington VT: Ashgate, 2011. </span><span class="c4 c24">Development of the convent by prioress Maria Carafa (1468-1552).</span></p><p class="c11"><span class="c4 c24">Lowe, Kate. “Nuns and Choice: Artistic Decision-Making in Medicean Florence.” In E. Marchand and A. Wright (eds). </span><span class="c2">With and Without the Medici. Studies in Tuscan Art and Patronage, 1434-1530</span><span class="c19 c4">. Aldershot: Ashgate, 1998, pp. 129-54. Works of art known to have been commissioned for or given to 12 convents.</span></p><p class="c11"><span class="c4 c24">Lowe, Kate. “Artistic Patronage at the Clarissan Convent of San Cosimato in Trastevere, 1400-1600.” </span><span class="c2">Papers of the British School at Rome </span><span class="c19 c4">69 (2001): 273-97. Casts nuns as grateful recipients rather than active commissioners in acquisition of heterogeneous collection of art and artefacts. No surviving document points to patronage by these nuns. </span></p><p class="c11"><span class="c4 c24">Lowe, Kate. </span><span class="c2">Nuns’ Chronicles and Convent Culture in Renaissance and Counter Renaissance Italy</span><span class="c19 c4">. Cambridge: Cambridge University Press, 2003, pp. 318-94, “Convents and art.” Includes needlework, miraculous and devotional images, portraits, patronage.</span></p><p class="c11"><span class="c4">MacLean, Simon. “Queenship, Nunneries and Royal Widowhood in Carolingian Europe.” </span><span class="c4 c17">Past and Present</span><span class="c3"> 178 (Feb. 2003): 3-38. </span></p><p class="c11"><span class="c4 c24">Marchand, Eckart. “Monastic ‘Imitatio Christi’: Andrea del Castagno's </span><span class="c2">Cenacolo di S. Apollonia</span><span class="c4 c24">.” </span><span class="c2">Artibus et Historiae </span><span class="c4 c24">24 no 47 (2003): 31-50.</span></p><p class="c11"><span class="c4">McGuire, Thérèse. “Monastic Artists and Educators in the Middle Ages.” </span><span class="c4 c17">Woman’s Art Journal</span><span class="c3"> 9 no 2 (1988-89): 3-9.</span></p><p class="c11"><span class="c4">McGuire, Thérèse. “Two Twelfth-Century Women and Their Books.” In Jane Taylor and Lesley Smith (eds). </span><span class="c4 c17">Women and the Book: Assessing the Visual Evidence</span><span class="c3">. Toronto: University of Toronto Press, 1997, pp. 96-105.</span></p><p class="c11"><span class="c4">Mecham</span><span class="c38">, </span><span class="c4">June. </span><span class="c38">“</span><span class="c4">Reading between the lines: compilation, variation, and the recovery of an authentic female voice in the Dornenkron prayer books from Wienhausen.” </span><span class="c4 c17">Journal of Medieval History</span><span class="c3"> 29 no 2 (2003): 109-128.</span></p><p class="c11"><span class="c4">Moreton, Melissa. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/17680443/Pious_Voices_Nun-scribes_and_the_Language_of_Colophons_in_Late_Medieval_and_Renaissance_Italy&sa=D&ust=1597863596094000&usg=AOvVaw0cTwiTcs1Na5xnxpCKphJa">Pious Voices: Nun-Scribes and the Language of Colophons in Late Medieval and Renaissance Italy.</a></span><span class="c4">” </span><span class="c4 c17">Essays in Medieval Studies </span><span class="c4">29 (2014): 43-73. Abstract: ““</span><span class="c4 c13">This essay examines women’s scribal self-identification in Renaissance Italy through a study of colophons (scribal production notes) left by nuns at the end of the manuscripts they copied. Within the realm of female monastic book production, colophons are often thought to be formulaic and predictable texts that—though valuable for dating the manuscript and sometimes providing notes on production—do not offer much