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RIE the charm of his eloquence. He was stabbed, then his body was dragged about like the vilest thing; horribly disfigured, it was fixed on the gallows. Greater men would have failed where Rienzi failed; so we must not blame him too harshly. His character and career have formed a fruitful subject with poets. The "Rienzi" of the popular writer, Bulwer, has perhaps been more read than any of his other works, though rather for its artistic power than its historical accuracy.—W. M—l.  RIEPENHAUSEN,, a celebrated German painter and engraver, was born at Göttingen in 1786, and was the eldest son of Ernst Ludwig Riepenhausen, an engraver of some little note in that city. Franz studied at first under his father, then became a pupil of William Tischbein, in 1804 passed into the Cassel art-academy, and thence (1805) into that of Dresden. He had attracted notice by some illustrations of Tieck's Genoviva, and other etchings, when in 1807 he and his brother Johannes were enabled by the liberality of the Westphalian government to continue their studies at Rome, whither they went in company with Tieck. Here the brothers devoted themselves to the study of the works of Raphael and his predecessors; and produced numerous designs in chalk illustrative of the poems of Göthe, Schiller, &c., and some scriptural subjects. They also painted alone or in conjunction several altar-pieces and other pictures in oil, including some for the hall of the Guelphic order at Hanover. They likewise published (1824) three parts of a "History of Painting in Italy," with outline engravings from the works of the chief painters prior to Perugino; also "The Paintings of Polygnotus in the Lesche at Delphi, designed and engraved from the Descriptions of Pausanias," Rome, 1826-29. Franz Riepenhausen died at Rome, January 3, 1831.—J. T—e.  RIEPENHAUSEN,, younger brother of the preceding, was born at Göttingen in 1789. The brothers, as indicated above, studied together, went together to Rome, and worked in common till the death of Franz in 1831. Johannes then set about completing the engravings, and arranging the materials of the life of Raphael already commenced, in continuation of the History of Painting in Italy. The Italian edition, "Vita di Raffaelo," appeared at Rome in 1834, the German at Göttingen in 1835. He subsequently painted the "Death of Raphael," 1836; "The Emperor Maximillian and the Duke of Brunswick;" "The Cenci;" and other large oil pictures.—J. T—e.  RIES,, a musician, was born at Bonn in 1784 or 1785, and died at Frankfort in January, 1838. He was the son and the grandson of musicians, his grandfather having been a member of the chapel of the elector at Bonn, and his father having been principal violinist in the same establishment. The latter, Franz, was born at Bonn in 1755. From him Ries learned the rudiments of music, but he was very young placed under the instruction of Bernhard Romberg the violoncellist, to prepare him for a post in the electoral chapel, which his father expected to procure for him. The occupancy of Bonn by the French in 1793 and the consequent dissolution of the chapel, frustrated this project, and Ries had little assistance in his studies for the next eight years. He went to Vienna in 1801 with a letter from his father to Beethoven, with whose family his own had been intimate. Some account of their intercourse with Beethoven will be found in the article upon Beethoven in the present work. It is here enough to state that this great musician became his teacher, he being the only professional pupil ever acknowledged by him, and did all that friendship could prompt to promote his interest. Beethoven always declared himself incapable of teaching composition, and would only consent to give Ries lessons in pianoforte playing, sending him to study counterpoint under Albrechtsberger. There can be little doubt, however, that he gave him such copious advice on the principles of construction as materially influenced, if not entirely formed, the style of his music. Ries made his first appearance as a pianist in 1804, when he played Beethoven's concerto in C minor, of which this was the first public performance. In 1805 Ries was drawn on the conscription, but claimed exemption on account of having lost the sight of one eye through small-pox. He then went to Paris; but failing to make himself a position there, he returned to Vienna in 1807. In 1809 he went to Russia, resting on the way and making his talent known in some of the chief towns in North Germany, Denmark, and Sweden, and being detained prisoner for a week by the English, who captured the ship in which he crossed the Baltic. At Petersburg he met his old master, Romberg, with whom he gave concerts most