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but they are mostly of wood and usually consist of close panelling below-often decorated with painted figures of saints and open screenwork above, supporting tracery and richly carved cornices and crestings. In England they were generally lavishly coloured and gilded. In some instances they extend across the aisles of the church as well. In England, also, the rood frequently stood not on or near the screen and loft, but on a separate transverse beam called the rood-beam, which was similarly carved and gilded. There were sometimes other beams also, besides that supporting the rood, like those at St. David's, between the choir and sanctuary, and Lincoln beyond the high altar, on which stood lights and reliquaries. Corbels, or stone brackets in English churches-e. g., Worcester cathedral-often indicate the position of the rood-beam before its removal in the sixteenth century. Leading up to the rood-loft were the rood-stairs, many of which still remain even where the loft itself has been destroyed. In England these stairs were generally enclosed in the wall separating chancel from nave, but in other countries they often constituted an architectural feature with elaborate tracery, as at Rouen (since destroyed), Strasburg, St-Etienne-du-Mont, and La Madeleine at Troyes. In churches where there were both pulpitum and rood-screen the latter usually had two doors, and between them was placed, on the western side, the roodaltar, which, in monastic churches, often served as the parish altar, the parishioners being accommodated in the nave. This was the case in almost all the monastic cathedrals and greater abbeys of England, and the altar, being immediately under the great rood, was dedicated to the Holy Cross, except at Durham, where it was called the Jesus altar, and at St. Albans, where the dedication was to St. Cuthbert. The latter still remains in situ as the parish altar. In Münster cathedral and at Lübeck, in the hospital church, there were three altars, with the two doors of the screen between them. In smaller churches, with no separate pulpitum, but only a rood-screen with a central doorway, there was usually an altar on either side of the door, but it is doubtful whether these can strictly be termed rood-altars. It seems probable that in some cases the rood-altar was on the loft itself, instead of beneath-e. g., at Lichfield, Lyons, and St-Maurice, Vienne. In some old lofts drains have been found which may possibly be the remains of the piscinas for such altars. The daily parish Mass said at the altar on or under the rood-screen, was called the rood Mass, though occasionally this term is used to signify merely the Mass of one or other of the feasts of the Holy Cross, A few other terms used in connexion with the rood may here be briefly explained. The rood-arch was the arch separating chancel from nave, under which the rood and rood-screen were usually situated. A rood-door was either the central door of a rood-screen or one of the two doors on either side of the roodaltar. Rood-gallery was another term for rood-loft. The rood-gap was the space under the chancel arch, partially occupied by the rood. The rood-saints were the figures of Sts. Mary and John on either side of the rood; rood-steps, the steps leading up from the nave into the chancel, under or immediately before the rood-screen. Rood-steeple, or rood-tower, was a name sometimes given to the central tower of a church at the intersection of nave and chancel with the transepts, as at Durham, Notre-Dame, Paris, and Lincoln. At the last-named place the name has since been corrupted into "Broad Tower."

PUGIN, Treatise on Chancel Screens and Roodlofts (London, 1851); WALCOTT, Sacred Archaology (London, 1868); ARMFIELD, in Dict. of Christian Antiquities, s. v. Rood (London, 1880); BOND, Screens and Galleries in English Churches (London, 1908); THIERS, Traité sur les jubés (Paris, 1688). Also numerous papers and articles in Transactions of the various English Archæological Societies. A list of the chief of these is given in BOND, op. cit.

supra.

G. CYPRIAN ALSTON.

Rooney, JOHN. See GOOD HOPE, WESTERN VICARIATE OF THE CAPE OF.

Roothaan, JOHANN PHILIPP, twenty-first General of the Society of Jesus, b. at Amsterdam, 23 November, 1785; d. at Rome, 8 May, 1853. Originally Protestant, the Roothaan family emigrated from Frankfort to Amsterdam, where it became Catholic. Johann Philipp, the youngest of three brothers, was on account of his special talent destined for study, and, before he was sixteen, graduated from the gymnasium of his native town. Thence passing to the athenæum illustre (high school), he continued for four years his classical studies under the celebrated Professor Jakob van Lennep with the greatest success. Confronted with the necessity of choosing his vocation, he determined to join the Society of Jesus, which still survived in White Russia and had been officially recognized by Pius VII. In 1804 he set out for the novitiate in Dünaburg; the descriptions of his month's journey thither are very interesting. On the conclusion of his novitiate, he was, on account of his great knowledge of the classics, appointed teacher at the Jesuit gymnasium at Dünaburg (1806-9), and completely satisfied the expectations of his superiors. He had already mastered Polish; as a native of Holland, he naturally spoke also French, while the two classical languages and Hebrew were among his favourite studies. He subsequently began the higher study of philosophy and theology at Polotsk, and in 1812 was ordained priest. The following four years were spent as professor of rhetoric at Pusza-this was the stormy era of the Franco-Russian War. The joyous incident of the restoration of the Society of Jesus by Pius VII also belongs to this period (1814). The other four years which preceded the banishment of the Jesuits from Russia (1820) were passed by Roothaan partly as teacher and partly in pastoral duties in Orsa. During this interval he took the final solemn vows, and could thus enter courageously on his journey into exile. This journey lasted three months, and ended in Brieg (Canton of Wallis, Switzerland). Here he again taught rhetoric for three years, besides taking zealous part in popular missions. He thrice accompanied, on his tour of visitation, the provincial of the vice-province of Switzerland, to which also belonged the Jesuit houses in Germany, Belgium, and Holland, and learned the conditions from personal examination. He was able, after a seventeen years' absence, to revisit his kindred at Amsterdam. Roothaan's subsequent appointment to the rectorship of the newly-founded college at Turin brought him to his real life's task. On the death of A. Fortis, General of the Society of Jesus, Roothaan was named his successor

