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fine en graved portrait by him, and other frontispiece portraits, in a neat formal style, with some ornamental plates for book illustration. He reached consider- able perfection in his art, and was probably one of the earliest English artists who was so employed. There is also by him a whole-length portrait of the Emperor Maximilian.

ROGERS, William Gibbs, carver in wood. Was born at Dover ; August 10, 1792, and having very early m life shown great ability in carving and modelling, he was apprenticed to a carver in London. He rose to great distinction in his profession, both from the delicacy of his execution and the beauty of his design. He decorated 'Carlton House/ * The Pavilion ' at Brighton, 'Kensington Palace/ 'St. Anne's Church/ Limehouse, 'St. Michael's/ Cornhill, and ' St. Mary ' at Hill. In 1872 the Queen granted him a pension of 50/. a year, in reference to the influence he had had on art decoration, especially with re- gard to the art of wood carving in this country. He died March 21, 1875.

ROGERSON,R., portrait painter. Practised about the middle of the 17th century. He painted a room in the Pope's Head Tavern, in 1688, of which Pepys says. ' I do not like it at all, though it be good for such a public place.'

ROGIERS, Theodore, ornamentist. Practised as a chaser in the time of Charles I., and designed and executed several pieces of plate for the King, ornamented with poetic subjects, among them a silver ewer, with the Judgment of Paris, after a de- sign by Rubens. Among the artists drawn by Vandyck is a head of Rogiers.

ROLLES, John, medallist. Was chief engraver to the Mint in the reign of George II. He died May 20, 1743.

ROMA, Spiridone, portrait painter. Was born in Italy, but came to England and settled here. He exhibited a portrait at the Academy in 1774 and 1775, and in 1777 and 1778, his last contributions, de- signs in water-colours. Among other works the ceiling at the East India House, now pulled down, was by him. It was. however, a feeble work, and he was best known as a picture-cleaner. He died suddenly in the street, in 1787.

• ROMNEY, George, portrait painter. Was born December 26, 1734, at Dalton-le-Furness, Lancashire, where his father, a man of many occupations and projects, was builder, farmer of a small freehold, and dealer. He was apprenticed to a cabinet-maker and acquired some skill at his trade, and also in wood carving. A clever lad, he showed a taste for music, made himself a fiddle, and learnt to play upon it. He had also an early notion of mechanics, and a love of art. In 1755 he was still in the 366

workshop, but soon after falling in the way of an itinerant artist, an unprincipled fellow, he became his pupil, continuing with him about two years. Suffering from fever he was nursed oy a young girl, with whom, in 1756, he contracted a hasty marriage. He soon after left his young wife and rambled about the northern counties, painting portraits at two guineas a head, and small whole-lengths at six guineas. Thus employed he managed to save 100l., and giving 70l. to his unoffending wife, who was now burthened with two children, he abandoned his family, to seek his fortune in the Metropolis.

He arrived in London in 1762, and making an attempt at historic art gained a premium at the Society of Arts for his 'Death of General Wolfe.' In 1764 he paid a short visit to France, and in the following year gained a second premium at the Society of Arts for his 'Death of King Edward.' In 1766 he was a member of the Incorporated Society of Artists, and in 1769 was admitted to study at their school. He exhibited with them, 1770, 'Melancholy' and 'Mirth.' In 1771, Mrs. Yates as the 'Tragic Muse,' a whole-length portrait; and in 1772 some portraits. He was also an exhibitor with the Free Society. He rapidly established himself in public favour, and we are told was making 1200l. a year by his profession, when he determined to visit Italy, and in March 1773, set off in company with Ozias Humphrey, a brother artist. Arrived at Rome he separated himself from his fellow-traveller and led a recluse life, holding no intercourse with his countrymen studying there. On his way home he made some stay at Venice and Parma, and reaching London in July 1775, he with much nervous anxiety settled himself in a large house in Cavendish Square, and commenced practice as a portrait painter.

Charging 15 guineas for a head life-size, and proportionately for whole and half-lengths, he soon found himself surrounded by sitters, and his labours were attended by such success that in 1785 he received 3635l. for his portraits. His prices had then risen to — full-length, 80 guineas; half whole-length, 60 guineas; half-length, 40 guineas; kit-cat, 30 guineas; head, 20 guineas. Yet he would have it believed that he disliked portrait painting, for he wrote to his friend Hayley, the poet, 'This cursed portrait painting, how I am shackled with it; I am determined to live frugally and cut it short as soon as I can.' He was ambitious of higher attempts, and having been successful at the commencement of his career was desirous to return to historic art. He had made acquaintance with Hayley soon after his return to London, visited him every season at Eartham, in Sussex, where he resided, was praised by