personalized information about the copyists. The author surveys a large number of nuns' colophons from fifteenth and sixteenth-century Italy and demonstrates that these female scribes presented a range of identities in the inscriptions they left – not all of them pious. The range of colophons reflects the diversity of women who were called to or placed in convent life in fifteenth- and sixteenth-century Italy and demonstrates their adaptability to trends in both their religious community and the larger secular society. Treated as a genre of writing, these messages provide a vivid female-authored voice from the ‘anonymous’ walls of the convent and demonstrate how nuns creatively shaped their identity within the often-limiting strictures of monastic life. The study makes important contributions to Renaissance book history scholarship and reshapes an understanding of female agency in the period.</span><span class="c3">”</span></p><p class="c11"><span class="c4">Moreton, Melissa. “Exchange and Alliance: The Sharing and Gifting of Books in Women’s Houses in Late Medieval and Renaissance Florence.” In Virginia Blanton, Veronica O’Mara and Patricia Stoop (eds). </span><span class="c4 c17">Nun’s Literacies in Medieval Europe: The Antwerp Dialogue.</span><span class="c4"> Turnhout:</span><span class="c4 c17"> </span><span class="c4">Brepols, 2017, pp. 383-410. Abstract: “</span><span class="c4 c13">In Italian late medieval and Renaissance convents, books were among the most common objects of exchange between nuns, and between religious men and women: devotional books, in particular, were copied, shared, and gifted between nuns, and among nuns, monks, and friars in houses across Florence. Material evidence documenting this exchange comes from the manuscripts themselves and can include production notes, possession notes recording successive book owners, notes passing possession of a book to a fellow nun or friar, or colophons attesting to the production and gifting of books to nuns by mendicants. Printed books were also exchanged, used to strengthen alliances with other houses of the same Order. Books were sometimes used to pay debts, and nuns produced manuscripts for secular patrons — gift exchanges that established and solidified ties of patronage, essential for the economic stability of women’s houses. The exchange of books by female religious reveals information about nuns’ literacy, reading, and devotional habits, as well as how nuns formed alliances between communities both inside and outside the cloister. This essay examines book exchange and alliance-building in late medieval and Renaissance Florence from c. 1400 to 1600. It begins with a discussion of nuns’ literacy and education, then turns to how nuns used the sharing and gifting of books to build relationships that benefitted them spiritually, intellectually, economically, and politically. The essay examines three broad categories of exchange: the passing of books from one nun to another within a house, the gifting of books to nuns by mendicant friars, and the use of books in gift exchanges between nuns and secular patrons.</span><span class="c3">”</span></p><p class="c11"><span class="c4">Nancarrow, Mindy Taggard. “Cecilia and María Sobrino: Spain’s golden-age painter-nuns.” </span><span class="c4 c17">Woman’s Art Journal </span><span class="c4">6 no 2 (1985-86): 15-19.</span></p><p class="c11"><span class="c4">Nancarrow</span><span class="c4">, Mindy Taggard “Picturing Intimacy in a Spanish Golden Age Convent.” </span><span class="c4 c17">Oxford Art Journal</span><span class="c3"> 23 no 1 (2000): 97-112.