His labours as General were most fruitful in every domain for the newly-restored order. His first care was for the preservation and strengthening of the internal spirit of the Society. To this object he devoted nine of his eleven general letters. Of still greater fundamental importance than these valuable encyclicals were his labours on the new edition of the Exercises of St. Ignatius according to the original text; this edition he provided with an introduction and explanatory notes. The enlightened and renewed use of this precious work is his chief service, which alone must have rendered his name immortal in the Society. He also displayed great zeal in raising the standard of studies; having himself enjoyed such a splendid classical education, he was able to appreciate the value of the classics for a mental training. After careful investigation and counsel, he published in 1832 the Revised Order of Studies, excellently adapted to the conditions of the time. Having thus provided for their spiritual and intellectual armour, he was also able to open up the

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ROOD LOFT WITH ORGAN, IN THE HOFKIRCHE, INNSBRUCK

THE NEW Y PUBLIC LIBRARY

ASTOR, LI TILDEN F

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richest fields for the activity of his brethren in the Society, namely the home and foreign missions. During his administration, the order increased twofold in the number of its members (5000) and in its apostolic activity, although it had meanwhile to suffer banishment and persecution in many places, especially in the year of revolution, 1848. The General himself had to quit Rome for two years. On his return his health was broken, his strength began to fail, and fits of weakness announced his approaching end. The characteristics of Roothaan are well expressed in the words which he himself declared the principle of his administration: "fortiter et suaviter". The same idea is expressed in the words of his biographer: "Impetuous by nature, he governed all passions by the exercise of Christian self-denial, so that a most measured moderation in all things forms his distinctive characteristic."

THYM, Levenschets Van P. Joannes Philippus Roothaan, General der Societeit van Jesus (Amsterdam, 1885), German tr. MARTIN (Ravensburg, 1898); TERWECOREN, Esquisse historique sur le T. R. P. Roothaan (Brussels, 1857).

N. SCHEID.

Roper, MARGARET. See THOMAS MORE, BLESSED. Roper, WILLIAM, biographer of the Blessed Thomas More, b. 1496; d. 4 Jan., 1578. Both his father and mother belonged to distinguished legal families. He was educated at one of the English universities, and received his father's office of clerk of the pleas in the Court of King's Bench. He held this post till shortly before his death. When he was about twenty-three he seems to have been taken into Sir Thomas More's household, and he married Margaret, Sir Thomas's eldest daughter, in 1521. Eras mus who saw much of the More family describes him as a young man "who is wealthy, of excellent and modest character and not unacquainted with literature". He became fascinated, however, by the Lutheran doctrine of justification by faith, and professed his heresy so openly as to be summoned before Wolsey. Sir Thomas frequently reasoned with his son-in-law: "Meg", he said to his daughter, "I have borne a long time with thy husband; I have reasoned and argued with him in these points of religion, and still given to him my poor fatherly counsel, but I perceive none of all this able to call him home; and therefore, Meg, I will no longer dispute with him, but will clean give him over and get me to God and pray for him". To these prayers Roper attributed his return to the Faith; henceforth he was an ardent Cathclic. He sat in four of Mary's parliaments, twice as member for Rochester and twice as member for Canterbury. His Catholicism got him into difficulties with the Government under Elizabeth and he was summoned before the Council in 1568; in the following year he was bound over to be of good behaviour and to appear before the Council when summoned. He does not seem to have been troubled further. His reminiscences of Sir Thomas More were written in the time of Queen Mary nearly twenty years after the events with which they deal, but his relations with his father-in-law had been so close and the impressions he received in that delightful household so vivid, that these rather disjointed notes form a most attractive biography. Roper's "Life" was not printed till 1626, but it was used by the earlier biographers of More, and is the chief authority for his personal history.

