Her most valuable knowledge of the technical part of painting, which gave her the mastery and command of her art that marked her productions, was acquired under the tuition of Antonio Balestra. Finally, she obtained from her kinsman, Antonio Pellegrini, a knowledge of the details of miniature-painting, to which the advice of a lady friend first directed her, and in which branch she acquired rare skill. She would willingly have pursued this, but the weakness of her sight compelled her to abandon it, and take to pastel-painting, in which she obtained the greatest celebrity--attaining, Zanetti says, the highest grade of perfection. Her miniatures were noted particularly for severe accuracy of drawing, united with rare softness and delicacy of touch; they had the perfection of proportion, and the brilliancy and warmth of coloring for which her pastels were remarkable. Her tints were blended with great tenderness; her heads had a lovely expression of truth and nature. Her talents met with due appreciation and honor while yet in their bloom of promise. She was celebrated in her native city as the “companion of the muse of painting,” and “the ornament of her sex and of the Venetian school.” Zanetti speaks of her with high praise in his “Storia della Pittura Veneziana.” Works evincing her extraordinary ability were shown at most of the courts of Europe. She was invited to Paris and Vienna to practice her profession there, and was elected to membership in the academies of Paris, Bologna, and Rome. Her miniature and pastel paintings were sent to the institutions which conferred this honor upon her. The King of Denmark came to Venice, and, having heard of Rosalba, expressed a curiosity to see her. After consulting Balestra, she presented to her royal visitor some portraits of Venetian ladies of rank whom he had admired, receiving from his majesty in return a very costly diamond. She also played and sang for his amusement with her two sisters, one of whom performed on the violin. She was invited by royalty to paint the Emperor Charles and the imperial court; also the King of France. The Grand-Duke of Tuscany placed her portrait in his gallery; it is painted in pastel, with one of her sisters. The style is noble and sustained; the expression is true, and the flesh-tints are so admirable, the face seems scarcely to want a soul. Augustus III., King of Poland, was her special patron; and in Modena she painted portraits of the reigning family.