</span></p><p class="c11"><span class="c4">Nancarrow, Mindy. “The Artistic Activity of Spanish Nuns during the Golden Age.” In Liana De Girolami Cheney (ed). </span><span class="c4 c17">Essays on Women Artists, I.</span><span class="c3"> Lewiston: Edwin Mellen Press, 2003, pp. 41-51.</span></p><p class="c11"><span class="c4">Norman, Diana. “Sano di Pietro’s Assunta Polyptych for the Convent of Santa Petronilla in Siena.” </span><span class="c4 c17">Renaissance Studies </span><span class="c3">19 (2005): 433-57. Altarpiece of 1479 inscribed with the name of the commissioning nun.</span></p><p class="c25 c53"><span class="c4">Oliver, Judith “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://monasticmatrix.usc.edu/commentaria/article.php?textId%3D2346%23biblioID&sa=D&ust=1597863596097000&usg=AOvVaw2R5XytaXklQC5g65pfyDNf">Devotional Psalters and the Study of Beguine Spirituality</a></span><span class="c4">.” </span><span class="c4 c17">Vox Benedictina: A Journal of Translations from Monastic Sources</span><span class="c3"> 9 no 2 (1992): 199-225.</span></p><p class="c25 c53"><span class="c4">Oliver, Judith. “Gothic Women and Merovingian Desert Mothers.” </span><span class="c4 c17">Gesta </span><span class="c3">32 no 2 (1993): 124-34.</span></p><p class="c25 c53"><span class="c4">Oliver, Judith. “</span><span class="c4 c17">Je pecherise renc grasces a vos</span><span class="c4">: Some French Devotional Texts in Beguine Psalters.” In P. R. Monks and D. D. R. Owen (eds). </span><span class="c4 c17">Medieval Codicology, Iconography, Literature, and Translation: Studies for Keith Val Sinclair</span><span class="c3">. Leiden: Brill, 1994, pp. 248-66.</span></p><p class="c25 c53"><span class="c4">Oliver, Judith. “Worship of the Word: Some Gothic </span><span class="c4 c17">Nonnenbücher</span><span class="c4"> in their Devotional Context.” In Jane Taylor and Lesley Smith (eds). </span><span class="c4 c17">Women and the Book: Assessing the Visual Evidence</span><span class="c3">. Toronto: University of Toronto Press, 1997, pp. 106-22.</span></p><p class="c25 c53"><span class="c4">Orlandi, Pellegrino Antonio.</span><span class="c4"> </span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596099000&usg=AOvVaw1UdG7CNDBQZDoTm1iFRxgV">L'Abecedario</a></span><span class="c6 c4 c13 c17"><a class="c8" href="https://www.google.com/url?q=https://books.google.com/books?id%3DowlgAAAAcAAJ%26printsec%3Dfrontcover%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse&sa=D&ust=1597863596099000&usg=AOvVaw1UdG7CNDBQZDoTm1iFRxgV"> pittorico</a></span><span class="c3">. Bologna: Costantino Pisarri, 1704, p. 270. Mentions that a daughter of the Venetian woman painter Lucia Scaligeri (1637-1700) was also a painter, “Suor Maria Teodora di S. Maria Maggiore,” presumably at Bergamo.</span></p><p class="c25 c53"><span class="c4 c24">Paul, Benjamin. </span><span class="c2">Nuns and Reform Art in Early Modern Venice. The Architecture of Santi Cosma e Damiano and Its Decoration from Tintoretto to Tiepolo</span><span class="c19 c4">. Farnham: Ashgate, 2012.</span></p><p class="c25 c53"><span class="c4">Periti, Giancarla. “Female Self-Commemoration, Spirituality, and Lineage in Jacopo Loschi's Frescoes for the Convent of San Paolo in Parma.” </span><span class="c4 c17">I Tatti Studies </span><span class="c3">13 (2010): 11-32. Mid-15th-C.</span></p><p class="c25 c53"><span class="c4">Periti, Giancarla. </span><span class="c4 c17">In the Courts of Religious Ladies; Art, Vision, and Pleasure in Italian Renaissance Convents.</span><span class="c4"> New Haven: Yale University Press, 2016. Rev: Shannon McHugh. </span><span class="c4 c17">Early Modern Women </span><span class="c3">12 no 2 (Spring 2018): 292-94.