BRIDGETT, Life and Writings of Sir Thomas More (London, 1891), Dict. of Nat. Biog.; GILLOW, Bibl. Dict. Eng. Cath.; Wood's Athena Oron, ed. BLISS (London, 1820).

F. F. URQUHART.

Rorate Coeli (Vulgate, text), the opening words of Is., xlv, 8. The text is used frequently both at Mass and in the Divine Office during Advent, as it gives exquisite poetical expression to the longings of l'atriarchs and Prophets, and symbolically of the

The

Church, for the coming of the Messias. Throughout Advent it occurs daily as the versicle and response at Vespers. For this purpose the verse is divided into the versicle, "Rorate coeli desuper et nubes pluant justum" (Drop down dew, ye heavens, from above, and let the clouds rain the just), and the response: "Aperiatur terra et germinet salvatorem" (Let the earth be opened and send forth a Saviour"). text is also used: (a) as the Introit for the Fourth Sunday in Advent, for Wednesday in Ember Week, for the feast of the Expectation of the Blessed Virgin, and for votive Masses of the Blessed Virgin during Advent; (b) as a versicle in the first responsory of Tuesday in the first week of Advent; (c) as the first antiphon at Lauds for the Tuesday preceding Christmas and the second antiphon at Matins of the Expectation of the Blessed Virgin; (d) in the second responsory for Friday of the third week of Advent and in the fifth responsory in Matins of the Expectation of the Blessed Virgin. In the "Book of Hymns" (Edinburgh, 1910), p. 4, W. Rooke-Ley translates the text in connexion with the O Antiphons (q. v.): "Mystic dew from heaven

Unto earth is given:

Break, O earth, a Saviour yield-
Fairest flower of the field".

The exquisite Introit plain-song may be found in in the various editions of the Vatican Graduale and the Solesmes "Liber Usualis", 1908, p. 125. Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger (Liturgical Year, Advent tr., Dublin, 1870, pp. 155-6) gives it as an antiphon to each of a series of prayers ("Ne irascaris", Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer. The Latin text and a different English rendering are also given in the Baltimore "Manual of Prayers" (pp. 603-4). A plain-song setting of the "Prayer", or sefies of prayers, is given in the SoTesmes Manual of Gregorian Chant" (Rome-Tournai, 1903, 313-5) in plain-song notation, and in a slightly simpler form in modern notation in the "Roman Hymnal" (New York, 1884, pp. 140-3), as also in 'Les principaux chants liturgiques" (Paris, 1875, pp. 111-2) and "Recueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, pp. 218-9). H. T. HENRY.

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Rosa, SALVATORE, or SALVATOR (otherwise known as RENELLA, or ARENELLA, from the place of his birth), Neapolitan artist, b. at Renella, a little village near Naples, 1615; d. at Rome 15 March, 1673. He was the son of poor parents; his father, Vita Antonio, was trained as an architect; his mother, Giulia Greca Rosa, belonged to one of the Greek families of Sicily. The boy was intended first of all for the Church, and by the assistance of a relative of his mother's was sent to a college in Naples to be trained, but his excitable and impulsive nature started all kinds of difficulties, and he had to leave before his education was completed. His mother had come of a family of painters, and a Sicilian uncle had early in his life given him some lessons in drawing, while his sister's husband was an artist who had been trained by Spagnoletto, therefore there were divers reasons why the young lad should take up painting. He threw his whole heart into his work, but succeeded so poorly that presently he left home, joined a band of robbers who infested the southern part of Italy, and wandered about with them, meanwhile making all kinds of sketches, which were eventually very useful in his larger pictures. His father died when Salvatore was seventeen; the income for the family ceased, and young Rosa as its head, was regarded as its sole support. He again took to painting, and worked exceedingly hard, exposing his pictures for sale in the

ROSALIA

street, and in that way, by a fortunate accident, came under the attention of Lanfranco, and through him got to know Falcone. Both of these artists were of the greatest possible assistance to him. His progress, however, was exceedingly slow, and the members of his family took almost everything that he earned for their own support; meantime he was laid up almost periodically with a malignant fever, the seeds of which had been sown in his journeys with the robbers.

In 1634, he came to Rome, but fell very ill, and had to return again to Naples more dead than alive. After a little while, however, he went back to Rome, and there gained a patron in Cardinal Brancaccio, who gave him various commissions both in the

Edinburgh, and in almost every important palace in
Rome. He was a skilful etcher, leaving behind him
some thirty-five or forty well-etched plates, and was
a very powerful draughtsman in black and sanguine.
Many of his pictures are signed by his conjoined
initials arranged in at least a dozen different ways,
Most of the information concerning him is obtained from
and always skilfully combined.
PASSERI, Vite di pittori, scultori é architetti che hanno lavorato in
Roma (Rome, 1772).
GEORGE CHARLES WILLIAMSON.

