Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/93
Florence, in S. Martino, Lucca, and in the Sistine Chapel, Rome. His best work in the Chapel is the Sermon on the Mount, to which the three others—Moses delivering the Tables of the Law, Passage of the Red Sea, and The Last Supper—are inferior. Among his other works are a Coronation of the Virgin, in S. M. de' Pazzi, Florence; do., and Madonna with Saints, Uffizi, ib.; The Miracle of the Chalice, a wall painting, S. Ambrogio, ib.; Apotheosis of St. Barbara, Academy, ib.; Marriage of the Virgin, Naples Museum; Virgin in Glory, Christ in the Tomb, Berlin Museum; Nativity, Königsberg Museum; Madonna, Hermitage, St. Petersburg; do., Louvre; St. Jerome in the Desert, National Gallery, London.—C. & C., Italy, ii. 520; Vasari, ed. Le Mon., v. 27; Burckhardt, 546, 551, 636; Ch. Blanc, École florentine; Lermolieff, 380; Lübke, Gesch. ital. Mal., i. 330; Rumohr, Ital. Forschungen, ii. 265.
ROSSET-GRANGER, ÉDOUARD, born
at Vincennes (Seine); contemporary. Genre
and portrait painter, pupil of Cabanel, Dubufe,
and Mazerolles. Medal, 3d class,
1884. Works: Eros (1881); Artist's Mother
(1882); Charmer, Souvenir de Caprile
(1883); Orpheus (1884); Study (1885); The
Hierodules (1886).
ROSSETTI, GABRIEL CHARLES
DANTE, born in
London, May 12,
1828, died at Birchington,
near Margate,
April 9, 1882.
Figure painter, son
of Gabriele Rossetti
(Italian patriot,
commentator
on Dante, and professor
of Italian in
King's College, London). Dante Gabriel,
as he wrote his name, was a student at
Cary's drawing school, at the Royal Academy,
which he left about 1848, and of Madox
Brown, who had a perceptible influence
on his work. Finished his first oil picture,
Portrait of his Father, in 1847, and two
years later exhibited his Girlhood of Mary
Virgin, from which, with Millais's Isabella
and Holman Hunt's Rienzi, is dated the rise
of the Pre-Raphaelite school of painting
in England. Rossetti contributed both by
pen and pencil to "The Germ," the organ
of the Brotherhood, in which first appeared
his "Blessed Damozel" and other poems;
indeed, he is better known as a poet than a
painter, for he lived a retired life and exhibited
but few of his works, most of which
are now in private collections in England.
His early pictures show a gradual transition
from austere mediævalism to a more florid
and fanciful romanticism. Many of his subjects
were drawn from the "Divina Commedia"
and "Vita Nuova" of Dante. His collected
works were exhibited at the Royal
Academy and Burlington Club, London, in
the winter of 1882-83. Works: Girlhood of
Mary Virgin (1849), Lady Louisa Fielding;
Ecce Ancilla Domini (1850); Dante's Meeting
with Beatrice at a Marriage Feast (1851),
Mr. Leathart, near Newcastle; Dante's
Dream of Death of Beatrice (1855), Miss
Heaton of Leeds; Wedding of St. George
(1857); Mary in House of John (1858); Altar-*piece
for Llandaff Cathedral (1860); Venus
Verticordia (1863); Joan of Arc, Rose Garden,
Lady Lilith (1864), Alexander Stevenson,
Tynemouth; Sibylla Palmifera (1866),
Mr. George Rae, Birkenhead; Sir Tristram
and Yseult (1867); Vision of Dante (1870),
Liverpool Gallery; replica (1878), Mr. William
Graham; Veronica Veronese (1872);
La Ghirlandata (1873), Mr. Ruston, M.P.;
Proserpina (1874; replica, 1877, Mr. Turner),
La Pia, Salutation of Beatrice (1881),
Mr. F. R. Leyland; La Bella Mano (1875);
Sea-Spell (1877); Bruna Brunelleschi, Vision
of Fiammetta (1878); Mnemosyne, Day
Dream (1880).—Art Journal (1884), 148,
165, 204; Kunst-Chronik, xviii. 537; Caine,
Recollections of D. G. R. (London, 1882);
Gaz. des B. Arts (1881), xxiii. 555; (1883),
xxviii. 49.
ROSSI, FRANCESCO DE'. See Salviati.