Tintoretto painting his daughter’s portrait after her death has been the subject of pictures by artists of various countries, and has lost nothing of its poetic and pathetic interest in the three centuries and more that have elapsed since that day when the brave old artist painted the likeness of all that remained to him of his idolized child.

ROCCHI, LINDA. Born in Florence; she resides in Geneva.  Two of her flower pieces, in water-color, were seen at the Fine Arts Exposition, Milan, 1881.  In 1883, also in Milan, she exhibited “A Wedding Garland,” “Hawthorne,” etc.  The constantly increasing brilliancy of her work was shown in three pictures, flowers in water-colors, seen at the Milan Exposition, 1886.  To Vienna, 1887, she sent four pictures of wild flowers, which were much admired.

ROCCO, LILI ROSALIA. Honorable mention, a bronze medal, and four silver medals were accorded this artist at the Institute of Fine Arts in Naples, where she studied from 1880 to 1886, and was also a pupil of Solari.  Born in Mazzara del Vallo, Sicily, 1863.  In 1886 she exhibited, at Naples, “Cari Fiori!” at Palermo, “Flora”; and in Rome, “A Sicilian Contadina.”  In 1888 her picture, “Spring,” was exhibited in London.  Two of her works were in the Simonetti Exposition, 1889, one being a marine view from her birthplace.  She has painted many portraits, both in oils and water-colors, and has been appointed a teacher in at least two Government schools in Naples.

RODIANA, ONORATA. Was a contemporary of the saintly Caterina de Vigri, but was of quite another order of women.  She had one quality which, if not always attractive, at least commands attention.  She was unique, since we know of no other woman who was at the same time a successful artist and a valiant soldier!

Born in Castelleone, near Cremona, early in the fifteenth century, she was known as a reputable artist while still young, and was commissioned to decorate the palace of the tyrant, Gabrino Fondolo, at Cremona.  The girlish painter was beautiful in person, frank and engaging in manner, and most attractive to the gentlemen of the tyrant’s court.

One day when alone and absorbed in the execution of a wall-painting, a dissolute young noble addressed her with insulting freedom.  She could not escape, and in the struggle which ensued she drew a dagger and stabbed her assailant to the heart.

Rushing from the palace, she disguised herself in male attire and fled to the mountains, where she joined a company of Condottieri.  She soon became so good a soldier that she was made an officer of the band.

Fondolo raged as tyrants are wont to do, both on account of the murder and of the escape.  He vowed the direst vengeance on Onorata if ever she were again in his power.  Later, when his anger had cooled and he had no other artist at command who could worthily complete her decorations, he published her pardon and summoned her to return to his service.