Page:The New International Encyclopædia 1st ed. v. 17.djvu/139

* RIBEIRO. 119 RIBOT. romance Menina e J/ofo (1554), the correct title of which is SiiKdcdes or Triiite::as. It introduces his ouii love all'air and a niinilicr of the person- ages of the Portuguese Court. Although very ohscure and confused as to plol. it contains pas- sages of descriptive lieauly. The Obras dc Jicr- nardiin Hibciro were published in 1G45, 1785. and 1852. The best modern edition is that of Dom .Tose Pcssanha, the Menina e .1/ofa with a Pre- f'iriii lISUl). RIBEIRO-FERREIRA, far-ra'c-ra, Tnoir.vz Antonio (1831-1901). A Portuguese poet and statesman, born at Parada de Gonta, and edu- cated for the bar at Coimbra. In 1870 he be- came secretary general of the Portuguese colo- nies. He received the Colonial portfolio in 1878, that of the Interior in 1881, in 1SS5 and in 1800 as ]Iinister of Public Worl<s, and in 1895 and 1890 served as Minister to Brazil. In jirose he •wrote for the jjress and published two volumes of travels, but he was best known as a poet, with a typically Portuguese languor and grace, but iiiueh patriotism withal, as in Dissonancias (1891). Earlier poems are: Sons que jjassam (1854) and Vespcras (1858), both Ivric collec- tions; Don Jaime (1861; 6th ed. 1880), a na- tional epic; and Dclfina. do mill (1808; revised 1881), a narrative. RIBERA, re-Ba'ra, Jusepe de, called Lo SpAGNOLETTO (1588-1656). An historical painter and etcher, Spanish by birth and training. but one of the Xeapolitan school ist of Italy in He was born at leneia. January 12, leading masters of the and the greatest color- the seventeenth century. Jativa, Province of Va- 1588. First instructed by Ribalta at Valencia, he received most of his training and spent the greater part of his life in Italy. He studied after the works of the great masters in Rome, then especially after Correggio and the Venetians, from whom lie derived his vi- vacity of color. He formed his style, however, chielly after Caravaggio, of whom he seems to have been an independent follower, rather than a direct pupil. After years of vicissitude, he settled at Xa]des, where he secured a patron in the rich picture dealer Cortese, whose daughter he married. Like Caravaggio's pictures Ribera's exhibit a wild, extravagant fancy, but great vigor, and. although imbued with the darkness of shadow masses peculiar to the Xeapolitan "Tene- brosi" ( Darklings ), they show a much finer in- stinct of the chiaroscuro. He delights in scenes of horror, such as tortures and martyrdoms of all kinds, but occasionally shows also poetic charm and was the first to combine real- ism with the Roman Catholic spirit. He painted numerous heads and half-figures of her- mits, saints, and philosophers with great anatom- ical exactness. Especially good are his various representations of the "JIartyrdom of Saint Bartholomew." examples of which are in the museums of JIadrid, Berlin, and Dresden. Among his finest paintings are the "Immaculate Concep- tion" (16.35). in the Convent of the Augustine Recollets at Salamanca, excelling in splendor of color and light and in the charm of the Virgin's figure the representations of this subject by Murillo, Guido Reni. and Rubens : the "Descent from the Cross" (16.37). admirable for its delin- eation of pain, and "Communion of the .Apostles." both in San Martino, Naples; the "Adoration of the Shepherds" (1650), in the I^uvrc; tho "Jlartyrdoui of Saint Lawrence," in the Vulicnn; a "Pieta" in the XalionnI (iallery, Lomlon ; and "Saint Mary of Egj-pt Praying at ller Gruvn" (lli41), in the Dresden Museum, of cxcepUonal charm in the expression of I lie head. Of the fifty pictures in the Madrid Musi-uni, llie best are: ".Jacob's Dnani;" "The Inunacuhile Concep- tion;" "Isaac Blessing .laeob;" ".Magdalen;" "Saint Rochus;" "Prometheus;" and "The Blind Sculptor of Gambazo." Of singular interest is a half-figure of "Homer, as Improviser with tho Violin," in the Turin Gallery, and his latest work, the "Saint Sebastian"" (1051), in the Museum of Naples. Of liis twenty-six etcliings the best-known are "The Drunken" Silenus with Satyrs" (1628), the equestrian portrait of "Don Juan d'Austria" (1648), two of "Saint Jerome," and "Satyr Scourged by Cupid." Consult: Ber- mudez, Diccionurio hislurico . . . dc las hclla.^ artes, iv. (Madrid, 1800) Eisenmann, in Dolime, Kunat vml Kiin.illcr Ilaliens, iii. (Leip- zig, 1879) ; Woermann, in Zeitschrifl jfiir hildciidc Kunst (ib., 18!I0) ; and Diccionario cncicloyfdico hispdno-diiiericono, xvii. (Barcelona, 1895). RIBHUS (Skt. rhhu, dexterous, from rabh, Gk. /'Mfijlavew, lamhanein, to take; ultimately connected with Ger. Alp, AS. wif, Eng. elf). In Vedic mj-thologj-, a group of divine artilicers. They are usually three in number, and were originally mortals. They are closely associated with India, and also with Savitar, the sun. while in their appearance they are like the sun, and ride in a bright car drawn by fat steeds. They are most frequently mentioned as the artisans of the gods. The physical basis of the divine as- pect of the Ribhus is doubtful. Some scholars regard them as the three seasons which are at a standstill during the twelve days of the winter solstice. Consult: N6ve, Esftni stir Ic mi/lhe dfs Rihhavas (Paris, 1847); Macdonell, Witic My- iholnqif (Strassburg, 1897): Ryder, Die l/bhu's im Rgveda (Giitersloh, 1901). RIBOT, re'b6', AroTSTiN THl5oniLE (1823- 91). A French genre and jiortrait painter of the realistic school, born at Saint-Nieolas-d'Attez (Eure). He first painted mirror frames, and then worked for a while under Glaize and studied Chardin and the Dutch and Spanish masters in the Louvre. He liegan his exhibits at the Salon by a series of still- life pictures and kitchen scenes, painleil broadly with strong Rembrandt-like effects of light and shade. These include "Cooks at Dinner Time" (1861), and "Chickens Roasting" (1861). His "Saint Sebastian" (1861) showed his powerful, if somewhat coarse, talent, in another manner. This picture, with "The Good Samaritan," and ".Jesus in the Temple," is in the Luxemlxnirg. His later works were mainly portrait heads, chiefly of old people, which are wonderful studies of wrinkled flesh and startling expression. He was decorated with the Legion of Honor. Con- sult Muther. The History of Modern Painting (New York, 1896). RIBOT, Alexandbe Ffxix .JosEpn (1842—). A French statesman, born in Saint Onier (Pas de Calais), and educated for the law in Paris. He was one of the founders of the Socifdf dc Legislation Comparfe. Avas for two years (1875- 77) at the head of a department in the Ministry of Justice, and in 1878 was elected a Deputy.