Born in Madrid; a descendant of the Counts of Los Villares, and wife of the Count of Mirasol. Pupil of Carlos Ribera.
<b>RONNER, MME. HENRIETTE.</b> Medals and honorable mentions and elections to academies have been showered on Mme. Ronner al over Europe. The King of Belgium decorated her with the Cross of the Order of Leopold. Born in Amsterdam in 1821. The grandfather of this artist was Nicolas Frederick Knip, a flower painter; her father, Josephus Augustus Knip, a landscape painter, went blind, and after this misfortune was the teacher of his daughter; her aunt, for whom she was named, received medals in Paris and Amsterdam for her flower pictures. What could Henriette Knip do except paint pictures? Hers was a clear case of predestination!
At al events, almost from babyhood she occupied herself with her pencil, and when she was twelve years old her blind father began to teach her.
Even at six years of age it was plainly seen that she would be a painter of animals. When sixteen she exhibited a "Cat in a Window," and from that time was considered a reputable artist.
In 1850 she was married and settled in Brussels. From this time for fifteen years she painted dogs almost without exception. Her picture called "Friend of Man" was exhibited in 1850. It is her most famous work and represents an old sand-seller, whose dog, still harnessed to the little sand-wagon, is dying, while two other dogs are looking on with wel -defined sympathy. It is a most pathetic scene, wonderfully rendered.
About 1870 she devoted herself to pictures of cats, in which specialty of art she has been most important. In 1876, however, she sent to the Philadelphia Exposition a picture of "Setter Dogs." "A Cart Drawn by Dogs" is in the Museum at Hanover; "Dog and Pigeon," in the Stettin Museum; "Coming from Market" is in a private collection in San Francisco.
Mme. Ronner has invented a method of posing cats that is ingenious and of great advantage. To the uninitiated it would seem that one could only take the portrait of a sleeping cat, so untiring are the little beasts in their gymnastic performances. But Mme. Ronner, having studied them with infinite patience, proceeded to arrange a glass box, in which, on a comfortable cushion, she persuades her cats to assume the positions she desires. This box is enclosed in a wire cage, and from the top of this she hangs some cat attraction, upon which the creature bounds and shows those wonderful antics that the artist has so marvel ously reproduced in her painting. Mme. Ronner has two favorite models, "Jem" and "Monmouth."
The last name is classical, since the cat of Mother Michel has been made immortal.
Miss Winslow, in "Concerning Cats," says that "Mme. Ronner excels all other cat painters, living or dead. She not only infuses a wonderful degree of life into her little figures, but reproduces the shades of expression, shifting and variable as the sands of the sea, as no other artist of the brush has done. Asleep or awake, her cats look to the"
felinarian "like cats with whom he or she is familiar. Curiosity, drowsiness, indifference, alertness, love, hate, anxiety, temper, innocence, cunning, fear, confidence, mischief, earnestness, dignity, helplessness--they are al in Mme. Ronner's cats' faces, just as we see them in our own cats."
It is but a short time ago that Mme. Ronner was still painting in Brussels, and had not only cats, but a splendid black dog and a cockatoo to bear her company, while her son is devoted to her. Her house is large and her grounds pleasant, and her fourscore years did not prevent her painting several hours a day, and, like some other ladies of whom we know, she was "eighty years young."
The editor of the _Magazine of Art_, M. H. Spielman, in an article on the Royal Academy Exhibition, 1903, writes: "What the dog is to Mr. Riviere, to Madame Ronner is the cat. With what unerring truth she records delightful kittenly nature, the feline nobility of haughty indifference to human approval or discontent, the subtlety of expression, and drawing of heads and bodies, the exact quality and tone of the fur, the expressive eloquence of the tail! With all her eighty years, Madame Ronner's hand, vision, and sensibility have not diminished; only her sobriety of color seems to have increased." Her pictures of this year were called "The Ladybird" and "Coaxing." To the Exhibition of the Beaux-Arts in Brussels, 1903, Mme. Ronner sent pictures of cats, full of life and mischief.
<b>ROOSENBOOM, MARGARITE VOGEL.</b> Second-class medal, Munich, 1892. Born in 1843 and died in 1896, near The Hague. She spent a large part of her life near Utrecht, devoting herself mainly to the painting of flowers.
One of her works is in the Royal Museum at Amsterdam, and another in the Museum at Breslau.
