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in trying to get a man of their own appointed. A man of liberal opinions named Knauer had however been nominated bishop, and the efforts of the Jesuits took the shape of activity at the Roman court so as to delay his confirmation. The delay lasted a year, and caused some excitement. While it yet continued (1842), Ronge published in a Saxon journal a letter on the subject, entitled 'Rome and the Chapter of Breslau,' in which the conduct of the ultra-Roman party was severely criticised. Being suspected though not identified as the author of this letter, he was deprived of his charge, and ordered into penance in the Catholic seminary (January 1843). He then removed to the village of Laurahütte in Silesia, where he became teacher in a school attended by the children of the miners of that neighbourhood. He was thus occupied when, in the summer of 1844, Arnoldi, bishop of Treves, issued his famous announcement to the effect that on the 18th of August in that year, and for six weeks following, there would be a public exhibition in the cathedral of Treves of the "seamless coat of Christ," which had been preserved in the cathedral from time immemorial, and which had on previous occasions been exhibited to the great satisfaction of the German Catholics. At the same time a historical account of the Holy Coat' was published under the bishop's auspices-setting forth how it had been procured in the Holy Land in the 4th century by St. Helena, the mother of the Emperor Constantine; had been presented by her to her native city of Treves; had there been kept till the year 1121, when it was first openly seen; had at length been publicly produced in 1512; and had in 1514 been made the subject of a special bull by Pope Leo X., in virtue of which an indulgence had been granted to all who should go and pay homage to it, and subscribe for its preservation and adornment.

On the day appointed the 'Exposition' did take place; and between that day and the 6th of October following, immense crowds of Germans and also of foreign Catholics flocked to see the relic-to the number, it was calculated, of more than a million in all. There were rumours of miracles performed by the Holy Coat.' Meanwhile the exhibition-being regarded as an attempt to "revive Middle-age Catholicism in Germany "-had aroused much comment throughout the country; and pamphlets had been published by Protestants denouncing it as an imposture-including one by two professors at Bonn, entitled 'The Holy Seamless Coat at Treves and the Twenty other Holy Seamless Coats'-intended to prove historically that there were many rivals to the relic of Treves, having equal claims to authenticity with it, if not better. Into this controversy Ronge threw himself. Under the date, October 1, 1844, he published in his own name, and from his address at Laurahütte, in Silesia, a 'Letter from a Catholic Priest to Bishop Arnoldi' denouncing the Exposition of the Holy Coat. The letter was published in the Sächsische Vaterlandsblättern.' Ronge was thereupon excommunicated by the Chapter of Breslau (December 9, 1844). Even among Roman Catholics however, there was a strong public opinion in his favour; and, other circumstances transpiring to produce the result, the occasion was taken to proclaim a schism with Rome and the design of founding a Catholic German Church independently of the Papal See. On the 26th of January 1845, the first German Catholic congregation on the new principle was founded in Breslau, with Ronge as pastor; and in the Easter of the same year, there was a council at Leipzig to agree upon a Creed and settle the organisation of the new Church. The movement spread; an enormous number of pamphlets were published pro and con; Ronge travelled hither and thither, as the chief of the movement; and over Europe he was heard of as a "second Luther." In a short time as many as 200 societies of the new faith and discipline are said to have been instituted-the Protestants, on the whole, welcoming the phenomenon as a new phase of Protestantism. Time passed on; and after the revolutionary outbreak of 1848, the German governments found it their interest to oppose the new religious development. Most of the Societies were put down; and in 1850 Ronge himself was obliged to take refuge in England. Since that time he has resided chiefly in London, occupying himself partly as a teacher, and partly as a preacher to German exiles: in which latter capacity he has been endeavouring to found what he calls a 'Humanistic Society. He has published, among other things, 'A Practical Guide to the English Kinder-Garten (Children's Garden); being an Exposition of Frobell's System of Infant Education,' 1855. In Germany the societies founded under his impulse have been, in the main, suppressed; but there are said to be societies, on the same footing, among the Germans in America.

RONSA'RD, PIERRE DE, was born in 1524, in the district of old France called Vendômois. He was the son of a maître-d'hôtel of Francis I., who made him a knight. Pierre studied for a short time in the college of Navarre at Paris, but soon after he entered the service of the Duc d'Orléans, son of Francis I., in the quality of page. He afterwards attended, in the same capacity, James Stuart, king of Scotland, who had come to Paris to marry Marie de Lorraine, and he accompanied James on his return to Scotland, where he remained three years. On his return to France he resumed his post with the Duc d'Orléans, who sent him on several missions to Scotland, Ireland, and other countries. He was afterwards sent by Francis I. on a mission to Piedmont. In these several journeys he suffered much, in consequence of which he became deaf. On withdrawing from active life he retired to the college of Coqueret, where he studied the classics under

