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ninth century. The pioneer in music, the Monk Hucbald of Saint-Amand, composed at least two, probably four, rhythmical offices; and the larger number of the older offices were used liturgically in those monasteries and cities which had some connexion with Saint-Amand. From there this new branch of hymnody very soon found its way to France, and in the tenth and eleventh, and particularly in the twelfth and thirteenth centuries, showed fine, if not the finest results, both in quality and quantity. Worthy of especial mention as poets of this order are: the Abbots Odo (927-42) and Odilo (994-1049) of Cluny, Bishop Fulbert of Chartres (1017-28), the Benedictine Monk Odorannus of Sens (d. 1045), Pope Leo IX (d. 1054); Bishop Stephen of Tournay (11921203); Archdeacon Rainald of St. Maurice in Angers (d. about 1074); Bishop Richard de Gerberoy of Amiens (1204-10); Prior Arnaud du Prè of Toulouse (d. 1306), and the General of the Dominican Order, Martialis Auribelli, who in 1456 wrote a rhymed office for the purpose of glorifying St. Vincent Ferrer. The most eminent poet and composer of offices belongs to Germany by birth, but more so to France by reason of his activity; he is Julian von Speyer, director of the orchestra at the Frankish royal court, afterwards Franciscan friar and choir master in the Paris convent, where about 1240 he composed words and music for the two well-known offices in honour of St. Francis of Assisi and of St. Anthony of Padua (Anal. Hymn., V, nos. 61 and 42). These two productions, the musical value of which has in many ways been overestimated, served as a prototype for a goodly number of successive offices in honour of saints of the Franciscan Order as well as of others. In Germany the rhymed offices were just as popular as in France. As early as in the ninth century an office, in honour of St. Chrysantus and Daria, had its origin probably in Prüm, perhaps through Friar Wandalbert (Anal. Hymn., XXV, no. 73); perhaps not much later through Abbot Gurdestin of Landévennec a similar poem in honour of St. Winwalous (Anal. Hymn., XVIII, no. 100). As hailing from Germany two other composers of rhythmical offices in the earlier period have become known: Abbot Berno of Reichenau (d. 1048) and Abbot Udalschale of Maischach at Augsburg (d. 1150).

The other German poets whose names can be given belong to a period as late as the fifteenth century, as e. g. Provost Lippold of Steinberg and Bishop Johann Hofmann of Meissen. England took an early part in this style of poetry, but unfortunately most of the offices which originated there have been lost. Brilliant among the English poets is Archbishop Pecham whose office of the Trinity has been discussed above. Next to him are worthy of especial mention Cardinal Adam Easton (d.1397) and the Carmelite John Horneby of Lincoln, who about 1370 composed a rhymed office in honour of the Holy Name of Jesus, and of the Visitation of Our Lady. Italy seems to have a relatively small representation; Rome itself, i. e. the Roman Breviary, as we know, did not favour innovations, and consequently was reluctant to adopt rhythmical offices. The famous Archbishop Alfons of Salerno (1058-85) is presumably the oldest Italian poet of this kind. Besides him we can name only Abbot Reinaldus de Colle di Mezzo (twelfth century), and the General of the Dominicans, Raymundus de Vineis from Capua (fourteenth century). In Sicily and in Spain the rhymed offices were popular and quite numerous, but with the exception of the Franciscan Fra Gil de Zamora, who about the middle of the fifteenth century composed an office in honour of the Blessed Virgin (Anal. Hymn., XVII, no. 8) it has been impossible to cite by name from those two countries any other poet who took part in composing rhythmical offices. Towards the close of the thirteenth century, Scandinavia also comes to the fore with rhymed

