ROSSET-GRANGER Florence, in S. Martino, Lucca, and in the Sistine Chapel, Home. 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. Bar- bara, Academy, ib. ; Marriage of the Virgin, Naples Museum ; Virgin in Glory, Christ in the Tomb, Berlin Museum ; Nativity, Konigsberg Museum ; Madonna, Hermit- age, St. Petersburg ; do., Louvre ; St Je- rome in the Desert, National Gallery, Lon- don. C. & C., Italy, ii. 520 ; Vasari, ed. Le Mon., v. 27 ; Burckhardt, 546, 551, 636 ; Ch. Blanc, cole florentine ; Lermolieff, 380 ; Lubke, Gesch. ital. Mai., i. 330 ; Ru- mohr, Ital. Forschungen, ii. 265. ROSSET-GRANGER, EDOUARD, born at Vincennes (Seine); contemporary. Genre and portrait painter, pupil of Cabanel, Du- bufe, and Mazerolles. Medal, 3d class, 1884. Works : Eros (1881); Artist's Moth- er (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 Bireh- ington, near Mai-- gate, April 9, 1882. Figure painter, son of Gabriele Ros- setti (Italian pa- triot, commentator on Dante, and pro- fessor 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 Acad- emy, which he left about 1848, and of Ma- dox 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 Holmau 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 orgau of the Brotherhood, in which first appeared his " Blessed Damozel " and other poeuis ; indeed, he is better known as a poet than a painter, for he lived a retired life and ex- hibited but few of his works, most of which are now in private collections in England. His early pictures show a gradual transition from austere medievalism to a more florid and fanciful romanticism. Many of his sub- jects were drawn from the " Divina Conime- dia " and " Vita Nuova " of Dante. His col- 1 lected 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 Meet- ing with Beatrice at aMarriage 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- i piece for Llandaff Cathedral (1800); Venus Verticordia (1863) ; Joan of Arc, Rose Gar- den, Lady Lilith (1864), Alexander Steven- son, Tynemouth ; Sibylla Palmifera (1866), Mr. George Rae, Birkenhead ; Sir Tristram and Yseult (1867); Vision of Dante (1870), Liverpool Gallery ; replica (1878), Mr. Wil- liam Graham ; Veronica Veronese (1872) ; La Ghirlandata (1873), Mr. Ruston, M.P. ; Prowrjrina (1874 ; replica, 1877, Mr. Turn- er), La Pia, Salutation of Beatrice (1881), Mr. F. R. Leyland ; La Bella Mano (1875); Sea-Spell (1877) ; Bruna Brunelleschi, Vis- ion of Fiammetta (1878) ; Mnemosyne, Day Dream (1880). Art Journal (1884), 148, 1 165, 204 ; Kunst-Chronik, xviii. 537 ; Caine, Recollections of D. G. R. (London, 1882) ; Gaz. des B. Arts (1881), xxiiL 555 ; (1883), xxviii. 49. ROSSI, FRANCESCO DE'. See Salviati. 78