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Turnèbe, became a good Greek scholar, and took orders as a priest. He also began writing French poems, and was crowned in the floral games at Toulouse. He was considered as the successor of Marot, and the chief of the French poets of the time. Montaigne, De Thou, Scaliger, Muret, Pasquier, and others commended him highly; but modern critics have judged him more severely. Boileau says that Ronsard's language was a heterogeneous compound of various languages and dialects, and that his muse spoke Greek and Latin in French verses. Malherbe and La Bruyère have spoken of him in the same strain. Charles IX. bestowed on Ronsard an abbacy and other benefices. His moral conduct however is said not to have been strictly clerical. He died in 1585, in one of his livings near Tours, and a solemn funeral service was celebrated in honour of him at Paris, in the chapel of the college of Boncour. Ronsard had certainly poetical genius, but he was deficient in taste. He was in this respect in France what the seicentisti of the following century were in Italy and Spain. His poetical works are numerous; they consist of odes, hymns, eclogues, &c.: Mascarades, Combats, et Cartels faits à Paris et au Carnaval de Fontainebleau.' He also began a poem, 'La Franciade,' which he left unfinished. His works are now nearly forgotten. The most complete edition of them is that by Richelet, 2 vols. folio, Paris, 1623. ROOKE, ADMIRAL SIR GEORGE, the eldest son of Sir William Rooke, was born at his father's seat, the priory of St. Lawrence near Canterbury, in the year 1650. He entered the navy as a volunteer, and at the age of thirty had attained the rank of post-captain. In 1689 he was sent out as commodore with a squadron to the coast of Ireland, where his services were such as to induce William III. to promote him to the rank of rear-admiral of the red. afterwards bore a part in the indecisive action between the Earl of Torrington's fleet and that of the French admiral Tourville, off Beachy Head. In 1692 Rooke was advanced to the rank of vice-admiral of the blue, and greatly distinguished himself in the battle off Cape La Hogue (properly La Hague) between the French fleet and the combined English and Dutch fleets under Admiral Russell, May 19, 1692; but a part of the French fleet having escaped into La Hogue, and being hauled up so high that the English ships of the line could not reach them, Rooke volunteered on the following day to attack them with the boats of his squadron. This service he performed at night under cover of a fire from his frigates and smaller vessels; and so well was his plan contrived, and so unexpected and suddenly executed, that though six French three-deckers were burnt that night and seven other ships of the line on the following morning, the loss of the English only amounted to ten men. For this exploit Rooke was rewarded with the rank of vice-admiral of the red, a pension of 1000l. a year, and the honour of knighthood.

He soon

After the peace of Ryswick in 1697, Sir George Rooke was elected member of parliament for Portsmouth; and though he was attached to the Tory party, then in opposition to the government, Queen Anne, on her accession in 1702, appointed him "vice-admiral and lieutenant of the admiralty, and also lieutenant of the fleets and seas of this kingdom," having previously constituted her royal consort prince George of Denmark generalissimo of her forces by land and sea. The war of the succession had now commenced, and an attack upon Cadiz was resolved upon, the land-forces being under the command of the Duke of Ormond, and the combined English and Dutch fleets under Rooke. The attack was begun, but, in consequence of the opposition of the Prince of Hesse, was not persevered in. Having received intelligence however that the Plate fleet, under convoy of a French squadron, had taken shelter in the port of Vigo, the duke and Sir George resolved to proceed there. The duke stormed the town with 3000 men, while the fleet took and destroyed seventeen ships; six galleons being taken by the English and five by the Dutch, who burnt five others. The value of the specie and goods taken was estimated at five millions of dollars. Sir George Rooke having been joined by Sir Cloudesley Shovel, with a large reinforcement from England, they resolved to make an attack upon Gibraltar. On the 21st of July 1704 the Prince of Hesse, with 1800 marines, was landed on the isthmus, while the ships commenced a cannonade upon the fortress, which, having been kept up for about six hours, the Spaniards began to fly from the batteries. The boats were then manned and armed, and the seamen succeeded in making themselves masters of the great platform, which they retained till the following day, when a reinforcement of seamen enabled them to carry another strong battery, which put them in possession of most of the enemy's cannon. The governor then accepted the offered terms of capitulation, and the fortress surrendered.

On the 9th of August 1704 Rooke fell in with the French fleet under the Comte de Toulouse, who had recently put to sea from Toulon, with fifty-two ships of the line and twenty-four galleys. The French admiral endeavoured to get away, though, according to Rooke's statement, he had a superiority of 600 guns, but on the 13th of August Rooke brought him to action off Malaga. The battle began in the forenoon, and ended with the day, when the French went off to leeward, and, the weather being hazy, escaped. This was a hard-fought battle. The French lost upwards of 3000 men, and the English upwards of 2000.

Sir George Rooke on his return to England was received by Queen Anne at Windsor with great distinction, but finding that the government was hostile to him, he resigned his employments, gave up his

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seat in parliament, and passed the rest of his life at his seat of St. Lawrence, where he died on the 24th of January 1709, aged fiftyeight, and was buried in the cathedral of Canterbury. He was thrice married. ROOKER, MICHAEL ANGELO, an artist of considerable merit as a landscape-painter and engraver, was born in London about 1743. His father, Edward Rooker, also a skilful designer and engraver, who excelled in landscapes and architectural views, appears to have been a singular character, having for some time acted as a harlequin at Drury Lane Theatre. Michael Angelo was taught engraving by his father, and executed the head-pieces to the 'Oxford Almanack' for several years, from his own drawings. In landscape-drawing, which is said to have been his favourite occupation, he was instructed by Paul Sandby, whose style he imitated. His manner is not powerful, but his drawings display taste and feeling. For several years Rooker painted the scenes for the Haymarket Theatre. He was one of the early associates of the Royal Academy, and died on the 3rd of March, 1801, at the age of fifty-seven or fifty-eight.