offices, in a most dignified manner. Special attention should be called to Bishop Brynolphus of Skara (1278-1317), Archbishop Birgerus Gregorii of Upsala (d. 1383), Bishop Nicolaus of Linköping (1374-91), and Johannes Benechini of Oeland (about 1440). The number of offices where the composer's name is known is insignificantly small. No less than seven hundred anonymous rhythmical offices have been brought to light during the last twenty years through the "Analecta Hymnica". It is true not all of them are works of art; particularly during the fifteenth century many offices with tasteless rhyming and shallow contents reflect the general decadence of hymnody. Many, however, belong to the best products of religious lyric poetry. For six centuries in all countries of the West, men of different ranks and stations in life, among them the highest dignitaries of the Church, took part in this style of poetry, which enjoyed absolute popularity in all dioceses. Hence one may surmise the significance of the rhythmical offices with reference to the history of civilization, their importance in history and development of liturgy, and above all their influence on other poetry and literature.

BLUME AND DREVES, Analecta Hymnica medii ævi, V, XIII, 1889-1909); BAUMER, Reimofficien, 356-64, in Gesch. des Breviers XVII, XVIII-XXVI, XXVIII, XLVa, LII, appendix (Leipzig, (Freiburg, 1895); BLUME, Žur Poesie des kirchlichen Stundengebetes, 132-45, in Stimmen aus Maria-Laach (1898); FELDER, (Fribourg, 1901). Liturgische Reimofficien auf die hll. Franziskus und Antonius

CLEMENS BLUME.

Ribadeneira (or RIBADENEYRA and among Spaniards often RIVADENEIRA), PEDRO DE, b. at Toledo, of a noble Castilian family, 1 Nov., 1526 (Astrain, I, 206); d. 22 Sept., 1611. His father, Alvaro Ortiz de Cisneros, was the son of Pedro Gonzales Cedillo and grandson of Hernando Ortiz de Cisneros whom Ferdinand IV had honoured with the governorship of Toledo and important missions. His mother, of the illustrious house of Villalobos, was still more distinguished for her virtue than for her birth. Already the mother of three daughters, she promised to consecrate her fourth child to the Blessed Virgin if it should be a son. Thus vowed to Mary before his birth, Ribadeneira received in baptism the name of Pedro which had been borne by his paternal grandfather and that of Ribadeneira in memory of his maternal grandmother, of one of the first families of Galicia. In the capacity of page he followed Cardinal Alexander Farnese to Italy, and at Rome entered the Society of Jesus at the age of fourteen, on 18 Sept., 1540, eight days before the approval of the order by Paul III.

PETRUS RIBADENEIRA
Jet Sariet Jesu Thea

PEDRO DE RIBADENEIRA

After having attended the Universities of Paris, Louvain, and Padua, where, besides the moral crises which asssailed him, he often had to encounter great hardships and habitually confined himself to very meagre fare [he wrote to St. Ignatius (Epp. mixta, V, 649): "Quanto al nostro magnare or

dinariamente é, a disnare un poco de menestra et un poco de carne, et con questo è finito"]. He was ordered in November, 1549, to go to Palermo, to profess rhetoric at the new college which the Society had just opened in that city. He filled this chair for two years and a half, devoting his leisure time to visiting and consoling the sick in the hospitals. Meanwhile St. Ignatius was negotiating the creation of the German College which was to give Germany a chosen clergy as remarkable for virtue and orthodoxy as for learning: his efforts were soon successful, and during the autumn of 1552 he called on the talent and eloquence of the young professor of rhetoric at Palermo. Ribadeneira amply fulfilled the expectations of his master and delivered the inaugural address amid the applause of an august assembly of prelates and Roman nobles. He was ordained priest 8 December, 1553 (Epp. mixta, III, 179); during the twenty-one years which followed he constantly filled the most important posts in the government of his order. From 1556 to 1560 he devoted his activity to securing the official recognition of the Society of Jesus in the Low Countries. At the same time he was

charged by his general with the duty of promulgating and causing to be accepted in the Belgian houses the Constitutions, which St. Ignatius had just completed at the cost of much labour.

