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Another pupil in the studio of Stanzioni was the Beltrano whom Aniella 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 Sanit
"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.
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This artist superceded Zampieri in the painting of the basin of the chapel; Spagnoletto, in one of his oil pictures; Stanzioni in another; and each of these artists, excited by emulation, rivaled, if he did not excel, Domenichino. Caracciolo was dead.
At the age of five years, the natural taste of Lucia Giordano for painting, led him to adopt the pencil as a plaything; at six he could draw the human figure with surprising correctness. The Cav. Stanzioni, passing by his father's shop, and seeing the child at work, stopped to see his performances, and is said to have predicted that "he would one day become the first painter of the age."
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.
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