<b>ROPE, ELLEN M.</b> This English sculptor executed four large panels for the Women's Building at the Chicago Exhibition. They represented Faith, Hope, Charity, and Heavenly Wisdom. They are now in the Ladies' Dwelling, Cherries Street, London. A "Memorial" by her is in Salisbury Cathedral.
Her reliefs of children are, however, her best works; that of a "Boy on a Dolphin" is most attractive. "Christ Blessing Little Children" is charmingly rendered.
At the Academy, 1903, she exhibited a panel for an organ chamber, in low relief.
<b>ROSA, ANIELLA DI.</b> 1613-1649. A pupil in Naples of Stanzioni, who, by reason of her violent death, has been cal ed the Neapolitan Sirani. She acquired a good reputation as a historical painter and doubtless had unusual talent, but as she worked in conjunction with Stanzioni and with her husband, Agostino Beltrano, it is difficult to speak of works entirely her own.
Two pictures that were acknowledged to be hers represented the birth and death of the Virgin; these were praised and were at one time in a church in Naples, but in a recent search for them I was unable to satisfy myself that the pictures I saw were genuine.
Another pupil in the studio of Stanzioni was the Beltrano whom Aniel a married. He painted in fresco, Aniella in oils, and they were frequently employed together. The fine picture of San Biagio, in the church of Santa Maria della Sanita, was one of their joint works.
Their early married life was very happy, but Aniella was beautiful and Beltrano grew jealous; it is said without cause, through the influence of a woman who loved him and hated Aniella; and in spite of the efforts she made to merit her husband's confidence, his distrust of her increased.
Her base rival, by her art and falsehood, finally succeeded in convincing Beltrano that Aniel a was unworthy, and in his rage he fatally stabbed her, when, at thirty-six, she was in the prime of her beauty and talent.
She survived long enough to convince her husband of her innocence and to pardon him for his crime, but he fled from Italy and lived the life of an outcast during ten years. He then returned to Naples, where after seven years, tormented by remorse, death came to his release.
Domenici generously praised the works of Aniella, and quoted her master, Stanzioni, as saying that she was the equal of the best painters of her time.
<b>ROSALBA.</b> See Carriera.
<b>ROSSI, PROPERZIA DE.</b> Born in Bologna. 1490-1530. This artist was the first woman to succeed as a sculptor whose works can still be seen. Pupil of Raimondi, she was more or less influenced by Tribolo. In the Church of San Petronio, in her native city, in the eleventh chapel, is a beautiful bas-relief of two angels, executed by Properzia. They are near Tribolo's
"Ascension." A relief and a portrait bust in the same church are also ascribed to her.
Her first work in sculpture was a minute representation of the Crucifixion on a peach stone! The executioners, women, soldiers, and disciples were al represented in this infinitesimal space. She also inserted in a coat of arms a double-headed eagle in silver filigree; eleven peach stones on each side, one set representing eleven apostles with an article of the creed underneath, the other set eleven virgins with the name of a saint and her special attribute on each. Some of these intaglios are still in a private col ection in Bologna.
At length Properzia saw the fol y of thus belittling her talent, and when the facade of San Petronio was to be enriched with sculpture she asked for a share in the work and presented a bust she had made as a pledge of her ability; she was appointed to execute a portion of the decorations.
She made a bas-relief, the subject being "Joseph and Potiphar's Wife,"
which Vasari cal ed "a lovely picture, sculptured with womanly grace, and more than admirable."
By this time the jealousy of other artists was aroused, and a story was diligently repeated to the effect that Properzia loved a young nobleman who did not care for her, and that the above work, so much admired, represented her own passion. Albertini and other artists waged an absolute crusade against her, and so influenced the superintendents of the church that Properzia was obliged to leave the work and her relief was never put in place. Through mortification and grief her health failed, and she died when but forty years old.
In spite of her persecution she was known in al Italy, not only for her sculpture, but for her copper-plate engraving and etching. When Pope Clement VII. went to Bologna for the coronation of Charles V. he asked for Properzia, only to hear that she had been buried that very week.
Her story has been told by Vasari and other writers. She was handsome, accomplished in music, distinguished for her knowledge of science, and withal a good and orderly housewife. "Wel calculated to awaken the envy, not of women only, but also of men." Canova ardently admired the work of Properzia that remained in his day, and esteemed her early death as one of the chief misfortunes to the advance of the fine arts in Italy.
<b>ROTKY, BARONESS HANNA.</b> Born at Czernowitz in 1857. She studied portrait painting under Blaas, Swerdts, and Trentino, and has worked principal y in Vienna. Her portrait of Freiherr von Sterneck is in the Military Academy at Wiener-Neustadt.
