nds 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 called 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.

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