Rosalia, SAINT, hermitess, greatly venerated at
Palermo and in the whole of Sicily of which she is
patroness. Her feast is celebrated on 4 September.
A special feast of the translation of her relics is kept-
in Sicily 15 June. There is no account of her before
Valerius Rossi (about 1590), though churches were
dedicated in her honour in 1237. Her Vita (Acta
SS., 11 Sept., 278) which, according to the Bollandist
J. Stilting, is compiled from local traditions, paintings,
and inscriptions, says: She was the daughter of
Sinibald, Lord of Quisquina and of Rosa, descended
from the family of Charlemagne; in youthful days
she left home and hid herself in a cave near Bivona
and later in another of Monte Pellegrino near Palermo,
in which she died and was buried. In 1624 her re
mains were discovered and brought to the Cathedral
of Palermo. Urban VIII put her name into the
Roman Martyrology. Whether before her retire-
ment she belonged to a religious community, is not
known. The Basilians, in their Martyrology, claim
her as a member. She is often represented as a
Basilian nun with a Greek cross in her hand. Many
of her pictures may be found in the Acta SS.

DUNBAR, Lives of Saintly Women (London, 1905); BARINGGOULD, Lives of the Saints (London, 1877); Stadler in HeiligenFRANCIS MERSHMAN. lexicon.

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Rosary, THE.-I. IN THE WESTERN CHURCH."The Rosary", says the Roman Breviary, "is a certain form of prayer wherein we say fifteen decades or tens of Hail Marys with an Our Father between Self-portrait, Palazzo Saracini Chigi, Siena each ten, while at each of these fifteen decades we Eternal City and in Viterbo. In some of these works recall successively in pious meditation one of the he was assisted by a fellow-pupil named Mercuri. mysteries of our Redemption." The same lesson From this point he began to make progress, but for the Feast of the Holy Rosary informs us that when the Albigensian heresy was devastating the presently discovered that he had a genius for composing witty poems, sparkling and epigrammatic, country of Toulouse, St. Dominic earnestly besought which gained for him a sudden reputation in Rome; the help of Our Lady and was instructed by her, this he turned to good account; then suddenly drop- "so tradition asserts", to preach the Rosary among ping his poetic work as quickly as he had taken it up, the people as an antidote to heresy and sin. From turned again to his favourite profession of painting. that time forward this manner of prayer was "most He worked very hard, and was a painter of consider- wonderfully published abroad and developed [promable power, and of marked personality. His pictures ulgari augerique cœpit] by St. Dominic whom differas a rule are distinguished by gloom and mystery, ent Supreme Pontiffs have in various passages of and rich colouring, magnificent shadows, and broad, free, their apostolic letters declared to be the institutor and author of the same devotion." That many easy work, nervous and emotional. There is a general air of melancholy over almost all his works, and popes have so spoken is undoubtedly true, they appear to have been turned out at top speed, amongst the rest we have a series of encyclicals, but there is an impressiveness about his pictures beginning in 1883, issued by Pope Leo XIII, which, which can never be mistaken. For a while they were while commending this devotion to the faithful in regarded far too highly at a time when the Academic the most earnest terms, assumes the institution of School was the only one in repute; they then passed the Rosary by St. Dominic to be a fact historically under a cloud when the Primitives came into their established. Of the remarkable fruits of this devoown, but now their genius is again asserting itself, and tion and of the extraordinary favours which have the landscapes of Rosa with their marvellous draughts- been granted to the world, as is piously believed, manship and extraordinary, melancholy magnificence through this means, something will be said under We will confine ourselves here are being appreciated by persons able to under- the headings ROSARY, FEAST OF, and ROSARY, CONstand the merits of a poetic interpretation. The last few years of the artist's life were passed be- to the controverted question of its history, a matter tween Naples and Rome, with one temporary visit which both in the middle of the eighteenth century and to Florence, where he remained three or four years. again in recent years has attracted much attention. Let us begin with certain facts which will not be It is tolerably obvious that whenever It was in Rome that he died; but the best part of his life was passed in his native town, where he was held contested. any prayer has to be repeated a large number of times in high repute, and regarded as one of its glories. His recourse is likely to be had to some mechanical works are to be found in almost all the galleries of Europe, notably in the Pitti, the National Gallery of apparatus less troublesome than counting upon the London, the Hermitage, the galleries of Dulwich and fingers. In almost all countries, then, we meet with

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