This fascinating artist, in the height of her fame, in the flush of early womanhood, was snatched from her friends by a cruel and mysterious doom. Her fate is involved in a darkness which has not been penetrated to this day. Some do not hesitate to aver that her sudden death was a base and cruel murder; that she was poisoned by the same hands that administered the deadly draught to Domenichino—those of Ribiera or his disciples, jealous of her rising fame. The general impression is that she was the victim of professional envy. Some averred that her death was caused by the revenge of a princely lover, whose dishonorable advances were repelled, or some great personage who was incensed at her refusal to engage in his service, or of a distinguished individual who felt aggrieved by a caricature, and secretly employed a servant to put poison in her food. Each story was believed among her contemporaries, and the record of the examination is yet extant; but it was conducted without regularity, and throws no light upon the mysterious assassination.
Great was the excitement on the 14th November, 1665, in Bologna, on the day of her funeral, when the whole population crowded, weeping, to see the once beautiful features distorted by the hateful poison. The victim of revenge or jealousy was honored with solemn and splendid funeral ceremonies in the church of St. Domenico.
Shortly after her death a work was published, in which was included a number of poetical eulogies and tributes, from the most eminent poets of the day, to the memory and virtues of the deceased. One line runs thus:
“I was a woman, yet I knew not love.”
Picinardi adds the information that the pure calm of her soul was never disturbed by the grand passion. On the other hand, Gualandi intimates that the highly gifted maiden cherished for a young artist of her acquaintance an ardent affection, but that her father would not consent to the marriage. The romantic may please themselves with the supposition that the seed of genius sown in the nature of this richly endowed girl was quickened in the glow of an unhappy passion into the gorgeous bloom that attracted the eye of the world.
Elisabetta lies at rest in the chapel of the Madonna del Rosario in the church of St. Domenico, which also incloses the dust of her great master, Guido Reni. The works enumerated as hers by Malvasia, from her own register, were one hundred and fifty pictures and portraits, some of them large and carefully finished. Her first public work was executed in 1655. Her composition was elegant and tasteful; her designing correct and firm; and the freshness and suavity of her color, especially in demi-tints, reminded one of Guido. The air of her heads was graceful and noble, and she was peculiarly successful in the expressive character of her Madonnas and Magdalens. Among her finest pictures are mentioned a Francesco di Padoua kneeling before the infant Christ, a Virgin and St. Anna contemplating the sleeping Saviour, and others, preserved in several palaces in Bologna. Her portrait of herself was taken in the act of painting her father. Another portrait of her is in the person of a saint looking up to heaven. Among her paintings on copper, which are exquisitely delicate, is a Lot with his children, now in the possession of a family in Bologna. She produced etchings of the Beheading of John the Baptist, the Death of Lucretia, and several master-pieces; all distinguished by delicacy of touch and by ease and spirit in the execution. Her painting, “Amor Divino,” represents a lovely child, nude, seated on a red cloth, holding in its left hand a laurel crown and sceptre, while with the right it points to a quiver and some books lying at its feet. Bolognini says: “It is impossible to conceive any thing more beautiful in form or more exquisite in finish than this lovely child.”
Like Guido’s, the influence of Elisabetta Sirani on the progress of art in Bologna was exhibited in the number of scholars who sought instruction from her, or studied her paintings to ground themselves in her system. So illustrious an example as she presented must naturally have contributed greatly to the encouragement and development of female talent, and many were the women whom her success, in a greater or less degree, stimulated to exertion. One of Elisabetta Sirani’s pupils was Ginevra Cantofoli of Bologna. She painted history pieces with some reputation. In a church of Bologna is a picture by her—The Last Supper. Her best was San Tommaso di Villanuovo.
Sirani’s sisters, Anna Maria and Barbara, are also mentioned among her scholars, with Lucrezia Scarafaglia, Maria Teresa Coriolani, and Veronica Fontana, who carved excellently well in wood, and executed portraits in this manner which were highly praised. Many other names of women are recorded who derived their impressions of art, directly or indirectly, from Sirani.
Teresa Muratori was the daughter of an eminent physician, and born at Bologna in 1662. At an early age she showed a genius for painting and music. She was instructed in designing by Emilio Taruffi, and afterward took lessons from Lorenzo Parmello and Giovanni Gioseffo dal Sole. She painted historical pieces, and several religious ones for churches in Bologna. She died at the age of forty-six.
Orlandi speaks highly of Maria Helena Panzacchi. She was born at Bologna in 1668, was taught designing by Taruffi, and became a reputable painter of landscapes, which she embellished with figures. Her works were correct in design, and the disposition was marked by elegance and taste. Several of them are in private collections at Bologna.