<b>RUDDER, MME. DE.</b> This lady has made an art of her embroidery, and may be said to have revived this decorative specialty and to have equal ed the ancient productions which are so beautiful and valuable.
After her marriage to the wel -known sculptor this gifted couple began their collaboration. M. P. Verneuil, in _Brush and Pencil_, November, 1903, writes: "The first result of this joint work was shown in 1894 at the Exposition Cercle pour l'Art, in the form of a panel, called 'The Eagle and the Swan.' It was exhibited afterward at the Secession in Vienna, where it was purchased by a well-known amateur and connoisseur.
Other works were produced in succession, each more interesting than its predecessor. Not daunted by difficulties that would have discouraged the most ambitious and audacious craftswoman, Mme. de Rudder took for a subject 'The Fates,' to decorate a screen. Aside from the artistic interest attaching to this work, it is remarkable for another quality.
The artist yielded to the instinctive liking that she had for useful art--she ornamented a useful article--and in mastering the technical difficulties of her work she created the new method cal ed
're-embroidery.' For the dresses of her 'Fates' ancient silks were utilized for a background. Some of the pieces had moth-holes, which necessitated the addition of 'supplementary ornamental motives,'
'embroidered on cloth to conceal the defects.' The discovery of
're-embroidery' was the result of this enforced expedient.
"This screen, finished in 1896, was exhibited at the Cercle Artistique, Brussels, where the mayor, M. Buls, saw it. Realizing the possibilities of the method and the skill of the artist, he gave an order to Mme. de Rudder to decorate the Marriage Hal of the Hotel de Ville. This order was delivered in 1896. During this period Mme. de Rudder worked feverishly. About the same time that the order for the Hotel de Ville was given, she received from M. Van Yssendyck, architect of the Hotel Provincial in Ghent, a commission to design and embroider six large allegorical panels. One of them represented 'Wisdom' in the habiliments of Minerva, modernized, holding an olive branch. The five others were
'Justice,' holding a thistle, symbolizing law; 'Eloquence,' crowned with roses and holding a lyre; 'Strength,' bending an oak branch; 'Truth,'
crushing a serpent and bearing a mirror and some lilies; and 'Prudence,'
with the horn of plenty and some holly. These six panels are remarkable for the beautiful decorative feeling that suffuses their composition. The tricks of workmanship are varied, and all combine to give a wonderful effect. Contrary to the form of presenting the 'Fates,' al the figures are draped."
Her next important commission was for eight large panels, intended to decorate the Congo Free State department in the Brussels Exposition.
These panels represent the "Triumph of Civilization over Barbarism," and are now in the Museum at Tervueren. They are curious in their symbols of fetichism, and have an attraction that one can scarcely explain. The above are but a part of her important works, and natural y, when not absorbed by these, Mme. de Rudder executes some smaller pieces which are marvels of patience in their exquisite detail.
Perhaps her panels of the "Four Seasons" may be cal ed her _chef-d'oeuvre_. The writer quoted above also says:
"To Mme. de Rudder must be given the credit for the interpretation of work demanding large and varied decorative effect, while in the creation of true artistic composition she easily stands at the head of the limited coterie of men and women who have mastered this delicate and difficult art. She is a leader in her peculiar craft."
<b>RUDE, MME. SOPHIE FREMIET.</b> 1797-1867. Medal at Paris Salon, 1833.
Born in Dijon. This artist painted historical and genre subjects as wel as portraits. Her picture of the "Sleeping Virgin," 1831, and that of the "Arrest of the Duchess of Burgundy in Bruges," 1841, are in the Dijon Museum.
<b>RUYSCH, RACHEL.</b> The perfection of flower-painting is seen in the works of Rachel Ruysch. The daughter of a distinguished professor of anatomy, she was born at Amsterdam in 1664. She was for a time a pupil of William van Aelst, but soon studied from nature alone. Some art critics esteem her works superior to those of De Heem and Van Huysum. Let that be as it may, the pictures with which she was no doubt dissatisfied when they passed from her hand more than two centuries ago are greatly valued to-day and her genius is undisputed.
When thirty years old Rachel Ruysch married the portrait painter, Julian van Pool. She bore him ten children, but in the midst of al her cares she never laid her brush aside. Her reputation extended to every court of Europe. She received many honors, and was elected to the Academical Society at The Hague. She was received with distinguished courtesies on the two occasions when she visited Duesseldorf.