ROOS, PHILIP PETER, a painter commonly called ROSA DA TIVOLI, from his long residence at that place, was born at Frankfurt in 1655. He was instructed in art by his father, who was in the service of the Landgrave of Hesse, by which prince Philip was sent to Italy, and allowed a pension during the period of his study. On arriving at Rome he applied himself assiduously to painting, and acquired an astonishing facility of hand; indeed, such was his rapidity of execution that C. le Blond, who was at the same time at Rome, declares that Roos copied in chalk the arch of Titus within half an hour, and that with a considerable degree of finish. He devoted his talents chiefly to painting animals, which he designed mostly from nature. To facilitate his studies he established himself at Tivoli, where he kept a kind of menagerie for the purpose of drawing from the life with correctness such animals as he required for his pictures. His other subjects generally represent pastoral scenes, with herdsmen and cattle, and works of a similar nature, some of which are executed as large as life. His groups are composed with much judgment; and the landscapes in his backgrounds, his skies and distances, are treated with fidelity, and executed in a masterly style. Yet, although he painted with great facility, his productions betray no appearance of negligence or inattention; they are free, without being deficient in finish. His pictures, according to Lanzi, are to be found in the galleries of Vienna, Dresden, and other capital cities of Germany, besides an immense number in Italy and many in England, though we have no specimen by his hand in the National Gallery. He was a member of most of the principal academies of Europe. He is said by Huber to have etched a few plates of pastoral subjects, which are very scarce. He died in 1705. ROSA, SALVATOR, was born at Renelia, or Arenella, a village in the environs of Naples, on the 21st of July 1615, and he was originally intended for the Church. Whilst yet a boy he manifested a strong propensity for drawing, and in order to cure him his parents procured his admission as a student in the college of the congregation of Somasca in Naples; but before the expiration of the usual period of residence, he was either expelled or voluntarily quitted the college. On his return to Renella he devoted his time to the study of music, and cultivated his talent for poetry; and on the marriage of his eldest sister with Francesco Francanzani, a disciple of the Spagnuoletto school, he attended the studio of that artist. He also studied from nature in oil-colour, and in 1633 went from Naples on a tour through the wild scenery of La Basilicata, La Puglia, and Calabria. During his absence he appears to have associated with banditti. At this period Salvator seems to have fostered and matured his taste for romantic scenery, and the studies which he made of groups and single figures whilst with the bandits served him as valuable materials for his future works. Soon after his arrival at Renella his father died, leaving the family dependent upon Salvator, who was then certainly not more than eighteen years of age, for their support. To perform this duty, he executed with great rapidity subjects on primed paper, his poverty not enabling him to purchase canvas, and sold them to the dealers who keep the stalls in the Strada della Carità in Naples. One of these, representing the story of Hagar and Ishmael, was seen and purchased by Giovanni Lanfranco, who was then in the city decorating the church of Gesù Nuovo for the Jesuits. The admiration of that painter was valuable to Salvator, for his works rose in price accordingly, but at the same time it laid him open to the malice and envy of other Neapolitan artists. They ridiculed the efforts of a man who had been obliged to seek the patronage of mean dealers, and he retorted upon them in epigrams, and satirical verses which he set to music and sang. He however obtained the friendship of Aniello Falcone, an eminent painter of battles, the first and best of the pupils of Spagnuoletto, who gave him instruction, and after a time introduced him to the notice of that great painter, from whose advice and practice he derived great benefit.

On the invitation of his former friend, who was in the establishment of the Cardinal Brancaccio, he repaired to Rome. Here he enjoyed the patronage of the cardinal, who took him to the bishopric of Viterbo, where, besides other works, he painted an altar-piece repreBenting the incredulity of St. Thomas, for the Chiesa della Morte. In 1639 he went again to Rome. The reputation of Salvator was now at its height: he was esteemed as a painter, a poet, a musician, and an

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actor; for the plays which he performed were written by him, the music composed by his hand, and the principal character represented by himself. As an artist, he was most extensively patronised, and at very high prices. In 1647, on the breaking out of the revolt of Masaniello at Naples, Salvator Rosa returned to that city, and became a member of the band. On the suppression of the revolt, he made his escape from Naples in the train of the Prince Carlo Giovanni de' Medici, with whom he went to Florence, where he was employed by the grand-duke to paint in the Pitti Palace. Here he associated with the literati and the principal nobility. After remaining several years at Florence he returned to Rome, and was again extensively employed. In 1663 he executed three pictures for the exhibition of San Giovanni; one was Pythagoras on the sea-shore, the second was the same philosopher recounting his visit to the infernal regions, and the third the prophet Jeremiah thrown into a pit for having prophesied the fall of Jerusalem; and soon after he produced his most celebrated picture, the Catiline Conspiracy.' In 1668, at the annual exhibition of the Feast of San Giovanni Decollato, he placed his 'Saul and the Witch of Endor' in competition with the works then shown of the elder masters. He did not execute any important works after this, and died of an attack of the dropsy, on the 15th of March 1673. He was buried in the vestibule of the church of Santa Maria degli Angioli, which was erected over the ruins of the baths of Diocletian, by Michel Angelo. Salvator Rosa left one son, by Lucrezia, a mistress, who accompanied him from Florence, and to whom he was married shortly before his death.

Rosa possessed great invention, and had a wonderful facility of exe. cution. He is superior when he confines his efforts to works of the easel size, and his figures are then correct in drawing and spirited in design. Such is the case in his picture of Atilius Regulus, formerly in the Palazzo Colonna at Rome, and now in the possession of the Earl of Darnley. Of his landscapes, it may be observed, that he wholly rejected the simplicity and amenity cultivated by Claude and by Poussin, and indulged in gloomy effects and romantic forms; nor are his sea-pieces less forcible; in them he represents the desolate shores of Calabria, and not unfrequently adds interest to his works by the terror of shipwreck. According to Sir Joshua Reynolds, he gives a peculiar cast of nature, which, though void of grace, elegance, and simplicity, though it has nothing of that elevation and dignity which belong to the grand style, has yet that sort of dignity which belongs to savage and uncultivated nature. Elsewhere, Sir Joshua very truly observes, "What is most to be admired in Salvator Rosa is the perfect. correspondence which he observed between the subjects which he chose and his manner of treating them. Everything is of a piece: his rocks, views, sky, even to his handling, have the same rude and wild character which animates his figures." But in his efforts to maintain this bold and romantic style, Salvator, it must be admitted, is often extremely careless in his drawing, both trees and rocks being in outline and surface quite untrue to nature.

There are a great number of his pictures in England, several of which are in the collections of the Marquis of Westminster, the Earl of Ellesmere, the Duke of Devonshire, the Earl of Darnley, and others. The National Gallery contains one large landscape by himMercury and the Woodman.' His etchings consist of about ninety in number, executed in a spirited and masterly style. The chiaroscuro is admirably managed, and the heads of the figures are full of expression. His monogram is composed of an S and R combined, the former letter drawn over the straight line of the latter.

Some of the music books of Salvator Rosa were, amongst other musical manuscripts, purchased by Dr. Burney, at Rome, and amongst many airs and cantatas by different masters, there were eight entire cantatas, written, set, and transcribed by the painter himself. From the specimen of his talents for music there given, there seems to be no doubt that he had a truer genius for this science, in point of melody, than any of his predecessors or contemporaries, and there is a strength of expression in his verses which must always place him above the middle rank of poets. To his other accomplishments he added architecture, which, according to Pascoli, he understood perfectly; and he excelled as a comic actor, an improvisatore, and a performer on various musical instruments.

