bas-relief panels, including the panel depicting Joseph and Potiphar's Wife now in the Museum of San Petronio in Bologna. In the scene, Joseph attempts to escape from the wife of an Egyptian officer. The skilfully executed musculature in combination with classical dress reveal de Rossi's knowledge of antiquity. Her style in this piece is in the "maniera moderna" of artists such as Guilio Romano, Michelangelo, Alfonso Lombardi, Correggio and Parmigianino. Additionally, the subject matter of Joseph fleeing from his temptress was a prominent subject matter in the early days of the Counter-Reformation, conveying the dangers of immorality associated with female nature. The second bas-relief panel is believed to be the Visit of the Queen of Sheba to Solomon. Vasari wrote that de' Rossi was paid "a most beggarly price for her work", attributing this to Amico Aspertini working to ruin her commissions and pay. Vasari stated that she never worked for the Cathedral again, which is supported by her absence from their records after 1526. In 1526, she is recorded as executing an engraved marble piece for the Church of Madonna del Baraccano in Bologna commissioned by Goro Geri. Legal issues De' Rossi's life has been described as transgressive. In 1520, she was accused of vandalism of a private garden belonging to her neighbour, Francesco da Milano, a velvet merchant, along with Anton Galeazzo Malvasia, with whom she was noted as his "concubine". She was charged in 1525 of defacing the face of artist Vincenzo Miola together with painter Domenico Francia by throwing paint in his face and scratching his eyes; Amico Aspertini corroborated the accusation. In 1529 she is documented as an indigent in the Hospital di San Giobbe where she was recovering from syphilis. Later years Vasari claimed in later life Properzia devoted herself to engraving to great acclaim. No works have been attributed to her. Vasari wrote that her fame spread throughout Italy until it reached the ears of the Pope. She died in the same week as Charles V's coronation by Clement VII in Bologna on 24 February 1530. Clement VII was told that de' Rossi was a "noble and elevated genius", and was informed of her death as he was on his way to meet her. She was buried in the Della Morte hospital as expressed in her will. Vasari stated that her fellow citizens "regarded her during her lifetime as one of the greatest