successfully. His prosperous career in Russia was interrupted by the political troubles, and he next resolved on trying his fortune in England, where he arrived in March, 1813, and remained until May, 1824. It was in London that he first took a recognized standing as an artist; here as a pianist his merits were warmly acknowledged; and here he produced many of his most important orchestral and pianoforte compositions. He married an English lady, obtained enormous occupation as a teacher, was a partner in the Harmonic Institution which designed to publish music for the profit of the composers, was a member of the Philharmonic Society, was the agent of Beethoven, and amassed a large fortune. With the wealth acquired in England, Ries purchased a small property near Godesberg, to which he retired, supposing himself freed from the cares of professional life. The failure of a London banker, however, with whom his capital was deposited, compelled him to resume his practice as a teacher, and he went accordingly to reside at Frankfort in 1829. Meanwhile he had occupied himself with composition, and brought out his opera "Die Räuberbraut," which was reproduced in London in 1829. The interest of his English friends in him, rather than the success of this work, induced his engagement to write "The Sorceress," which was first performed in 1831 by the company of the English opera-house, then playing (until Arnold's theatre was rebuilt after the fire) at the Adelphi theatre. This opera was subsequently given in Germany under the name of "Liska." Ries came to London to superintend its production, and afterwards conducted a musical festival at Dublin. He went to Italy in the following year, and appeared as a player in the chief cities, and then he returned to Frankfort. In February, 1834, he went to Aix-la-Chapelle as director of the orchestra and of the Singing Academy, and he conducted the Lower Rhine Festival held there that year. He revisited Paris and London in 1836; conducted the festival at Aix-la-Chapelle in 1837, where he produced his oratorio "Die Anbetung der Könige;" and then returned to Frankfort to take the direction of the St. Cecilia Society, left vacant by the death of Schelble, the founder. Besides the works that have been named Ries wrote a cantata, "Der Sieg des Glaubens," six symphonies, overtures to Schiller's tragedies of Don Carlos and Die Braut von Messina, a festival overture, nine pianoforte concertos (of which the one in C sharp minor is particularly esteemed), a great number of solo and concerted pieces in almost every variety of form for the same instrument, some violin quartets, and some collections of songs. While in England he gave some instruction to our distinguished composer, John Barnett; and after his return to Germany he received another eminent English musician as a pupil, Edward James Loder.—His brother, a violinist, was born in 1792, and was appointed chamber-musician to the king of Prussia. He was the father of Louis and Adolph Ries, the one a violinist, and the other a pianist, now established in London.—G. A. M.  RIETSCHEL,, an eminent German sculptor, was born at Pulsnitz in Saxony, February 15, 1804. He studied in the Dresden art-academy, and afterwards at Berlin under Rauch. In 1827 he went to Rome at the expense of the Saxon government, and remained there about a year. On his return he was commissioned to execute a colossal statue of Friedrich Augustus of Saxony. Henceforward his position was assured. He was nominated member, and in 1832 professor in the Dresden academy, was elected member of several foreign academies, including that of France; decorated with numerous orders, and actively employed by his own and other German governments. His works consist of classical, poetical, and religious groups, statues and rilievi, some of which are of exceeding beauty, and portrait busts and statues. Among the chief may be named a "Pietà," life-size, executed for the late king of Prussia, which takes high rank for beauty of design and religious sentiment among modern works of that class; the "Christ-Angel," a work of wide popularity; a series of rilievi representing Morning, Noon, Twilight, Night; Cupids and Panthers; colossal statues of Göthe and Schiller for Weimar; Lessing for the city of Brunswick; Weber for Dresden, and several more; besides busts of Rauch, Luther, &c., for the Walhalla, and a large number of other public and private commissions. He had also completed the design for a noble memorial statue of Luther, but its execution was left for another hand. Rietschel died at Dresden, February 21, 1861.—J. T—e.  RIGAUD,, a celebrated French portrait-painter, born at Perpignan in 1659. He settled in Paris in 1681, and in 1700 was admitted a member of the French Academy. He 