But these diplomatic and administrative missions did not exhaust Ribadeneira's zeal. He still applied himself ardently to preaching. In December, 1555, he preached at Louvain with wonderful success, and likewise in January, 1556, at Brussels. On 25 November of the same year he left Belgium and reached Rome 3 February, 1557, setting out again, 17 October for Flanders. His sojourn in the Low Countries was interrupted for five months (November, 1558, to March, 1559); this period he spent in London, having been summoned thither on account of the sickness of Mary Tudor, Queen of England, which ended in her death. In the summer of 1559 he was once more with his general, Lainez, whose right hand he truly was. On 3 November, 1560, he made his solemn profession, and from then until the death of St. Francis Borgia (1572) he continued to reside in Italy, filling in turn the posts of provincial of Tuscany, of commissary-general of the Society in Sicily, visitor of Lombardy, and assistant for Spain and Portugal. The accession of Father Everard Mercurian as general of the order brought a great change to Ribadeneira. His health being much impaired, he was ordered to Spain, preferably to Toledo, his native town, to recuperate. This was a dreadful blow to the poor invalid, a remedy worse than the disease. He obeyed, but had been scarcely a year in his native land when he began to importune his general by letter to permit him to return to Italy. These solicitations continued for several years. At the same time his superiors saw that he was as sick in mind as in body, and that his religious spirit was somewhat shaken. Not only was he lax in his religious observances, but he did not hesitate to criticize the persons and affairs of the Society, so much so that he was strongly suspected of being the author of the memoirs then circulated through Spain against the Jesuits (Astrain, III, 106–10). This, however, was a mistake, and his innocence was recognized in 1578. He it was who took upon himself the task of refuting the calumnies which mischief-makers, apparently Jesuits, went about disseminating against the Constitutions of the Society, nor did he show less ardour and filial piety in making known the life of St. Ignatius Loyola and promoting his canonization.

Outside of the Society of Jesus, Ribadeneira is chiefly known for his literary works. From the day of his arrival in Spain to repair his failing health until the day of his death his career was that of a brilliant writer. His compatriots regard him as a

master of Castilian and rank him among the classic authors of their tongue. All lines were familiar to him, but he preferred history and ascetical literature. His chief claim to glory is his Life of St. Ignatius Loyola, in which he speaks as an eye-witness, admirably supported by documents. Perhaps the work abounds too much in anecdotal details which tend to obscure the grand aspect of the saint's character and genius (Analecta Bolland., XXIII, 513). It appeared for the first time in Latin at Naples in 1572 (ibid., XXI, 230). The first Spanish edition, revised and considerably augmented by the author, dates from 1583. Other editions followed, all of them revised by the author; that of 1594 seems to contain the final text. It was soon translated into most of the European languages. Among his other works must be mentioned his "Historia eclesiástica del Cisma del reino de Inglaterra" and the "Flos sanctorum", which has been very popular in many countries. Some unpublished works of his deserve publication, notably his History of the persecution of the Society of Jesus and his History of the Spanish Assistancy.

España (Madrid, 1902-09); PRAT, Histoire du Père Ribadeneyra,

ASTRAIN, Historia de la Compañía de Jesús en la Asistencia de

disciple de S. Ignace (Paris, 1862); SOMMERVOGEL, Bibliothèque de la C. de J., VI, 1724-58; DE LA FUENTE, Obras escojidas del Padre Pedro de Rivadeneira, con una noticia de su vida y juicio crítico de sus escritos in Biblioteca de autores Españoles, LX (1868); Monumenta historica S.J.; Ignatiana, ser. I, Epistolæ, II; ser. IV, I; POLANCO, Chronicon Soc. Jesu, VI; Epistola mixta, V. FRANCIS VAN ORTROY.