[Illustration: Alinari, Photo.
In the Pitti Gal ery, Florence
FRUIT, FLOWERS, AND INSECTS
RACHEL RUYSCH]
The Elector John of Pfalz appointed her painter at his court, and beyond paying her generously for her pictures, bestowed valuable gifts on her.
The Elector sent several of her works to the Grand Duke of Tuscany and to other distinguished rulers of that day.
The advance of years in no wise dul ed her powers. Her pictures painted when eighty years old are as delicately finished as those of many years earlier. She died when eighty-six, "respected by the great, beloved even by her rivals, praised by al who knew her."
The pictures by Rachel Ruysch are honorably placed in many public gal eries; in those of Florence and Turin, as well as at Amsterdam, The Hague, Berlin, Dresden, Vienna, and Munich, they are much valued.
Although these pictures are characterized by extreme delicacy of touch, softness, and lightness, this artist knew how so to combine these qualities as to impart an effect of strength to her painting. Her rendering of separate flowers was exquisite, and her roses, either by themselves or combined with other flowers, are especially beautiful. She painted fruits in perfection, and the insects and butterflies which she sometimes added are admirably executed.
The chief criticism that can be made of her pictures is that she was less skilful in the grouping of her flowers than in their painting. Many of her works are in private gal eries, especial y in Hol and. They are rarely sold; in London, about thirty years ago, a smal "Bouquet of Flowers with Insects" was sold for more than two thousand dol ars, and is now of double that value.
Her pictures have the same clearness and individuality that are seen in her portrait, in which she has short hair, a simple low-cut dress, with a necklace of beads about the throat.
<b>SALLES, ADELHEID.</b> Born in Dresden, 1825; died in Paris, 1890. Pupil of Bernhard and Jacquand, she established her studio in Paris. Many of her works are in museums: "Elijah in the Desert," at Lyons; "The Legend of the Alyscamps," at Nimes; "The Village Maiden," at Grenoble; "Field Flowers," at Havre, etc. She also painted portraits and historical subjects, among which are "Psyche in Olympus," "The Daughters of Jerusalem in the Babylonian Captivity," and the "Daughter of Jairus."
She was a sister of E. Puyroche-Wagner.
<b>SARTAIN, EMILY.</b> Medal at Philadelphia Exhibition, 1876; Mary Smith prize at the Pennsylvania Academy for best painting by a woman, in 1881
and 1883. Born in Philadelphia, 1841. Miss Sartain has been the principal of the Philadelphia School of Design for Women since 1886.
She studied engraving under her father, John Sartain, and with Luminais in Paris. She engraved and etched book illustrations and numerous larger prints. She is also a painter of portraits and genre pictures, and has exhibited at the Salon des Beaux-Arts, Paris. Miss Sartain has been appointed as delegate from the United States to the International Congress on Instruction in Drawing to be held at Berne next August. Her appointment was recommended by the Secretary of the Interior, the United States Commissioner of Education, and Prof. J. H. Gore. Miss Sartain has also received letters from Switzerland from M. Leon Genoud, president of the Swiss Commission, begging her to accept the appointment.
<b>SCHAEFER, MARIA.</b> First-class medal, Bene-merenti, Roumania. Born in Dresden, 1854. Her first studies were made in Darmstadt under A. Noack; later she was a pupil of Budde and Bauer in Duesseldorf, and final y of Eisenmenger in Vienna. After travelling in Italy in 1879, she settled in Darmstadt. She made several beautiful copies of Holbein's "Madonna," one for the King of Roumania, and one as a gift from the city of Darmstadt to the Czarina Alexandra. Among her most excellent portraits are those of Friedrich von Schmidt and his son Henry. Several of her religious paintings ornament German churches: "St. Elizabeth" is at Biedenkopf,
"Mary's Departure from the Tomb of Christ" is at Nierstein, and "Christ with St. Louis and St. Elizabeth" and a Rosary picture are in the Catholic church at Darmstadt.
<b>SCHEFFER, CAROLINE.</b> The daughter of Ary Lamme and wife of J. B.
Scheffer was an artist in the last decades of the eighteenth century, but the special interest connected with her is the fact that she was the mother of Ary and Henry Scheffer. From her artistic standpoint she had an appreciation of what was needed for the benefit of her sons. She took them to Paris to study, devoted herself entirely to their welfare, and died in Paris in 1839.