*ROSAS, DON JUAN MANUEL DE, formerly president of the Argentine Confederation, is a native of South America, but descended from Spanish progenitors. The states bordering on the Rio de la Plata from the time of their casting off their dependence on Spain, had been in a continued state of change. Sometimes they constituted themselves independent and frequently hostile states, sometimes they formed a federal state, and sometimes there were federations of two or three. In January 1831 Rosas, who had previously displayed capacity and courage in subordinate employments, was appointed governor or captain-general of Buenos Ayres, which province was then in federal union with Entre Rios, Corrientes, and Santa Fé. In this position his first enterprise was to subdue the disaffected Indians, which he accomplished by his promptitude and energy, thus securing internal peace, and establishing a character for himself. In 1835 the confederation was dissolving into anarchy, when Rosas was elected president of the whole Argentine Confederation. The other states acceding, Rosas still retained his position in Buenos Ayres, which state was specially charged with the management of those affairs which were

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common to the whole. The activity and firmness of Rosas were productive of some immediate good results, civil war was for a time quenched, industry promoted, and commerce extended; but his great object was to extend and uphold the predominance of Buenos Ayres over the whole confederation, and by tyrannical measures to make the trade of La Plata a monopoly to Buenos Ayres. This desire led to an attempt to force Paraguay to join the Confederation, and to an attack on Monte Video. The first produced a war with Brazil, the second a war with England and France. He was of course beaten, but resisted stubbornly from 1845 to 1850. He did not even then submit, but his rule having become intolerable to the subject states, they revolted, chose Don J. J. Urquiza as their president and general, and on February 2, 1851, Rosas and his army were utterly routed at Moron in Buenos Ayres, and Rosas was indebted for his escape with his life to the disguise of a peasant and the assistance of the British consul. He sought refuge in England, and Urquiza's authority, though it was not peacefully maintained, still subsists. ROSCIUS, QUINTUS, a celebrated Roman actor, was born near Lanuvium (Cic., ' De Div.,' i. 36), but at what period is uncertain. He is frequently mentioned in the writings of Cicero, who was his friend and warm admirer. His talents also obtained for him the friendship of Sulla, who, during his dictatorship, presented him with a gold ring, the mark of equestrian rank (Macrob., Sat.,' ii. 10), which honour was the more remarkable, as many passages in the Roman writers prove that the histriones were generally held in great contempt. So perfect however was Roscius in his art, that his name became almost synonymous with excellence in any other branch; and thus when an orator produced a great impression on his audience, it was customary to say, a Roscius is on the stage." (Cic., De Orat.,' i. 28; Brut.,' 84.) Actors frequently received instruction from Roscius, who used to say however that he had never had any pupil with whom he was satisfied. ('De Orat,' i. 28.) Macrobius relates (1. c.) that Cicero and Roscius used to try which of the two could more frequently express the same thought-the one by his eloquence, the other by his gestures; and that Roscius derived from this exercise such a high opinion of his own art, that he wrote a work, in which he compared eloquence with the art of acting. Macrobius also states that Roscius received about a thousand denarii (upwards of 357.) a day for his acting. He died about B.C. 61; since Cicero, in his oration for Archias, which was delivered in that year, speaks of his death as quite recent (c. 8). There is an extant oration of Cicero, though considerably mutilated, in defence of Roscius. The subject of the oration is a claim of 50,000 sesterces against Roscius by C. Fannius Chaerea ( Ueber die Rede des Cicero für Q. Roscius,' Zeitschrift, i. 248).

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ROSCOE, WILLIAM, was born March 8, 1753, at a public house called the Old Bowling Green, on Mount Pleasant, near Liverpool, which was kept by his father, who also followed the business of a market gardener. He received a common school education till he was twelve years of age, when he was removed from school to assist his father in his gardening business; but he continued to improve himself by reading. When in his fifteenth year he was placed with a book seller, but disliking the shop, he was in the following year apprenticed to an attorney in Liverpool. In 1774 he was admitted an attorney of the Court of King's Bench, and began to practise as such, but during these years he had steadily prosecuted his studies in the Greek and Latin languages, and made himself master of French and Italian. He had also paid a good deal of attention to the fine arts, and written some poems, among others one on the origin of the art of engraving, which made him known to Sir Joshua Reynolds, Fuseli, and other distinguished artists. In 1784 he was elected honorary member of the Manchester Literary and Philosophical Society. He also turned his attention to the subject of the slave-trade, and wrote several pamphlets recommending its suppression. When the French Revolution first began, Roscoe was one of its warmest partisans in this country. He wrote 'Strictures' on Burke's Two Letters addressed to a Member of the present Parliament,' reflecting in severe terms upon what Roscoe considered as an apostacy in Burke's political conduct. In 1796 Roscoe published the 'Life of Lorenzo de' Medici, called the Magnificent,' a work which established his literary reputa tion. The subject was happily chosen, and the author treated it well. The work went through several editions, and was translated into Italian, German, and French. It was generally well received on the Continent, but its spirit was criticised by two classes of writers: one of them, of which Sismondi may be considered as the representative, see nothing but perfection in a republican government, and cannot forgive Lorenzo for having controlled and curbed the Florentine democracy. Sismondi charged Roscoe with having deceived himself and others with regard to the character of his hero, who in Sismondi's eye was an insidious and crafty tyrant. It is curious to see Roscoe, who at one time was the advocate of the French Revolution, accused of being the panegyrist of the tyranny of the Medici. Another class of critics was angry with Roscoe for having exposed the part which Pope Sixtus IV. took in the conspiracy of the Pazzi, which led to the murder of Giuliano, Lorenzo's brother, and also for having spoken unfavourably of Cardinal Barbo, afterwards Paul II. On the subject of the Pazzi, Sismondi joined the papal advocates in representing that conspiracy as a laudable deed, justifiable under the circumstances in which it took place. After many years Roscoe replied to his various critics in

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pointed though temperate language in his Illustrations, Historical and Critical, of the Life of Lorenzo de' Medici,' 4to, London, 1822. He inserted in the appendix, among other documents, an important letter written to Sixtus IV. by the signoria, or executive, of Florence after the failure of the Pazzi conspiracy, which letter was discovered in the archives of Florence by the Rev. F. H. Egerton, and printed at Paris in 1814.