Ribas, ANDRÉS PÉREZ DE, pioneer missionary, historian of north-western Mexico; b. at Cordova, Spain, 1576; d. in Mexico, 26 March, 1655. He joined the Society of Jesus in 1602, coming at once to America, and finishing his novitiate in Mexico in 1604. In the same year he was sent to undertake the Christianization of the Ahome and Suaqui of northern Sinaloa, of whom the former were friendly and anxious for teachers, while the latter had just been brought to submission after a hard campaign. He succeeded so well that within a year he had both tribes gathered into regular towns, each with a well-built church, while all of the Ahome and a large part of the Suaqui had been baptized. The two tribes together numbered about 10,000 souls. In 1613, being then superior of the Sinaloa district, he was instrumental in procuring the submission of a hostile mountain tribe. In 1617, in company with other Jesuit missionaries whom he had brought from Mexico City, he began the conversion of the powerful and largely hostile Yaqui tribe (q. v.) of Sonora, estimated at 30,000 souls, with such success that within a few years most of them had been gathered into orderly town communities. In 1620 he was recalled to Mexico to assist in the college, being ultimately appointed provincial, which post he held for several years. After a visit to Rome in 1643 to take part in the election of a general of the order, he devoted himself chiefly to study and writing until his death.

He left numerous works, religious and historical, most of which are still in manuscript, but his reputation as an historian rests secure upon his history of the Jesuit missions of Mexico published at Madrid in 1645, one year after its completion, under the title: "Historia de los Triunfos de Nuestra Santa Fe entre gentes las más bárbaras conseguidos por los soldados de la milicia de la Compañía de Jesús en las misiones de la Provincia de Nueva - España". Of this work Bancroft, says: "It is a complete history of Jesuit work in Nueva Vizcaya, practically the only history the country had from 1590 to 1644, written not only by a contemporary author but by a prominent actor in the events narrated, who had access to all the voluminous correspondence of his order, comparatively few of which documents have been preserved. In short, Ribas wrote under the most

favourable circumstances and made good use of his tion of the art of the Renaissance, the reaction of asopportunities."

ALEGRE, Historia de la Compañía de Jesús (Mexico, 1841); BANCROFT, Hist. North Merican States and Teras, I (San Francisco, 1886); BERISTAIN Y SOUZA, Biblioteca Hispano-Americana Setentrional, III (Amecemeca, 1883).

JAMES MOONEY.

Ribeirao Preto, DIOCESE OF (DE RIBERAO PRETO), suffragan see of the Archdiocese of São Paulo, Brazil, established 7 June, 1908, with a Catholic population of 500,000 souls. The first and present bishop, Rt. Rev. Alberto José Gonçalves, was born 20 July, 1859, elevated 5 December, 1908, and consecrated 29 April, 1909. The district of Ribeirão Preto is at present the most important one of the State of São Paulo, both on account of the richness of its soil and the great number of agricultural, industrial, and commercial establishments therein. Its principal product is coffee, the shipments of which are so considerable as to necessitate the constant running of an extraordinary number of trains.

The seat of the diocese is the city of Ribeirão Preto, situated on the shores of Ribeirão Preto and Ribeirão Retiro, 264 miles from the capital of the state. The municipality, created by law of 1 April, 1889, is divided into four wards, viz.: Villa Tibeiro, Barracão, Morro do Cipó, and Republica. It is, like most of the interior towns of São Paulo, of modern construction. The city is lighted by electric light and has excellent sewer and water-supply systems. The streets are well laid, straight, and intersecting at right angles, with many parks and squares. The cathedral, now nearing completion, will be one of the finest buildings of its kind in Brazil. It is well provided with schools and colleges, prominent among which are those maintained by the Church.

JULIAN MORENO-LACALLE.