<b>SCHLEH, ANNA.</b> Born in Berlin, 1833. Her principal studies were made in her native city under Schrader, although she went to Rome in 1868, and final y took up her residence there. She had, previous to her work in Rome, painted "The Marys at the Grave." Her later pictures include "The Citron-Vender" and a number of portraits for the Henkel family of Donnersmark.
<b>SCHMITT-SCHENKH, MARIA.</b> Born in Baden, 1837. She studied her art in Munich, Carlsruhe, and Italy. She established herself in Munich and painted pictures for churches, which are in Kirrlach, Mauer, Ziegelhausen, and other German towns. She also designed church windows, especially for the Liebfrauenkirche at Carlsruhe.
<b>SCHUMANN, ANNA MARIA.</b> Was cal ed by the Dutch poets their Sappho and their Corneille. She was born in 1607, but as her family were Protestants and frequently changed their residence in order to avoid persecution, the place of her birth is unknown. When Anna Maria was eight years old, they went permanently to Utrecht.
This distinguished woman was one of the exceptions said to prove rules, for though a prodigy in childhood she did not become a commonplace or stupid woman. Learning was her passion and art her recreation. It is difficult to repeat what is recorded of her unusual attainments and not feel as if one were being misled by a Munchausen! But it would be ungracious to lessen a fame almost three centuries old.
We are told that Anna Maria could speak in Latin when seven years old, and translated from Seneca at ten. She acquired the Hebrew, Greek, Samaritan, Arabic, Chaldaic, Syriac, Ethiopian, Turkish, and Persian languages with such thoroughness that her admirers claim that she wrote and spoke them al . She also read with ease and spoke with finished elegance Italian, Spanish, English, and French, besides German and her native tongue.
Anna Maria Schurmann wrote verses in various languages, but the chief end which her exhaustive studies served was to aid her in theological research; in this she found her greatest satisfaction and deepest interest. She was respectfully consulted upon important questions by the scholars of different countries.
At the University of Utrecht an honorable place was reserved for her in the lecture-rooms, and she frequently took part in the learned discussions there. The professors of the University of Leyden paid her the compliment of erecting a tribune where she could hear al that passed in the lecture-room without being seen by the audience.
As an artist the Schurmann reached such excellence that the painter Honthorst valued a portrait by her at a thousand Dutch florins--about four hundred and thirty dollars--an enormous sum when we remember that the works of her contemporary, Albert Cuyp, were sold for thirty florins!
and no higher price was paid for his works before the middle of the eighteenth century. A few years ago his picture, called "Morning Light,"
was sold at a public sale in London for twenty-five thousand dol ars. How astonishing that a celebrated artist like Honthorst, who painted in Utrecht when Cuyp painted in Dort, should have valued a portrait by Anna Maria Schurmann at the price of thirty-three works by Cuyp! Such facts as these suggest a question regarding the relative value of the works of more modern artists. Will the judgments of the present be thus reversed in the future?
This extraordinary woman filled the measure of possibilities by carving in wood and ivory, engraving on crystal and copper, and having a fine musical talent, playing on several instruments. When it is added that she was of a lovable nature and attractive in manner, one is not surprised that her contemporaries cal ed her "the wonder of creation."
Volsius was her friend and taught her Hebrew. She was intimately associated with such scholars as Salmatius and Heinsius, and was in correspondence with scholars, philosophers, and theologians regarding important questions of her time.
Anna Maria Schurmann was singularly free from egotism. She rarely consented to publish her writings, though often urged to do so. She avoided publicity and refused complimentary attentions which were urged upon her, conducting herself with a modesty as rare as her endowments.
In 1664, when travel ing with her brother, she became acquainted with Labadie, the celebrated French enthusiast who preached new doctrines. He had many disciples cal ed Labadists. He taught that God used deceit with man when He judged it wel for man to be deceived; that contemplation led to perfection; that self-mortification, self-denial, and prayer were necessary to a godly life; and that the Holy Spirit constantly made new revelations to the human beings prepared to receive them.
Anna Maria Schurmann heard these doctrines when prostrated by a double sorrow, the deaths of her father and brother. She put aside all other interests and devoted herself to those of the Labadists. It is said that after the death of Labadie she gathered his disciples together and conducted them to Vivert, in Friesland. William Penn saw her there, and in his account of the meeting he tells how much he was impressed by her grave solemnity and vigorous intellect.