</span></p><p class="c11 c13"><span class="c4 c24">Radke, Gary. “Nuns and Their Art: The Case of San Zaccaria in Renaissance Italy.” </span><span class="c2">Renaissance Quarterly </span><span class="c19 c4">54 (2001): 430-59.</span></p><p class="c11 c13"><span class="c4 c24">Raguin, Virginia Chieffo and Sarah Stanbury. </span><span class="c2">Women's Space: Patronage, Place, and Gender in the Medieval Church</span><span class="c19 c4">. Albany: State University of New York Press, 2005.</span></p><p class="c11"><span class="c4">Roberts, Ann M. “North meets South in the Convent: The Altarpiece of Saint Catherine of Alexandria in Pisa.” </span><span class="c4 c17">Zeitschrift für Kunstgeschichte </span><span class="c3">50 (1987): 187-206.</span></p><p class="c11"><span class="c4">Roberts, Ann M. “Cloistered Nuns as Patrons and Painters: San Domenico, Pisa.” In Jean Brink and P. Baldini (eds). </span><span class="c4 c17">Italian Renaissance Studies in Arizona. Selected Papers from the proceedings of the 1987 Sixteenth-Century Studies Conference.</span><span class="c3"> River Forest, Illinois, 1989.</span></p><p class="c11"><span class="c4">Roberts, Ann M. “</span><span class="c4 c24">Chiara Gambacorta of Pisa as Patroness of the Arts.</span><span class="c4">”</span><span class="c4 c17"> </span><span class="c4">In E. Ann Matter and John Coakley (eds).</span><span class="c4 c17"> Creative Women in Medieval and Early Modern Italy</span><span class="c4">. Philadelphia: University of Pennsylvania Press, 1994, pp. 120-54. </span><span class="c19 c4">Gambacorta (1362-1419) was prioress of the Dominican nunnery of S. Domenico in Pisa.</span></p><p class="c11"><span class="c4">Roberts, Ann. </span><span class="c4 c17">Dominican Women and Renaissance Art: The Convent of San Domenico of Pisa.</span><span class="c4"> Burlington VT: Ashgate, 2009. Thirty objects commissioned for and made by 15</span><span class="c4 c21">th</span><span class="c4"> nuns. Rev: </span><span class="c4 c17">Renaissance Quarterly</span><span class="c4"> (Winter 2008): 1247-48; Sarah Wilkins, </span><span class="c4 c17">Woman’s Art Journal </span><span class="c3">31 no 1 (Spring/Summer 2010): 41-42.</span></p><p class="c11"><span class="c4 c24">Scanlan, Suzanne M. </span><span class="c2">Divine and Demonic Imagery at Tor de’ Specchi, 1400-1500: Religious Women and Art in 15</span><span class="c2 c21">th</span><span class="c2">-century Rome.</span><span class="c19 c4"> Amsterdam: University of Amsterdam Press, 2018. </span></p><p class="c11"><span class="c4 c24">Schleif, Corine and Volker Schier. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8708699/Corine_Schleif_and_Volker_Schier_Views_and_Voices_from_Within._Sister_Katerina_Lemmel_on_the_Glazing_of_the_Cloister_at_Maria_Mai&sa=D&ust=1597863596104000&usg=AOvVaw1iCxNJu4LGfGkDgTYjHgPt">Views and Voices From Within: Sister Katerina Lemmel On the Glazing of the Cloister at Maria Mai</a></span><span class="c4 c24">.” In Rüdiger Becksmann (ed). </span><span class="c2">Glasmalerei im Kontext -- Bildprogramme und Raumfunktionen, Akten des XXII. internationalen Colloquiums des Corpus Vitrearum, Nürnberg, 29. August - 1. September 2004</span><span class="c4 c24"> (Anzeiger des Germanischen Nationalmuseums, wissenschaftlicher Beiband 25)</span><span class="c19 c4">. Nürnberg 2005, pp. 211-28.</span></p><p class="c11"><span class="c4 c24">Schleif, Corine and Volker Schier. </span><span class="c2">Katerina’s Windows: Donation and Devotion, Art and Music, as Heard and Seen through the Writings of a Birgittine Nun</span><span class="c19 c4">. University Park: Pennsylvania State University Press, 2009.</span></p><p class="c11"><span class="c4 c24">Schleif, Corine. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/8772193/Corine_Schleif_Forgotten_Roles_of_Women_as_Donors._Sister_Katerina_Lemmels_Negotiated_Exchanges_in_the_Care_for_the_Here_and_the_Hereafter&sa=D&ust=1597863596105000&usg=AOvVaw38-9DU92E5Kznu1u2-NTwS">Forgotten Roles of Women as Donors: Sister Katerina Lemmel’s Negotiated Exchanges in the Care for the Here and the Hereafter</a></span><span class="c4 c24">.” In Truus van Bueren (ed). </span><span class="c2">Care for the Here and the Hereafter: Memoria, Art and Ritual in the Middle Ages</span><span class="c19 c4">. Turnhout: Brepols, 2005, pp. 137-54.</span></p><p class="c11"><span class="c4 c24">Schleif, Corine. “The Art of Walking and Viewing: Christ, the Virgin, Saint Birgitta, and the Birgittines Processing through the Cloister.” In Claes Gejrot, Mia Åkestam and Roger Andersson (eds). </span><span class="c2">The Birgittine Experience: Papers from the Birgitta Conference in Stockholm, 2011</span><span class="c19 c4">. Stockholm 2013, pp. 241-67</span></p><p class="c11"><span class="c4 c24">Schleif, Corine. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/9873014/Corine_Schleif_The_Crucifixion_with_Virtues_in_Stained_Glass._Wounds_Violent_Sexualities_and_Aesthetics_of_Engagement_in_the_Wienhausen_Cloister&sa=D&ust=1597863596106000&usg=AOvVaw2iSnBVxwGxjga4VITJUHFt">The Crucifixion with Virtues in Stained Glass: Wounds, Violent Sexualities, and Aesthetics of Engagement in the Wienhausen Cloister</a></span><span class="c4 c24">.</span><span class="c4 c24">” </span><span class="c2">Journal of Glass Studies</span><span class="c19 c4"> 56 (2014): 317-43.</span></p><p class="c11"><span class="c4">Schmidt, Peter. “Kleben statt malen: Handschriftenillustration im Augustiner-Chorfrauenstift Inzigkofen.” In von Falk Eisermann, Eva Schlotheuber and Volker Honemann (eds). </span><span class="c4 c17">Studien und Texte zur literarischen und materiellen Kultur der Frauenklöster im späten Mittelalter</span><span class="c3">. Leiden: Brill, 2004, pp. 243-283. </span></p><p class="c11"><span class="c4">Schmidt, Peter. “Die Rolle der Bilder in der Kommunikation zwischen Frauen und Männern, Kloster und Welt: Schenken und Tauschen bei den Nürnberger Dominikanerinnen.” In Jean-Claude Schmitt (ed). </span><span class="c4 c17">Femmes, art et religion au Moyen Âge</span><span class="c3">. Strasbourg 2004, pp. 34–61.</span></p><p class="c11"><span class="c4">Scott, Karen. “Urban spaces, women’s networks, and the lay apostolate in the Siena of Catherine Benincasa.” In E. Ann Matter and John Coakley (eds). </span><span class="c4 c17">Creative women in medieval and early modern Italy : a religious and artistic renaissance</span><span class="c3">. Philadelphia: University of Pennsylvania Press, 1994, pp. 105-19.</span></p><p class="c11"><span class="c4 c14">Storey, Ann. “A Theophany of the Feminine: Hildegard of Bingen, Elisabeth of Schönau and Herrad of Landsberg.” </span><span class="c4 c14 c17">Woman’s Art Journal</span><span class="c22 c4 c14"> 19 no 1 (1998): </span></p><p class="c11"><span class="c4 c14">Suydam, Mary A. and Joanna E. Ziegler. </span><span class="c4 c14 c17">Performance and Transformation: New Approaches to Late Medieval Spirituality</span><span class="c22 c4 c14">. New York: St. Martin's Press, 1999.</span></p><p class="c11"><span class="c4">Thomas, Anabel. </span><span class="c4 c17">Art and Piety in the Female Religious Communities of Renaissance Italy. Iconography, Space, and the Religious Woman’s Perspective.</span><span class="c3"> Cambridge: Cambridge University Press, 2003.