The second historical work of Roscoe is his 'Life and Pontificate of Leo X. In this also the author has been charged with undue partiality for his subject. He has reflected with much severity upon the great reformers of the 16th century, because, while they struggled against the overgrown absolutism of papal Rome, they could not divest themselves at once of the habit of intolerance which they had derived from early education. Count Bossi trauslated the Life of Leo' into Italian, adding notes in which he rebutted several of the charges brought against Roscoe's former work concerning Lorenzo: Vita e Pontificato di Leone X., di Guglielmo Roscoe, tradotta e corredato di annotazioni ed altri documenti inediti, dal Conte Luigi Bossi, Milanese,' Milan, 1817. Considered as works of erudition and of general interest, the lives of Lorenzo and Leo by Roscoe stand deservedly high. They introduce the reader to a splendid period of modern history, among a chosen society of scholars, poets, statesmen, and artists, who gathered round the hospitable board of Lorenzo, and afterwards in the more pompous court of his son Leo. Numerous anecdotes and other particulars concerning those individuals make the reader familiar with their persons; and poetical extracts and valuable historical documents add to the value of the work. The style is remarkably pleasing and fluent. These merits of Roscoe's biographies have been universally acknowledged, even by those who have censured the general spirit of his works. Roscoe contributed greatly to encourage among his countrymen a taste for Italian literature and the fine arts. In his own town of Liverpool, the Royal Institution owes its formation to Roscoe's exertions. Roscoe was returned to parliament for Liverpool in the Whig interest. In the latter part of his life he became partner in a bankinghouse, in which however he was not successful. He died at Liverpool, in June 1831. A biographical notice of him was appended to a new edition of his Life of Lorenzo, by his son Henry. The Life of Lorenzo, with this biography of the author, has been published as a volume of Bohn's Standard Library,' and 'The Life and Pontificate of Leo X.' forms two more volumes of that series.

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Three of Mr. Roscoe's sons have secured an honourable name in literature. HENRY, the author of the Memoir of his father, was a barrister, and the author of several legal works. He also wrote the Lives of Eminent Lawyers' for Lardner's 'Cyclopædia.' He died March 25, 1836, aged thirty-seven. ROBERT, the third son, also a member of the legal profession, wrote some pleasing poems, and completed Alfred,' an epic (remarkable rather for its extent than its grandeur) begun by Mr. Fitchett: he died in December 1850, aged sixty. THOMAS, who is still living, has been however the most prolific writer: the list of his productions includes several poems and tales, a Tour in the Isle of Wight,' Tours in North and South Wales, and other illustrated works, and several translations, the most valuable, perhaps, being an excellent one of Sismondi's Historical View of the History of the South of Europe.'

ROSCOMMON, WENTWORTH DILLON, EARL OF, was born in Ireland about 1633. He was the son of James Dillon, third earl of Roscommon, and Elizabeth Wentworth, sister to the Earl of Strafford, who was godfather to his nephew, and gave him his own family name. Upon the breaking out of disturbances in Ireland, Strafford sent for him, and placed him at his own seat in Yorkshire, where he had him instructed in Latin, which Dillon is said to have learned so as to write it with purity and elegance, though he was never able to retain the rules of grammar. When the storm had overtaken Strafford, Dillon was sent to Caen, where he prosecuted his studies under Bochart. He afterwards travelled into Italy, where he examined with care the most valuable remains of classical antiquity, and he acquired uncommon skill in the knowledge of medals. He returned to England at the Restoration, and was made captain of the band of pensioners, a preferment which led him into the habit of gaming and the loss of much of his fortune. He was subsequently master of the horse to the Duchess of York, and he married the Lady Frances, daughter to the Earl of Burlington, and widow of Colonel Courtney.

Wood says of Roscommon that he was "educated from his youth in all kinds of polite learning," and that he "was accounted most excellent in the art of poetry." He was nominated at Oxford to be created LL.D., May 23rd, 1683, but did not appear at the time appointed. Whether he had previously been connected with the University is uncertain. He formed the intention of escaping apprehended evils at home by retiring to Rome, but he was delayed by the gout, which, through improper medical treatment, occasioned his death. At the moment in which he expired, he uttered, with an energy of voice that expressed the most fervent devotion, two lines of his own version of 'Dies Iræ:'

