Rose-vsrindow, or the Maryrjold, was derived from the round window called the eije in the basilica, pierced through the gable over the entrance, and imitated in the Norman period at Canterbury in the transept, and at Southwell in the clerestory, but is unknown in Rhen- ish architecture. About the loth century the rose be- came of large dimensions. There are fine examples at Paris (l-_>2d-57), Nantes (1220), Laon, Rheims (1239), Amiens (1325), St. Denis, Seez, Clermont, and Rouen. The muUions of this window converge towards the centre, something like the spokes of a wheel ; hence they are sometimes called Catherine, or wheel, windows. They also bore the names of the elements — the northern being called the rose of the winds ; the west, of the sea ; the south, of heaven ; and the east, of the earth. When there were two of these transeptal windows in a cathe- dral, that on the north was called the bishop's, and the soutliern one the dean's eye, as representing their re- spective jurisdiction — one watching against the inva- sion of evil spirits on the north, and the latter as pre- siding as censor morinn over the capitulars and close. At St. Paul's, exceptionally, the Lady Chapel had a superb eastern rose, and one still adorns the nine chapels of Durham. — Walcott, Sac. Archceol. s. v. See Win- dow.
Roselli (or Rosselli), Cosimo, an Italian painter, was born of a noble family at Florence in 1439, and studied under Neri di Bicci and Fra Angeli. He decorated what is called " the Chapel of the Miracle" at Sant' Ambrogio, and in 1476 aided in decorating the Sisline Chapel at Rome, where he had charge of the four great subjects — the Passur/e of the Red Sea, the Wor- ship of the Golden Calf, the Lord's Supper, and Christ Preachiu'i on the Sea of Tiberias. Returning to Flor- ence loaded with honors, he died about 1.506. The Museum of Berlin contains a Vinjin trilh the Magdalen painted by him; that of Paris, a Vircjin Gloriosa, a Christ Kntonibed, and two Madonnas ; and at the Ex- position of Manchester were shown a Christ onthe Cross and the Virgin Surroniuled by Saints. Rosolli's princi- pal pupil was Fra Bartolomeo. — Hoefer, Xouv. Biug. (Jenerale, s. v.
Roselli (or Rosselli), Matteo, an Italian painter, descended from the iireceding, was born at Florence in 1578. He studied under (iregorio Pagani, and after the death of his master rtnislied several of his muiimpleted pictures. He decorated the Clementine Cliapel. Some of his paintings arc, the Manger, the Triiiitij, the Crnrijijcion of St. Andreu-, and St. Eliz- abeth of Hungary. His frescos are superior to his
other paintings, five of the best of which are in the cloister of the Annunciation. He died in 1650. — Hoe- fer, Nouv. Biog. Generale, s. v.
Rosellini, Ippolito, an Italian antiquary, was born at Pisa in 1800. In 1821 he received the degree of doctor of theology, and afterwards studied at Bologna under Jlezzofanti, and taught in the University of Pisa. At the time of the discoveries of ChampoUion, in 1825, Rosellini became interested in the study of hieroglyph- ics, and, in company with ChampoUion, stuilied Egyp- tian antiquities in the museums of Italy, and went with him to Paris. lu 1828 he was commissioned by the grand-duke of Tuscany to explore the ruins of Egypt and Nubia with his son and three naturalists. Cham- poUion was sent at the same time, and on a similar er- rand, by the duke de Blacas. The two parties united, and for fifteen months travelled through the two coun- tries. Returning to Pisa, Rosellini spent the rest of his life in directing the publication of the results of the ex- pedition, the whole of the work having fallen upon him at the death of ChampoUion. On account of his feeble health, he gave up his professor's chair, and was made librarian of the university. He died June 4, 1843. His works are. La Fionda di David (Bologna, 1823), a trea- tise upon the age of the Masoretic points -.—Lettera Fi- lologico-critica al Am. Peyron (Pisa, 1831): — Tribvto di Riconoscenza e d'A more reso alia Memoria di Cham- poUion il Minore (ibid. 1832) : — / Monumenti dell' Egitto e della Nubia, Interpretati ed Illiistrati (Florence, 1832, 1840) ; this is his great work, the foundation of all mod- ern research concerning ancient Egypt; it is divided mto Monumenti Storici,Civili,e Religiosi: — and Flementa Linguce yEgyptiacee vulgo Copticfe (Rome, 1837). The latter, published by P. Ungarelli, is a resume of the lectures given by Rosellini, but the substance of it is printed in the Grammaire Copte of ChampoUion. Some other works, De Interpretatione Obeliscorum Urbis Ro- mie, published by Ungarelli as those of Rosellini, belong really to ChampoUion. See MUler and Unbenas, Revue de Bibliographie A nalytique (1842) ; Bardelli, Bioyr. deW Ipp. Rosellini. — Hoefer, Nouv. Biog. Generale, s. v.
Rosemary, Usr of at Funerals. The early Christians rejected the use of the cypress at funerals, as used by the heathen, and substituted rosemary. The heathen, having no thoughts of a future life, but be- lieving that the bodies of the dead would lie forever in the grave, made use of cypress, which is a tree that, being once cut, never revives, but dies away. The Chris- tians, having better hopes, and expecting the reunion of soul and body, use rosemary, which, being always green, and flourishing the more for being cut, is more proper to express this confidence and trust. — Eadie, Ec- cles. Cyclop, s. v.