</span></p><p class="c11"><span class="c4">Trinchieri Camiz, Franca. “</span><span class="c4 c17">Virgo –non-sterilis</span><span class="c4">: Nuns as artists in Seventeenth-Century Rome.” In Geraldine Johnson and Sara F. Matthews Grieco (eds). </span><span class="c4 c17">Picturing Women in Renaissance and Baroque Italy</span><span class="c3">. New York: Cambridge University Press, 1997, pp. 139-64.</span></p><p class="c11"><span class="c4 c24">Troup, Cynthia. “Art History and the Resistant Presence of a Saint: The Chiesa Vecchia Frescoes at the Tor de’ Specchi.” In F. W. Kent and Charles Zika (eds). </span><span class="c2">Rituals, Images and Words: Varieties of Cultural Expression in Late Medieval and Early Modern Europe</span><span class="c19 c4">. Turnhout: Brepols, 2005, pp. 115-37.</span></p><p class="c11"><span class="c4 c24">Troup, Cynthia. “‘With Open Doors’ in the Tor de’ Specchi: The </span><span class="c2">Chiesa Vecchia </span><span class="c4 c24">Frescoes and the Monks of Santa Maria Nova.” In Peter Howard and Cynthia Hewlett (eds). </span><span class="c2">Studies on Florence and the Italian Renaissance in Honour of F. W. Kent</span><span class="c19 c4">. Turnhout: Brepols, 2016, pp. 405-30.</span></p><p class="c11"><span class="c4 c24">Turrill, Catherine. “</span><span class="c2">Compagnie</span><span class="c4 c24"> </span><span class="c4 c24">and </span><span class="c2">Discepole</span><span class="c4 c24">: The Presence of Other Women Artists at Santa Caterina da Siena.” In Jonathan Nelson (ed). </span><span class="c2">Suor Plautilla Nelli (1523-1588). The First Woman Painter of Florence</span><span class="c19 c4">. Italian History and Culture, 6. Fiesole: Cadmo, 2000, pp. 83-102. Also provides information on nuns in Luca (pp. 84-85), and nuns in various Florentine institutions (pp. 85-87) before focusing on that city’s convent of S. Caterina.</span></p><p class="c11"><span class="c4 c24">Turrill, Catherine. “Parenti, clienti e conoscenti: the nun-artisans of Santa Caterina da Siena and their clients.” In Marcello Fantoni, Louisa C. Matthew and Sara F. Matthews Grieco (eds). </span><span class="c2">The Art Market in Italy 15th-17th Centuries; Il Mercato dell'Arte in Italia secc. XV-XVII</span><span class="c19 c4">. Modena; Panini, 2003, pp. 95-103.</span></p><p class="c11"><span class="c4 c24">Vandi, Loretta. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/35940708/LORETTA_VANDI_-_Redressing_Images._Conflict_in_Context_at_Abbess_Humbrina_s_Scriptorium_in_Pontetetto_Lucca_&sa=D&ust=1597863596111000&usg=AOvVaw07VM-Xs1uY-815-3-4ooXz">Redressing Images: Conflict in Context at Abbess Humbrina’s Scriptorium in Pontetetto (Lucca)</a></span><span class="c4 c24">.” In Therese Martin (ed). </span><span class="c2">Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture. </span><span class="c19 c4">Vol. 2. Leiden: Brill, 2012, pp. 783-822.</span></p><p class="c11"><span class="c4">Wood, Jeryldene M. “Breaking the Silence: The Poor Clares and the Visual Arts in Fifteenth-Century Italy.” </span><span class="c4 c17">Renaissance Quarterly</span><span class="c4"> 48 (1995): 262-86. Re patronage: a bequest from the mother of two nuns of the Alfani family funded the marble tabernacle carved by Francesco di Simone Ferrucci (1483) for S. M. di Monteluce, Perugia (p. 268, fig. 4) and at the same church the abbess commissioned an altarpiece by Raphael in 1505, an </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.wga.hu/html_m/g/giulio/various/monteluc.html&sa=D&ust=1597863596112000&usg=AOvVaw3uMSkyoh_OdxqVIbL1DGZg">Assumption and</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.wga.hu/html_m/g/giulio/various/monteluc.html&sa=D&ust=1597863596112000&usg=AOvVaw3uMSkyoh_OdxqVIbL1DGZg"> </a></span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://www.wga.hu/html_m/g/giulio/various/monteluc.html&sa=D&ust=1597863596112000&usg=AOvVaw3uMSkyoh_OdxqVIbL1DGZg">Coronation of the Virgin </a></span><span class="c4">for which the nuns approved drawings in 1516, though it was finished around 1525 by members of his former workshop (pp. 269-70). </span></p><p class="c11"><span class="c4">Wood, Jeryldene M. </span><span class="c4 c17">Women, Art and Spirituality: The Poor Clares of Early Modern Italy.