Ribera, JUSEPE DE, called also SPAGNOLETTO, L'ESPAGNOLET (the little Spaniard), painter, b. at Jativa, 12 Jan., 1588; d. at Naples, 1656. Fantastic accounts have been given of his early history; his father was said to be a noble, captain of the fortress of Naples, etc. All this is pure romance. A pupil of Ribalta, the author of many beautiful pictures in the churches of Valencia, the young man desired to know Italy. He was a very determined character. At eighteen, alone and without resources, he begged in the streets of Rome in order to live, and performed the services of a lackey. A picture by Caravaggio aroused his admiration, and he set out for Naples in search of the artist, but the latter had just died (1609). Ribera was then only twenty. For fifteen years the artist is entirely lost sight of; it is thought that he travelled in upper Italy. He is again found at Naples in 1626, at which time he was married, living like a nobleman, keeping his carriage and a train of followers, received by viceroys, the accomplished host of all travelling artists, and very proud of his title of Roman Academician. Velasquez paid him a visit on each of his journeys (1630,1649). A sorrow clouded the end of his life; his daughter was seduced by Don Juan of Austria. Her father seems to have died of grief, but the story of his suicide is a fiction.

Ribera's name is synonymous with a terrifying art of wild-beast fighters and executioners. Not that he did not paint charming figures. No artist of his time, not excepting Rubens or Guido Reni, was more sensitive to a certain ideal of Correggio-like grace. But Ribera did not love either ugliness or beauty for themselves, seeking them in turn only to arouse emotion. His fixed idea, which recurs in every form in his art, is the pursuit and cultivation of sensation. In fact the whole of Ribera's work must be understood as that of a man who made the pathetic the condition of art and the reason of the beautiful. It is the nega

ceticism and the Catholic Reformation on the voluptuous paganism of the sixteenth century. Hence the preference for the popular types, the weatherbeaten and wrinkled beggar, and especially the old man. This "aging" of art about 1600 is a sign of the century. Heroic youth and pure beauty were dead for a long time. The anchorites and wasted cenobites, the parchment-like St. Jeromes, these singular methods of depicting the mystical life seem Ribera's personal creation; to show the ruins of the human body, the drama of a long existence written in furrows and wrinkles, all engraved by a pencil which digs and scrutinizes, using the sunlight as a kind of acid which bites and makes dark shadows, was one of the artist's most cherished formulas.

No one demonstrates so well the profound change which took place in men's minds after the Reformation and the Council of Trent. Thenceforth concern for character and accent forestalled every other consideration. Leanness, weariness, and abasement became the pictorial signs of the spiritual life. A sombre energy breathes in these figures of Apostles, prophets, saints, and philosophers. Search for character became that of ugliness and monstrosity. Nothing is so personal to Ribera as this love of deformity. Paintings like the portrait of "Cambazo", the blind sculptor, the "Bearded Woman" (Prado, 1630), and the "Club Foot" of the Louvre (1651) inaugurate curiosities which had happily been foreign to the spirit of the Renaissance. They show a gloomy pleasure in humiliating human nature. Art, which formerly used to glorify life, now violently emphasized its vices and defects. The artist seized upon the most ghastly aspects even of antiquity. Cato of Utica, howling and distending his wound, Ixion on his wheel, Sisyphus beneath his rock. This artistic terrorism won for Ribera his sinister reputation, and it must be admitted that it had depraved and perverted qualities. The sight of blood and torture as the source of pleasure is more pagan than the joy of life and the laughing sensuality of the Renaissance. At times Ribera's art seems a dangerous return to the delights of the amphitheatre. His "Apollo and Marsyas" (Naples), his "Duel" or "Match of Women" (Prado) recall the programme of some spectacle manager of the decadence. In nothing is Ribera more "Latin" than in this sanguinary tradition of the games of the circus.

