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ROS called the scholar of Adrian Willaert. In the preface of the Canti Carnascialeschi, published at Florence in 1559, he is called Cantore, as if he had been merely a singer in the service of the house of Medicis. However, he seems to have spent the greatest part of his life in Italy as a composer; in which character he is mentioned with the greatest respect by Zarlino, Vincenzo, Galilei, Pietro Pontio, and almost every Italian musical writer of his time; and after having been successively maestro di capella to the duke of Ferrara, the republic of Venice, where he was the immediate successor of Zarlino, and the duke of Parma, he died at the court of that prince in 1565. His motets and madrigals were first published at Venice in 1544, and after his decease were republished with his masses.—E. F. R.  ROSA,, was born in the neighbourhood of Naples in 1615. His natural love of art and the beautiful scenery of Naples, seem to have made a painter of him in spite of the opposition of his father, an architect. His early works were sketches of the vicinity of Naples, and he appears to have been aided in the practical work of painting by a relative of the name of Fracanzano. He was acquainted also with Spagnoletto, and with Falcone the battle-painter, who both influenced Salvator's taste. The celebrated Lanfranco saw and purchased some of his early sketches; and this so elated the young Salvator, that notwithstanding he was then only twenty years of age, he ventured in 1635 to try his fortunes in Rome. He found a patron in the Cardinal Brancacci, whom he accompanied to Viterbo; but he returned again to the papal capital in 1638, which was from that time his principal place of residence, though he spent some years also at Naples, Viterbo, Volterra, and Florence. He wrote his satires at Volterra; there are six of them—on music, poetry, painting, war, Babylon, and envy. These satires were well known before they were first printed in 1719; and the satirical spirit Salvator displayed made him many enemies, and was the chief cause of his repeated change of residence. At Naples he was mixed up with the riots of Masaniello in 1647, and joined the Compagnia della Morte, of which the battle painter Falcone was captain. The recent stories, however, of his living with banditti at Naples seem to be pure fictions. Masaniello sat to Salvator for his portrait, apparently more than once. This remarkable painter died of dropsy at Rome on the 15th of March, 1673, leaving a considerable property to his only surviving son, by his Florentine housekeeper, whom he married only a few days before his death. Salvator Rosa is celebrated as a landscape, figure, and battle painter; there are also some masterly etchings by his hand. Many of his finest works are in this country. His pictures have all something wild and turbulent about them, in strict harmony with the character of the painter's life. His landscapes are the most prized of his pictures, and they are, in their character, quite unsurpassed. Nearly all are distinguished for a sentiment of solitude and grandeur, and are most suitable localities for the few figures with which he generally peopled them—wandering shepherds, solitary, way-worn, or belated travellers, or ruthless banditti dividing their spoils, or lurking for their prey.—(See Passeri, Vite dei Pittori, &c.; and the account of Dominici; also Lady Morgan's romance called the Life of Salvator Rosa; and the recent notice of Salvini—Satiri e Vita di Salvator Rosa, &c., Florence, 1833.)—R. N. W.  ROSA DA TIVOLI. See.  ROSALBA CARRIERA, a celebrated Italian painter, was born in 1675 at Chiozza in the Venetian States, and learned design of G. Lazzari. The surname of this lady was Carriera, but she is best known by her christian name. She painted in oils, miniatures, and crayons, but was most skilful in the last, in which she excelled all the artists of her time. Her religious pieces, especially her Madonnas, painted in crayons, were in great request, as were also her portraits. She was much employed at the different courts of Europe; at Paris she painted the king, the royal family, and many of the nobility. About the age of seventy she lost her sight, it was said from too continuous application to her profession. She died in 1757.—J. T—e.  ROSAMOND. See.  * ROSAS,, ex-dictator of the Argentine Republic, was born in 1793 in Buenos Ayres, his father being a landed proprietor belonging to an old Spanish family. He is said to be a gaucho—i.e., to have in his veins some mixture of Indian blood. At any rate he lived as a gaucho for the first twenty-seven years of his life, and acquired considerable influence by his personal qualities among the wild population. A merchant named Maza gave him almost the first rudiments of education, after he had reached man's estate. In 1820 he gathered a regiment of colorados, with which he supported the cause of General Rodriguez, then just expelled from Buenos Ayres. He was appointed to a command against the Indians, and from 1820 to 1827 gradually attained such influence as enabled him to lead the insurrection which caused the overthrow of Rivadavia, and his own election (8th December, 1829) as governor and captain-general of Buenos Ayres. In this capacity he succeeded in negotiating the treaties with the several South American States, under which the Argentine confederation was formed—the supreme power being vested in the governor of Buenos Ayres. His power legally expired in 1832, but it was renewed without hesitation in 1832, and again in 1835—on which last occasion absolute power was formally conferred upon him. In his own person he concentrated the direction of diplomacy, the police and home administration, the finances, and the press. His first care was to rid himself of possible rivals, and two at least. Generals Lopez de Santa Fe and Quiroya, perished so opportunely that he was supposed to have been cognizant of their deaths. His next step was to proclaim a war of extermination against the "unitarians"—the party who aimed at forming all the separate states into a single republic. Four times between 1836 and 1840 did this party rise in arms, and were repressed with the most savage determination. It was calculated that up to the year 1843 only, no less than twenty-two thousand persons had fallen victims to his power, by poison, assassination, or military execution. It must, however, be remembered that, in other respects, his administration was beneficial; he restored the balance of the finances, encouraged immigration, and, by reducing the import duties, gave a great impetus to trade. His army gave no quarter, and moreover, a band of assassins, united under the name of La Mazorea, were always ready to execute his orders. Several French subjects being among the victims of his cruelty, a French fleet was sent to blockade Buenos Ayres in 1838, and only withdrawn in 1840 on obtaining the promise of an indemnity for the French subjects who had been injured. The unitarian party, and the state of Montevideo, which had supported it, were thus left to the mercy of Rosas. In 1845 England and France again interfered in the cause of humanity, but separate treaties were concluded in 1849, on bases highly favourable to the dictator. At length, both the federal and unitarian parties united to rid themselves of their ruler, and the empire of Brazil lent the aid of its arms. The "army of liberation of South America," under General Urquiza, defeated the forces of Rosas, 3d February, 1852, at Monte Caseros, and on the following day Urquiza entered Buenos Ayres. Rosas escaped, with his daughters Manuelita and Mercedes, and his sons Manuel and Juan, to Bahia, and thence to England, where he resided for some time in obscurity. Since then, we believe, he has lived chiefly at Brussels.—F. M. W.  ROSASPINA,, a distinguished Italian engraver, was born at Bologna in 1761. He engraved in line, in the dotted manner, and in aquatint. Many of his works are in the tinted crayon manner introduced by Bartolozzi. Of these the best are a series of twenty-five prints after Parmigiano. A noted and very useful work was his "La Pinacoteca," a series of seventy-two prints from the best pictures in the academy of Bologna. He also engraved a series of Appiani's bassi-rilievi of the Battles of Napoleon; and the St. Francis of Domenichino, the Dead Christ of Correggio, and other works of the old masters. Rosaspina was professor in the academy of Bologna. He died September 7, 1841.—J. T—e.  ROSCELLINUS or RUZELIN, a celebrated scholastic doctor and canon of Compeigne, was born in Bretagne about the middle of the eleventh century. His name is principally known in connection with the controversy between the Nominalists and the Realists. The point on which this dispute turned was the nature or import of general notions or terms, such as man, animal, &c. It had its origin in a sentence in the writings of Porphyry, in which he declares himself unable to determine whether or not genera and species have a real and independent existence. It was debated with great animation, and often to the effusion of blood, throughout the middle ages—the whole scholastic philosophy being little more than an exhibition of the three rival opinions which aimed at its solution, namely, Realism, Nominalism, and Conceptualism. Realism was the older and more <section end="100Zcontin" />