</span><span class="c3"> Cambridge: Cambridge University Press, 1996</span></p><p class="c11"><span class="c4">Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art of Sculpture?” </span><span class="c4 c17">Gesta</span><span class="c3"> 34 no 1 (1995): 28-36.</span></p><p class="c11"><span class="c4">Ziegler, Joanna E. “Reality as Imitation: the Role of Religious Imagery Among the Beguines of the Low Countries.” In Ulrike Wiethaus (ed). </span><span class="c4 c17">Maps of Flesh and Light: the Religious Experience of Medieval Women Mystics</span><span class="c3">. Syracuse, N.Y.: Syracuse University Press, 1993.</span></p><p class="c11"><span class="c4">Ziegler, Joanna E. “On the Artistic Nature of Elisabeth of Spalbeek’s Ecstasy: the Southern Low Countries Do Matter.” In Ellen E Kittell and Mary A Suydam (eds). </span><span class="c4 c17">The Texture of Society: Medieval Women in the Southern Low Countries</span><span class="c3">. New York: Palgrave Macmillan, 2004</span></p><p class="c11"><span class="c4">Ziegler, Joanna E. </span><span class="c4 c17">Sculpture of Compassion: the Pietà and the Beguines in the Southern Low Countries, c.1300-c.1600</span><span class="c3">. Turnhout: Brepols, 1992.</span></p><p class="c11"><span class="c4">Ziegler,</span><span class="c38"> </span><span class="c4">Joanna E. “Some Questions Regarding the Beguines and Devotional Art.” </span><span class="c4 c17">Vox Benedictina: A Journal of Translations from Monastic </span><span class="c3">3 (1986), 338-57.</span></p><p class="c11 c56"><span class="c7"></span></p><a id="kix.1kw11r93snly"></a><h1 class="c77 c66" id="h.oamfmh9ryn33"><span>Individual Artists: Europe (organized by birthdate) </span><span class="c52">(</span><span class="c52">painter</span><span class="c3">s, unless otherwise noted)</span></h1><a id="id.8ojwusqnp471"></a><h2 class="c66 c48 c98" id="h.dez7galhtirq"><span class="c7">Born Before 1450</span></h2><a id="kix.kqzsdk25lpq8"></a><h2 class="c1 c16" id="h.cca85hfpt3ev"><span class="c7">En (mistakenly called Ende, probably a nun, illuminator, active in northern Spain 975)</span></h2><p class="c11"><span class="c4">Ferrer Dalgá, María Rosa. “Una miniaturista en tierras de repoblación.” In José Luis Hernando Garrido and Miguel Ángel García Guinea (eds). </span><span class="c4 c17">Repoblación y reconquista: Seminario. Actas del III Curso de Cultura Medieval. Aguilar de Campoo, septiembre de 1991</span><span class="c3">. Aguilar de Campoo: Centro de Estudios del Románico, 1993, pp. 267-272.</span></p><p class="c11"><span class="c4">Martin, Therese, and John Williams†. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=http://revistaseug.ugr.es/index.php/arenal/article/view/7639/7203&sa=D&ust=1597863596116000&usg=AOvVaw0kRbEResrV-lNF7IG6mylt">Women’s Spaces—Real and Imagined—in the Illustrated Beatus Commentaries</a></span><span class="c4">.” In Ana Rodríguez (ed). </span><span class="c4 c17">Memoria, género y poder en la Edad Media</span><span class="c4">. S</span><span class="c4">pecial issue </span><span class="c4 c17">Arenal</span><span class="c4"> 25 no 2 (2018): 357-396. For an illustration of the inscription with her name, which </span><span class="c4 c13 c24">shows a clear space between En and depintrix</span><span class="c3">, see fig. 1 on p. 361.