However, it would be unjust wholly to condemn this singular taste in accordance with our modern ideas. At least we cannot deny extraordinary merit to the scenes of martyrdom painted by Ribera. This great master has never been surpassed as a practical artist. For plastic realism, clearness of drawing, and evidence of composition the " "Martyrdom of St. Bartholomew" (there are in Europe a dozen copies, of which the most beautiful is at the Prado) is one of the masterpieces of Spanish genius. It is impossible to imagine a more novel and striking idea. No one has spoken a language more simple and direct. In this class of subjects Rubens usually avoids atrocity by an oratorical turn, by the splendour of his discourse, the lyric brilliancy of the colouring, Ribera's point of view is scarcely less powerful with much less artifice. It is less transformed and developed. The action is collected in fewer persons. The gestures are less redundant, with a more spontaneous quality. The tone is more sober and at the same time stronger. Everything seems more severe and of a more concentrated violence. The art also, while perhaps not the most elevated of all, is at least one of the most original and convincing. Few artists have given us, if not serene enjoyment, more serious thoughts. The "St. Lawrence" of the Vatican is scarcely less beautiful than the "St. Bartholomew".

Moreover it must not be thought that these ideas

of violence exhaust Ribera's art. They are supplemented by sweet ideas, and in his work horrible pictures alternate with tender ones. There is a type of young woman or rather young girl, still almost a child, of delicate beauty with candid oval features and rather thin arms, with streaming hair and an air of ignorance, a type of paradoxical grace, which is found in his "Rapture of St. Magdalen" (Madrid, Academy of S. Fernando), or the "St. Agnes" of the Dresden Museum. This virginal figure is truly the "eternal feminine" of a country which more than any other dreamed of love and sought to deify its object, summarizing in it the most irreconcilable desires and virtues. No painter has endowed the subject of the Immaculate Conception with such grandeur as Ribera in his picture for the Ursulines of Salamanca (1636). Even a certain familiar turn of imagination, a certain intimate and domestic piety, a sweetness, an amicable and popular cordiality which would seem unknown to this savage spirit were not foreign to him. In more than one instance he reminds us of Murillo. He painted several "Holy Families", "Housekeeping in the Carpenter Shop" (Gallery of the Duke of Norfolk). All that is inspired by tender reverie about cradles and chaste alcoves, all the distracting delights in which modern religion rejoices and which sometimes result in affectation, are found in more than germ in the art of this painter, who is regarded by many as cruel and uniformly inhuman. Thus throughout his work scenes of carnage are succeeded by scenes of love, atrocious visions by visions of beauty. They complete each other or rather the impression they convey is heightened by contrast. And under both forms the artist incessantly sought one object, namely to obtain the maximum of emotion; his art expresses the most intense nervous life.

This is the genius of antithesis. It forms the very basis of Ribera's art, the condition of his ideas, and even dictates the customary processes of his chiaroscuro. For Ribera's chiaroscuro, scarcely less personal than that of Rembrandt, is, no less than the latter's, inseparable from a certain manner of feeling. Less supple than the latter, less enveloping, less penetrating, less permeable by the light, twilight, and penumbra, it proceeds more roughly by clearer oppositions and sharp intersections of light and darkness. Contrary to Rembrandt, Ribera does not decompose or discolour, his palette does not dissolve under the influence of shadows, and nothing is so peculiar to him as certain superexcited notes of furious red. Nevertheless, compared to Caravaggio, his chiaroscuro is much more than a mere means of relief. The canvas assumes a vulcanized, carbonized appearance. Large wan shapes stand out from the asphalt of the background, and the shadows about them deepen and accumulate a kind of obscure tragic capacity. There is always the same twofold rhythm, the same pathetic formula of a dramatized universe regarded as a duel between sorrow and joy, day and night. This striking formula, infinitely less subtile than that of Rembrandt, nevertheless had an immense success. For all the schools of the south Caravaggio's chiaroscuro perfected by Ribera had the force of law, such as it is found throughout the Neapolitan school, in Stanzioni, Salvator Rosa, Luca Giordano. In modern times Bonnat and Ribot painted as though they knew no master but Ribera. Rest came to this violent nature towards the end of his life; from the idea of contrast he rose to that of harmony. His last works, the "Club Foot" and the "Adoration of the Shepherds" (1650), both in the Louvre, are painted in a silvery tone which seems to foreshadow the light of Velasquez. His hand had not lost its vigour, its care for truth; he always displayed the same implacable and, as it were, inflexible realism. The objects of still life in the