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Roscommon wrote the following works: 1, 'An Essay on translated Verse,' London, 4to, 1680; 2, 'Prologues and Epilogues to Plays,' &c., collected, 8vo, 1684; 3, 'Horace's Art of Poetry,' translated into English blank verse, 4to, 1680; 4, Dr. Wm. Sherlock's case of Resistance of Supreme Powers,' translated into French, 8vo. A short time before his death, Roscommon, among other literary projects formed the plan of a society for refining the English language and fixing its standard, and he is said to have been assisted in the design by John Dryden. ROSE, HEINRICH, was born at Berlin in 1795. Both his grandfather and father had possessed considerable reputation as chemists, and Heinrich followed the hereditary course. He learnt pharmacy in Danzig, studied in the University of Berlin, and in 1819 at Stockholm under Berzelius. After a short residence at Kiel, he graduated at Berlin, where in 1823 he was made professor extraordinary of chemistry in the university, and in 1835 professor in ordinary, He is one of the most distinguished scholars of Berzelius, and as a practical analyst, particularly in the department of inorganic chemistry, holds a high rank. The results of many of his exact and acute investigations are recorded in Pozzendorf's Annalen,' and have greatly contributed to the extension of real knowledge in that department of science, while he has carefully avoided everything of a disputatious character, and rests his opinions entirely upon experiment. His great work, 'Handbuch der analytischen Chimie,' first published in 1829-31, has gone through several editions. It has been translated into French as well as into English, and enjoys an European fame. [See SUPPLEMENT.] *ROSE, GUSTAV, his brother, was born, also in Berlin, in 1798. He directed his attention more especially to mineralogy, and in 1816 was sent to Silesia to pursue his studies practically in the mines, but on account of ill-health returned to the theoretical study. In 1820 he graduated at Berlin, and in 1821 placed himself under Berzelius at Stockholm. In the same year he was created keeper of the mineral collection in the university of Berlin, in 1825 professor extraordinary, and in 1839 professor, of mineralogy. Besides numerous essays in the Annalen,' he has published 'Elemente der Krystallographie,' 1846; the mineralogical and geognostic portion of the Journey to the Ural and Altai Mountains and to the Caspian Sea,' made by him in 1829 with Alex. von Humboldt and Ehrenberg; a treatise, 'Ueber das Krystallisationssystem des Quarzes,' 1846; 'Ueber die Krystallformen der rhomboëdrischen Metalle, namentlich des Wismuths,' 1850; and 'Das Krystallechemische Mineralsystem,' 1852; all of them illustrated with plates. ROSELLI, COSIMO, a celebrated old Florentine painter, was born at Florence, according to Gaye, in 1439. There are few of his works remaining; the principal is the fresco in the convent of Sant' Ambrogio, at Florence, painted in 1456, according to an inscription upon it by Rumohr, when Cosimo cannot have been more than eighteen years of age, according to the above date: Vasari however says it was painted in his youth. And Rumohr observes that Cosimo, in the commencement of his career, followed the path which was opened by Angelico da Fiesole and Masaccio; but that after a few brilliant examples of his ability, he left the approximation of the representation of things as they really appear, to follow an uninterest ing, inanimate, and ugly manner. The fresco represents the transportation of a miracle-working chalice from the church of Sant' Ambrogio to the episcopal palace; the abbess and nuns follow in the procession, and at the palace-gate is a group of priests and choristers ready to receive it: around is a crowd of curious spectators. The story is told, and the picture described, in Richa's 'Chiese di Firenze.' The picture has been engraved by Lasinio for his series of old Florentine paintings, and a group from it in Lastri's 'Etruria Pittrice.' Cosimo was one of the painters invited by Pope Sixtus IV. to Rome to paint the Cappella Sistina, built in 1473, by Baccio Pintelli, for that pope. Cosimo's paintings in this chapel are still in good preservation; they are-the Destruction of Pharaoh's Host in the Red Sea, in which the Israelites are also represented returning thanks for their deliverance; Moses receiving the Tables of the Law while the Israelites are worshipping the golden Calf; the Sermon on the Mount and the Healing of the Leper; and the Last Supper. The landscape of the third picture was painted by Cosimo's pupil, the eccentric Piero di Cosimo, afterwards the master of Andrea del Sarto. These works were painted for a prize in competition with others in the same chapel by Sandro Botticelli, Domenico Ghirlandajo, Don Bartolomeo, Luca da Cortona, and Pietro Perugino. Cosimo was very anxious to get the prize, but he doubted his ability, at the same time that he had little faith in the pope's judgment; he there fore, knowing his weakness in composition and design, painted his picture very high in colour, and used plenty of ultramarine and gold, counting upon attracting the pope's fancy by his gaudy display. When the pictures were all uncovered, his fellow painters laughed at Cosimo for his puerilities. Cosimo however proved himself a good man of the world, if not a good painter; his gay works fixed the pope's attention and he obtained the prize; the other painters were censured by his holiness for not using finer colours, and they were obliged to retouch them and heighten their effect in the same manner, to the great triumph of Cosimo, whose works however were in reality inferior to all the others.

Cosimo Roselli was still living in 1506: Vasari says he was sixtyeight years old when he died; if therefore he were born in 1439,

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1507 may have been the year of his death. He was the master of Fra Bartolomeo. (Vasari, Vite de' Pittori, &c., ed. Schorn; Rumohr, Italienische Forschungen; Platner und Bunsen, Beschreibung der Stadt Rom., vol. ii., pt. 1; Gaye, Carteggio inedito d'Artisti, vol. ii., ap. 1.) ROSELLI'NI, IPPO'LITO, Cavaliere, was born Angust 13, 1800, at Pisa. His father was a merchant, and Rosellini himself was designed for his father's business; but he acquired such a love of the study of antiquities from his first tutor, Padre Battini, a Servitant monk of St. Antonio, who was a tolerable numismatist, that he commenced at an early age to give himself up to those studies for which he afterwards distinguished himself, and the mercantile career was wholly abandoned. In 1821 he finished his university studies in Pisa, and took the degree of Doctor of Theology. He afterwards studied the Oriental languages for three years with the celebrated Mezzofante at Bologna; and in 1824 he was appointed professor of Oriental languages in the Univer sity of Pisa. In 1825 he appears to have devoted himself with much zeal to the study of Egyptian hieroglyphics, following the steps of Champollion, of whose discoveries he was an ardent advocate. When Champollion, in 1826, for the further development of his system, examined the Egyptian monuments in Rome, Naples, and Turin, Rosellini, by the permission of the Tuscan government, attended him in his researches; and he accompanied him to Paris, and there spent the autumn of that year in similar researches: he published also in that year an explanation of an Egyptian monument in the gallery degl' Uffizj at Florence.

In the autumn of 1827 the Grand Duke Leopoldo II. granted Rosellini a year and a half leave of absence, with funds for himself and six companions, to carry out his design of personally exploring the monuments of Egypt. After a considerable delay in Paris the French government of Charles X. determined upon sending Champollion with five companions upon a similar expedition at the same time, and they all embarked together at Toulon, July 31, 1828, and landed on the 18th of August following in Egypt, where they remained fifteen months, exploring all the the principal monuments of Egypt and Nubia.