</span></p><p class="c11"><span class="c4">Patton, Pamela A. “Ende.” In Delia Gaze (ed). </span><span class="c4 c17">Dictionary of Women Artists</span><span class="c3">. vol. I. Chicago: Fitzroy Dearborn Publishers, 1997, pp. 498-99.</span></p><p class="c11"><span class="c4 c24">Roura, Gabriel et al. </span><span class="c4 c13 c17">Beato de Liébana, Códice de Girona</span><span class="c4">. </span><span class="c4 c24">2 vols. Barcelona: Moleiro, 2003-04. The first volume is the facsimile of the </span><span class="c2">Beatus Apocalypse </span><span class="c4 c24">that </span><span class="c4 c24">En “painter (</span><span class="c2">depintrix</span><span class="c4 c24">) </span><span class="c4 c24">and servant of God” signed and illuminated in 975, in conjunction with the monk Emeterius, in the San Salvador de Tabara scriptorium; the second volume provides commentary in English, with bibliography. For twenty-four of the illuminated pages see </span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.moleiro.com/en/beatus-of-liebana/girona-beatus.html%23imagenesarticle&sa=D&ust=1597863596117000&usg=AOvVaw1yZfvPXMOW_7ZMM99tlFZX">here</a></span><span class="c19 c4">.</span></p><p class="c11"><span class="c4 c24">Williams, John W. Entry in </span><span class="c6 c4 c17"><a class="c8" href="https://www.google.com/url?q=https://cdm16028.contentdm.oclc.org/digital/collection/p15324coll10/id/111171&sa=D&ust=1597863596118000&usg=AOvVaw1ZPnJk0WxktQ4bFZhru1gv">The Art of Medieval Spain, A.D. 500-1200</a></span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://cdm16028.contentdm.oclc.org/digital/collection/p15324coll10/id/111171&sa=D&ust=1597863596119000&usg=AOvVaw2SMztdjhzaB2if8v3OToSL">.</a></span><span class="c4 c24"> New York: Metropolitan Museum of Art, 1994, pp. 156-57 no. 80.</span><span class="c4 c24"><a class="c8" href="https://www.google.com/url?q=https://cdm16028.contentdm.oclc.org/digital/collection/p15324coll10/id/111171&sa=D&ust=1597863596119000&usg=AOvVaw2SMztdjhzaB2if8v3OToSL"> </a></span></p><p class="c11"><span class="c4 c13 c14">Williams, John. “The Girona Beatus.” </span><span class="c4 c24">In John Williams. </span><span class="c2">The Illustrated Beatus: a corpus of the illustrations of the commentary on the Apocalypse. </span><span class="c19 c4">Vol. 2. London: Harvey Miller Publishers, 1994.</span></p><a id="id.97dvxp9y34my"></a><h2 class="c1" id="h.iir9m44uw9r9"><span class="c7">Diemudis of Wessobrunn / Diemud (German; nun; scribe; possibly an illuminator, c.1060-1130)</span></h2><p class="c12"><span class="c4 c13 c24">Worked on over forty-five manuscripts in the Benedictine cloister of Wessobrun, </span><span class="c19 c4">Upper Bavaria. She may have been only a scribe, renowned for her calligraphy, or she may have added some minimal decoration to some of the manuscripts. Due to a fire, only fourteen of her manuscripts are known today, but those reveal that she had assistants, despite the legend of her as a recluse (Beach).</span></p><p class="c11"><span class="c4 c24">Carr, Annemarie Weyl. “</span><span class="c6 c4"><a class="c8" href="https://www.google.com/url?q=https://www.academia.edu/18496217/Women_as_artists_in_the_middle_ages_The_dark_is_light_enough._&sa=D&ust=1597863596120000&usg=AOvVaw3If5AC3_BisJnID80ysoKV">Women as Artists in the Middle Ages: ‘The Dark is Light Enough’.</a></span><span class="c4 c24">” In Delia Gaze (ed). </span><span class="c2">Dictionary of Women Artists</span><span class="c19 c4" |
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