From this time she devoted her fortune to charity and died in poverty at the age of seventy-one. Besides her fame as an artist and a scholar, her name was renowned for purity of heart and fervent religious feeling. Her virtues were many and her few faults were such as could not belong to an ignoble nature.
<b>SCUDDER, JANET.</b> Medal at Columbian Exposition, 1893. Two of her medallion portraits are in the Luxembourg, Paris. Member of the National Sculpture Society, New York. Born in Terre Haute, Indiana. Pupil of Rebisso in Cincinnati, of Lorado Taft in Chicago, and of Frederic MacMonnies in Paris.
At the Chicago Exposition Miss Scudder exhibited two heroic-sized statues representing Illinois and Indiana. The portraits purchased by the French Government are of American women and are the first work of an American woman sculptor to be admitted to the Luxembourg. These medal ions are in bas-relief in marble, framed in bronze. Casts from them have been made in gold and silver. The first is said to be the largest medallion ever made in gold; it is about four inches long.
[Illustration: A FROG FOUNTAIN
JANET SCUDDER]
To the Pan-American Exposition Miss Scudder contributed four boys standing on a snail, which made a part of the "Fountain of Abundance."
She has exhibited in New York and Philadelphia a fountain, representing a boy dancing hilariously and snapping his fingers at four huge frogs round his pedestal. The water spurts from the mouths of the frogs and covers the naked child.
Miss Scudder is commissioned to make a portrait statue of heroic size for the St. Louis Exposition. She will no doubt exhibit smaller works there.
Portraits are her specialty, and in these she has made a success, as is proved by the appreciation of her work in Paris.
A memorial figure in marble is in Woodlawn Cemetery, also a cinerary urn in stone and bronze; a bronze memorial tablet is in Union Col ege. Miss Scudder also made the seal for the Bar Association of New York.
<b>SEARS, SARAH C.</b> Medal at Chicago, 1893; William Evans prize, American Water-Color Society, New York; honorable mention, Paris Exposition, 1900; bronze medal at Buffalo, 1901; silver medal at Charleston, South Carolina. Member of the New York Water-Color Club, Boston Art Students' Association, National Arts Club, Boston Water-Color Club. Born in Cambridge, Massachusetts. Pupil of Ross Turner, Joseph de Camp, Edmund C. Tarbel , and George de Forest Brush. Mrs. Sears has also studied by herself with the criticism of masters.
She paints portraits, figures, and flowers, and is much interested in the applied arts. Of her exhibition at the Boston Art Club, 1903, a critic writes: "Nothing could be more brilliant in point of color than the group of seven water-color pictures of a sunny flower-garden by Mrs. Sears. In these works pure and limpid color has been pushed to its extreme capacity, under ful daylight conditions, with a splendor of brightness which never crosses the line of crudity, but holds the same relative values as we see in nature, the utmost force of local color courageously set forth and contrasted without apparent artifice, blending into an harmonious unity of tone. Two of these pictures are especially fine, with their cool backgrounds of sombre pines to set off the magnificent masses of flowers in the foreground."
At the exhibition of the Philadelphia Water-Color Club, 1903, the _Press_
said: "These brilliant and overpowering combinations of color carry to a limit not before reached the decorative possibilities of flowers."
Mrs. Sears' honors have been awarded to her portraits.
<b>SEIDLER, CAROLINE LUISE.</b> Born in Jena, 1786; died in Weimar, 1866.
Her early studies were made in Gotha with Doel ; in 1811 she went to Dresden, where she became a pupil of G. von Kuegelgen; in 1817 Langer received her into his Munich studio; and between 1818 and 1823 she was in Italy, making special studies of Vanucci and Raphael. In 1823 she was appointed instructor of the royal princesses at Weimar, and in 1824
inspector of the gal ery there, and later became court painter. Among her works are a portrait of Goethe, a picture of "Ulysses and the Sirens,"
and one of "Christ, the Compassionate," which is in the church at Schestadt, Holstein.
<b>SERRANO Y BARTOLOME, JOAQUINA.</b> Born in Fermosel e. Pupil in Madrid of Juan Espalter, of the School of Arts and Crafts, and of the School of Painting. She sent four pictures to the Exposition of 1876 in Madrid: the portrait of a young woman, a still-life subject, a bunch of grapes, and a
"Peasant Girl"--the last two are in the Museum of Murcia. In 1878 she sent "A Kitchen Maid on Saturday," a study, a flower piece, and two still-life pictures; and in 1881 two portraits and some landscapes. Her portrait of the painter Fortuny, w