Rosellini arrived at Pisa January 6, 1830, and commenced immediately a course of lectures on the Egyptian hieroglyphics, the substance of which is in the 'Elementa Linguæ Egyptiacæ' of Padre Ungarelli, published at Rome, in 1837. Rosellini had himself made his principles known in a letter to M. Peyron, in 1831. The great results of the expedition however were to appear in a joint production by Champollion and Rosellini; the former undertaking to explain all the historical monuments, and Rosellini the civil and religious. This design was however rendered impossible by the death of Champollion, which took place March 5, 1832, and Rosellini expressed his sincere regret and disappointment in a eulogium on his departed friend, which he published under the following title:-Tributo di riconoscenza ed amore alla memoria di Champollion.' Rosellini was thus compelled to undertake the whole work himself, which was his original design, and the prospectus explaining the plan of the work had already appeared in January, 1831. Accordingly in November, 1832, appeared the first volume of 'I Monumenti dell' Egitto e della Nubia,' by Rosellini alone, explaining the historical monuments; the second appeared in 1833; and by 1836 three more, explaining civil monuments, were published; but between the publication of the fifth and sixth volumes a long interval incurred, partly through Rosellini's appointment as librarian of the University of Pisa, but chiefly through a serious illness with which he was afflicted in the chest, and which incapacitated him for nearly two years. At the same time, with the above volumes of letter-press, appeared two large folios of illustrations, the historical monuments were completed in 1832, and the civil in 1834. The description of the historical monuments was completed in 1838-41, in two volumes, the third being divided into two parts, making in all four volumes in five on the historical, and three on the civil monuments, and these were all that were published during Rosellini's lifetime. The remaining part were the religious monuments of the Egyptians, which he was occupied upon until the period of his death, and though he did not live to see the publication, he completed the manuscript of this part.

In 1839 he gave up the professorship of Oriental languages and commenced a series of archæological lectures; but in 1841 these labours were remitted him on account of his extremely bad health, and in order that he might bestow what time he could devote to study to the completion of his great work on Egypt. On the 16th of May, 1843, however, his case was found hopeless, and he died on the 4th of June following, in his forty-third year. The third part of the work was published in 1844, under the direction of the professors Bonaini and Severi, in one volume of illustrations and one volume of text. This great work on Egypt may be thus briefly described:-its title is-'I Monumenti dell' Egitto e della Nubia disegnati della Spedizione Scientifico-Letteraria Toscana in Egitto, distribuiti in Ordine di Materie, interpretati ed illustrati del Dottore Ippolito Rosellini'-The Monuments of Egypt and of Nubia drawn by the Tuscan Literary and Scientific Expedition in Egypt, arranged according to their Subjects, and explained and illustrated by Dr. Ippolito Rosellini. It is in three parts, each of which is in one large folio volume with illustrative letter-press in octavo. The first volume, Tavole, M. R.,

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contains the historical monuments, 'Monumenti Storici,' in 169 plates, with four volumes of text, 1832-41; the second, Tavole M. D. C., contains the civil monuments, 'Monumenti Civili,' in 135 plates, with three volumes of text, 1834-36; and the third, Tavole, M. D. C., the monuments of religious worship, Monumenti del Culto,' in 86 plates, with one volume of text, 1844. Rosellini bequeathed his Egyptian manuscripts to the University of Pisa; the drawings and plates are all the property of the Grand Duke. Among the manuscripts is a voluminous but unfinished 'Diccionario Geroglyphico' ('Hieroglyphic Dictionary'), with several thousand names.

ROSEN, FREDERIC AUGUSTUS, was born on the 2nd of September 1805, at Hanover. He received his earliest education from his father, who held a high official situation in the government of the prince of Lippe Detmold. He afterwards went to the gymnasium at Göttingen. In the year 1822 Rosen went to the university of Leipzig, and two years afterwards to Berlin. The energy with which he applied himself to all branches of science and literature, and his great powers for acquiring knowledge, encouraged his friends to form the highest expectations of his future career. At an early period he had become distinguished for his classical attainments and his knowledge of the Semitic languages; but it was not until the year 1824 that he turned his attention to the Sanskrit, a language which at that time was almost unknown in Germany, although its importance in all questions connected with the early history of civilisation had been pointed out by the two Schlegels, Creuzer, and William von Humboldt. During a short visit which he paid to his family, he made himself acquainted, with his father's assistance, with the ancient language of the Brahmins, in which he received further instruction at Berlin from Professor Bopp, who had just returned from London, and been appointed professor of Sanskrit at the University of Berlin. William von Humboldt, who devoted his time to the same pursuits, also encouraged him to proceed in his Sanskrit studies. The total want of all useful aids towards obtaining a knowledge of this difficult language, suggested to Rosen the idea of supplying the deficiency, which his acquisitions rendered him well able to do. Accordingly, in 1826, when he took his degree of doctor of philosophy, he published his 'Corporis Radicum Sansscritarum Prolusio,' which was only the forerunner of his larger work, 'Radices Sanscrita,' Berlin, 1827. This work, which abounds in learning and sound criticism, has contributed more than any other to recommend and facilitate the study of the Sanskrit language in Germany. Rosen also had applied himself with the greatest success to the study of Arabic and Persian; and he had prepared for publication several large episodes of the 'Shah Nahmah,' the great epic poem of the Persians. This intense application to the literature and the languages of the East gave birth to a strong desire to visit Asia. A favourable opportunity presented itself, and he was appointed attaché to the Prussian embassy at Constantinople. Shortly before he started however he received a flattering invitation to become Professor of Oriental Languages in the University of London (now University College), then just established. He accepted the offer, hoping to find in this country a wide field for his literary labours. Before going to London he visited Paris, in order to become acquainted with De Sacy, Remusat, and De Chézy; and after a short stay in that city he came to London. But his expectations of honour and profit were greatly disappointed; for though he had a few pupils in Sanskrit, Arabic, and Persian, it soon became evident that a teacher of the Hindustani language was more wanted at the London University than a professor of Oriental languages as the term is understood in Germany. His energy did not however fail him; and seeing that he could be useful in a secondary capacity, he applied himself for several months with great industry to the Hindustani, in order that he might qualify himself to teach the language. Some years afterwards he resigned his professorship of Oriental languages, but subsequently accepted the Sanskrit professorship in University College. The high opinion which the College entertained of his services may be collected from the 'Annual Report' of the College for the year 1837-38, which was made after his death.