"Adoration of the Shepherds" have not been equalled by any specialist, but these works are marked by a new serenity. This impassioned genius leaves us under a tranquil impression; we catch a ray or should it rather be called a reflection?-of the Olympian genius of the author of "The Maids of Honour". Ribera was long the only Spanish painter who enjoyed a European fame; this he owed to the fact that he had lived at Naples and has often been classed with the European school. Because of this he is now denied the glory which was formerly his. He is regarded more or less as a deserter, at any rate as the least national of Spanish painters. But in the seventeenth century Naples was still Spanish, and by living there a man did not cease to be a Spanish subject. By removing the centre of the school to Naples, Ribera did Spain a great service. Spanish art, hitherto little known, almost lost at Valencia and Seville, thanks to Ribera was put into wider circulation. Through the authority of a master recognized even at Rome the school felt emboldened and encouraged. It is true that his art, although more Spanish than any other, is also somewhat less specialized; it is cosmopolitan. Like Seneca and Lucian, who came from Cordova, and St. Augustine, who came from Carthage, Ribera has expressed in a universal language the ideal of the country where life has most savour.

DOMINICI, Vite de' pittori

napoletani (Naples, 17421743; 2nd ed., Naples, 1844); PALOMINO, El Museo Pictórico, I (Madrid, 1715); II (Madrid, 1724); Noticias, Elogios y Vidas de los Pintores, at the end of vol. II, separate edition (London, 1742), in German (Dresden, 1781); BERMÚDEZ, Diccionario historico de los más ilustres profesores de las bellas artes en España (Madrid, 1800); STIRLING, Annals of the artists of Spain (London, 1848); VIARDOT, Notices sur les principaux peintres de l'Espagne (Paris, 1839); BLANC, Ecole Espagnole (1869); MEYER, Ribera (Strasburg, 1908); LAFOND, Ribera et Zurbaran (Paris, 1910). LOUIS GILLET.

Ricardus Anglicus, Archdeacon of Bologna, was an English priest who was rector of the law school at the University of Bologna in 1226, and who, by new methods of explaining legal proceedings, became recognized as the pioneer of scientific judicial procedure in the twelfth century. His long-lost work "Ordo Judiciarius" was discovered in MS. by Wunderlich in Douci and published by Witt in 1851. A more correct MS. was subsequently discovered at Brussels by Sir Travers Twiss, who, on evidence which seems insufficient, followed Panciroli in identifying him with the celebrated Bishop Richard Poor (died 1237). Probably he graduated in Paris, as a Papal Bull of 1218 refers to "Ricardus Anglicus doctor Parisiensis", but there is no evidence to connect him with Oxford. He also wrote glosses on the papal decretals, and distinctions on the Decree of Gratian. He must be distinguished from his contemporary, Ricardus Anglicanus, a physician.

RASHDALL, Medieval Universities, II, 750 (London, 1895); Twiss, Law Magazine and Review, May, 1894; SARTI AND FATTORINI, De claris Archigymnasii Bononiensis Professoribus; BLAKISTON in Dict. Nat. Biog., s. v. Poor, Richard.

EDWIN BURTON.

Riccardi, NICHOLAS, theologian, writer and preacher; b. at Genoa, 1585; d. at Rome, 30 May, 1639. Physically he was unprepossessing, even slightly deformed. His physical deficiencies, however, were abundantly compensated for by mentality of the highest order. His natural taste for study was encouraged by his parents who sent him to Spain to pursue his studies in the Pincian Academy. While a student at this institution he entered the Dominican order and was invested with its habit in the Convent of St. Paul, where he studied philosophy and theology. So brilliant was his record that after completing his studies he was made a professor of Thomistic theology at Pincia. While discharging his academic duties, he acquired a reputation as a preacher second only to

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