RADOVSKA, BARONESS ANNETTA, of Milan.  Her interesting genre pictures are seen in most of the Italian exhibitions.  “Old Wine, Young Wife,” was at Milan, 1881; in same city, 1883, “An Aggression,” “The Visit,” “The Betrothed.”  She also sent to Rome, in 1883, two pictures, one of which, “The Harem,” was especially noteworthy.  In 1884, at Turin, she exhibited “Tea” and the “Four Ages”; these, were excellent in tone and technique and attractive in subject.  At Milan, 1886, her “Will He Arrive?” was heartily commended in the art journals.

RAE, HENRIETTA. See Normand, Mrs. Ernest

RAGUSA, ELEANORA. See O’Tama.

RAPIN, AIMEE. At the Swiss National Exposition, 1896, a large picture of a “Genevese Watchmaker” by this artist was purchased; By the Government and is in the Museum at Neuchatel.  In 1903 the city of Geneva commissioned her to paint a portrait of Philippe Plantamour, which is in the Museum Mon-Repos, at Geneva.  Member of the Societe des Beaux-Arts of Lausanne, Societe des Femmes peintres et sculpteurs de la Suisse romande, Societe de l’exposition permanente des Beaux-Arts, Geneva.  Born at Payerne, Canton de Vaud.  Studied at Geneva under M. Hebert and Barthelmy Menn, in painting; Hugues Bovy, modelling.

[Illustration:  In the Museum at Neuchatel

GENEVESE WATCHMAKER

AIMEE RAPIN]

Mlle. Rapin writes me:  “I am, above all, a portrait painter, and my portraits are in private hands.”  She names among others of her sitters, Ernest Naville, the philosopher; Raoul Pictet, chemist; Jules Salmson, sculptor, etc.  She mentions that she painted a portrait of the present Princess of Wales at the time of her marriage, but as it was painted from photographs the artist has no opinion about its truth to life.  Mlle. Rapin has executed many portraits of men, women, and children in Paris, London, and Germany, as well as in Switzerland.  She refers me to the following account of herself and her art.  In the Studio of April, 1903, R. M. writes:  “The subject of these notes is a striking example of the compensations of Nature for her apparent cruelty; also of what the genuine artist is capable of achieving notwithstanding the most singular disadvantages.  Some years ago in the little town of Payerne, Canton Vaud, a child was born without arms.  One day the mother, while standing near a rose-bush with her infant in her arms, was astonished to observe one of its tiny toes clasp the stem of the rose.  Little did she guess at the time that these prehensile toes were destined one day to serve an artist, in the execution of her work, with the same marvellous facility as hands.  As the child grew up the greatest care was bestowed upon her education.  She early manifested unmistakable artistic promise, and at the age of sixteen was sent to the Ecole des Beaux Arts, Geneva....  For reasons