He derived more satisfaction from his occupation as honorary foreign secretary of the Royal Asiatic Society, and as secretary to the Oriental Translation Committee, then just established. This brought him into communication with that great oriental scholar, Colebrooke, for whom he entertained the highest admiration. By Colebrooke's advice he published, under the sanction of the Translation Committee, the Arabic text of the Algebra' of Mohammed ben Musa, with an English translation, accompanied with excellent notes [MUSA]; he also prepared for publication the great Biographical Dictionary' of Ibn Khallikan; but this, as well as another work, in which he intended to give a comprehensive view of the system of Indian jurisprudence, was never completed.

Amidst these various occupations he had not lost sight of a higher and more arduous task, in which he wished to concentrate all his attainments. Having discovered that the character of the Indian literature and language could only be completely understood by tracing them back to the earliest periods to which the 'Vedas' belong, he desired to remove the obscurity by which they are surrounded. In 1830 he published his 'Rig Vedae Specimen' (Taylor, London), and from that time his principal attention was directed to this great object. In order to understand the obsolete languages of these ancient writings,

BIOG. DIV. VOL. V.

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he had to study the oldest of the grammatical works of the Hindus. Having done this, he applied himself to the Commentaries, without a full knowledge of which the texts are quite unintelligible. All this was done under very disadvantageous circumstances, and it is a matter of great regret that he was not placed in a situation which would have made other labour unnecessary.

Among his various literary labours at this period was the revision of the 'Dictionary, Bengali, Sanscrit, and English,' published by Sir Graves Houghton, London, 1833-34. He also made the 'Catalogus Codicum Manuscriptorum Syriacorum et Carshunicorum in Museo Britannico,' which has been published, since his death, under the care of the Rev. Mr. Forshall, who, in his address to the reader, has justly attributed to Dr. Rosen all the merit of this catalogue. Unfortunately, Dr. Rosen's name does not appear either on the title-page of this catalogue, nor after the præfatio which he wrote, and which is printed at the head of the catalogue. To qualify himself for this labour, Rosen made himself master of the Syriac language, with which he was hitherto imperfectly acquainted. At Colebrooke's request he undertook the collection of his 'Miscellaneous Essays,' to which he added an excellent index, 2 vols., London, 1827. He also wrote all the articles relating to Oriental literature in the 'Penny Cyclopædia,' from the article 'Abbasides' to the article 'Ethiopian Language,' both included, together with several articles on Eastern geography, such as 'Arabia' and 'Armenia.' He revised the work on the Hindus, which was published in the 'Library of Entertaining Knowledge;' the chapter on the literature is entirely by his hand. For the Journal of Education' he wrote a review of Bopp's 'Vergleichende Grammatik,' &c. (vol. viii.), and two reviews of Pott's Etymologische Forschungen' (vols. ix., x.). He maintained a constant correspondence with almost all the distinguished scholars on the Continent, and for the last ten years of his life no important publication connected with Eastern philology or history was projected on the Continent to which he did not contribute either by his advice or by the supply of materials. His worth was fully appreciated on the Continent, and a desire was often expressed that he should return to his native country; but being anxious to accomplish his design of publishing the 'Vedas,' and conceiving that he was placed in a wider sphere of utility in England, he preferred remaining in London, where he found such valuable treasures of Oriental literature.

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In the year 1836 he began to print the collection of the hymns of the 'Rig Veda,' giving the Sanskrit text, a Latin translation, and explanatory notes. In the autumn of 1837 he had advanced so far that he intended to publish a first volume, when his sudden death, on the 12th of September 1837, in the prime of life and in the full vigour of his intellectual powers, interrupted an undertaking for which no man in Europe was so well qualified or prepared as himself. The Translation Committee published the book after his death, as far as it was completed, under the title Rig Veda Sanhita Liber Primus, Sanscrite et Latine,' 4to, London, 1838. Those who may hereafter profit by the study of this work, should know at what price it has been obtained: it is only a fragment, but it contains the energy of a whole life. Rosen's posthumous papers and collections were confided for publication to the able hands of Professor Lassen of Bonn. Although Rosen had acquired so honourable a rank as an Oriental scholar, his position in society was no less distinguished. The highest admiration for his talents and attainments was accompanied with universal respect for his virtues. The simplicity of his pure and elevated mind, the gentleness of his manners, and, above all, the genuine kindness of heart which formed the striking feature of his character, secured for him, in an eminent degree, the affection of all who knew him. His readiness on all occasions to aid and advise his literary friends, at any cost of labour, is well known to many who will read this notice.

The loss of such a man was severely felt by all who were interested in the studies to which he had dedicated his life, but especially was he mourned by those who were intimately acquainted with him. His numerous friends, both English and German, presented his father with a marble bust of his son, by Richard Westmacott, as a mark of their esteem for his character and regret for his loss, and erected a monument to his memory in the cemetery at Kensall Green, near London, where he was interred.

ROSENMÜLLER, JOHN GEORGE, was appointed professor of divinity in the University of Leipzig, and superintendent in the Lutheran church at the same place in 1785, and died in 1815. His chief works are:-1, 'Historia Interpretationis Librorum Sanctorum in Ecclesia Christiana, ab Apostolorum Aetate ad Literarum Instaurationem,' 5 parts, 8vo, 1795, 1814; and 2, 'Scholia in Novum Testamentum,' 5 vols. 8vo. The latter is a useful work, especially for young students, but the author cannot be placed in the first rank of commentators. His labours were more directed to the explanation of particular words and phrases than to the general comprehension of the sacred writings. He seldom gives a satisfactory solution of any formidable difficulty.

ROSENMÜLLER, ERNEST FREDERIC CHARLES, son of the preceding, was born in 1768, and died on the 17th of September 1835, after having for many years held the office of professor of oriental languages in the University of Leipzig. His chief works are:-1, Scholia in Vetus Testamentum,' 23 vols. 8vo, which is a philological

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