Properzia de Rossi, who was born in Bologna, Italy in 1490, aspired to become a sculptor and was the first female marble sculptor within Italy during the Renaissance of the 16th century. Although de Rossi left no diaries, fragments of her early work are still available during the modern day. Despite marble sculpting being viewed as a masculine art form during the Renaissance in that it required muscle to perform and an intelligent mind to create, both of which women were not thought to possess during this period. Because of this, de Rossi found her medium in other art forms, most notably her “Madonna of Mercy” within the Grassi Family Crest work which was a silver crest with 11 nectarine buttons which were carved intricately with small images of religious piety. By 1525, aged 35, de Rossi entered a contest for the main cathedral basilica of Bologna, San Petronio, of which she won. The piece was named “Joseph and Potiphar’s Wife” which depicts a fallen women who’s breasts are exposed, rising off of her bed to try and claim her husband as he leaves. It was believed during the period that it was unthinkable for a woman to study the male nude form through nudity. Because de Rossi’s sculptures were so accurate, it was assumed she knew too much of the male form and therefore she was dammed for her talent. In 1530, de Rossi died penniless and alone, a retched end for a great artist who was pushed out of society due to the sheer beauty and creativity of her work. Had de Rossi not been a victim of her time, she would have been celebrated with the most revered male Renaissance artists