in most of the manufacturing towns of England. The benevolent man was himself a debtor to his own institution. It is recorded concerning him, that he was deeply impressed with the truth and power of the gospel by reading the 53rd chapter of Isaiah to one of his scholars. During the last few years of his life his health rapidly declined. On the evening of the 5th of April, 1811, he peacefully expired in his native city of Gloucester, in the seventy-fifth year of his age. His long career was marked by unvarying simplicity and kindness. He delighted in associating himself with charitable and benevolent men. "I find few pleasures," said he, "equal to those which arise from the conversation of men who are endeavouring to promote the glory of their Creator and the good of their fellow-creatures." The results of his experiment it is impossible to estimate. The number of children in Sunday schools has swelled to millions, and of their teachers to hundreds of thousands.—T. J.
RAIMBACH, Abraham, a distinguished line engraver, was born in London, February 16, 1776; his father was a Swiss, but his mother was a Warwickshire woman. Having given early indications of artistic ability, his father apprenticed him in 1789 to John Hall, the engraver, and the first work engraved by young Raimbach was the explanatory key to Copley's picture of the Death of Chatham, now exhibited with the painting in the National gallery at South Kensington. After the term of his apprenticeship expired, he entered as a student in the Royal Academy, and for a time combined miniature painting with engraving; but the caprices of his sitters gave him so much trouble, that he was glad ultimately to limit his labours to engraving. In 1802, excited by the same impulse which influenced many other English artists in that year, he paid a visit to Paris to see the remarkable assemblage of works then brought together in the Louvre. In 1805 he married and settled in Warren Street, Fitzroy Square, in a house given to him by his father on his marriage; and in this house he resided until 1831, when he removed to Greenwich, where he died on the 17th of January, 1843. Raimbach's reputation is closely allied with that of Sir David Wilkie, with whom he became acquainted in 1807, supplanting Burnet as his engraver in 1812. His greatest works are all after that painter, and his engravings of the following pictures are excellent—"The Village Politicians," "The Rent Day," "Blind Man's Buff," "Distraining for Rent," "The Cut Finger," "The Errand Boy," "The Parish Beadle," and "The Spanish Mother." Raimbach has left an interesting autobiography, which was privately printed by his son, "Memoirs and Recollections of the late Abraham Raimbach, &c., including a Memoir of Sir David Wilkie, R.A., edited by M. T. S. Raimbach, MA.," small 4to; London, 1843.—R. N. W.
RAIMOND de Pegnafort, or de Rochefort, a native of Barcelona, was born either in 1175 or 1186. He studied at Bologna, and was successively a teacher of canon law, and a canon of the cathedral. In 1218 he succeeded in establishing an order of mercy, for the redemption of captives among the Mahometans. In 1222, relinquishing all his preferments, he became a member of the Dominican order of preaching friars at Barcelona. He went to Rome with the Cardinal d' Abbeville, papal legate to Spain, and was selected by Pope Gregory IX. (1230) to be his chaplain, and to compile the decretals, commencing with the papacy of Alexander III. This work, approved by Gregory IX., forms a portion of the papal canon law. Raimond refused in succession the archbishopric of Tarragona, that of Braga, and the see of Barcelona. In 1238 he was made general of his order; but in 1240 he was allowed to retire to his monastery near Barcelona, where he lived for thirty-five years afterwards. He is believed to have had some share in establishing the inquisition in Arragon and Languedoc—F. M. W.
RAIMONDI, Giambattista, director of the Medicean oriental printing press, lived in the sixteenth century. A knowledge of eastern languages qualified Raimondi for the office he held. The first works published under his supervision were Arabic and Chaldee grammars, and some writings of Avicenna and Euclid; these were followed by an Arabic version of the gospels; a six-fold issue of holy scripture in Syriac, Arabic, Persian, Ethiopic, Coptic, and Armenian, was further projected, but the death of Pope Gregory XIII. in 1585 interfered with the design.—C. G. R.
RAIMONDI, Marcantonio, the most famous of the early Italian engravers, was born at Bologna about 1487. He studied design and engraving in niello under Francesco Francia (Raibolini). Marcantonio (he is seldom called by his surname) worked in the first instance in niello. His earliest dated engraving on copper is the Pyramus and Thisbe, after his master Francia, 1505. According to Vasari he was led to adopt the profession of an engraver from seeing some prints by Albert Dürer; and when he removed to Venice (1506), he copied with the most minute accuracy on copper the entire series of Dürer's prints of the Passion of our Lord, and the Life of the Virgin. To one of these he affixed the monogram of Dürer, and the prints were sold in Italy as originals. Vasari says that Dürer was so enraged at this proceeding that he set out for Venice, and appealed for protection to the senate, and that Marcantonio was ordered to remove the signature. In 1510 Marcantonio removed to Rome, where one of the first plates he engraved was from a drawing of Lucretia, by Raphael, with which that master was so much delighted that he gave him his Judgment of Paris to engrave. This, which was a much more important work, Marcantonio engraved in a larger and bolder style, so as to gain Raphael's full approval; and by his desire Marcantonio now devoted himself entirely to engraving his pictures. In order to carry out more effectually this great under-taking, Marcantonio collected about him a body of pupils and assistants, and thus founded what is known as the Roman school of engraving. Of these pupils the most celebrated were Marco da Ravenna and Agostino Veneziano, who assisted him in many of his later Raphael prints. During the ten years which intervened before the death of Raphael, Marcantonio had engraved, under the immediate supervision of the great painter, a large number of Raphael's finest designs, and with more identity of feeling and character than has ever been attained by any subsequent engraver. After Raphael's death, Marcantonio was chiefly engaged in engraving the designs and paintings of Giulio Romano, both historical and mythological, in which he succeeded very well. But his connection with this painter involved him in a serious peril. In 1524 appeared at Rome a series of twenty engravings by Marcantonio, from designs by Giulio Romano, of extreme indecency, accompanied by sonnets by Aretino as obscene as the designs. They were purchased with avidity; but the scandal being brought to the knowledge of the pope, Clement VII., he ordered the immediate arrest of the offenders. Aretino and Giulio saved themselves by flight, but Marcantonio was seized, and it was only by the earnest mediation of Cardinal de' Medici and other powerful personages that he was released. Partly out of gratitude to Baccio Bandinelli, who being then in the service of the pope had used his influence on Marcantonio's behalf, and partly in the hope of ingratiating himself with the pope, Marcantonio now undertook the engraving of a large plate from Bandinelli's Martyrdom of San Lorenzo, in which he succeeded so admirably that the pope pardoned the past and promised him his favour. The sack of Rome (1527) not only put an end to all his prospects in that quarter, but reduced him to poverty, the whole of his property having been destroyed, and he having to pay a heavy ransom for his own liberation. He withdrew to Bologna, where he died a few years after. His print of the Battle of the Centaurs and Lapithæ, after Giulio Romano, is dated 1539; and this by some authorities is given as the year of his death; others give 1546. Malvasia says that he was assassinated at the instance of a Roman noble, for having broken his engagement not to engrave a second plate from Raphael's Judgment of Paris. Whilst one of the earliest, Marcantonio remains one of the greatest engravers, who has ever lived. Though excelled in brilliancy, variety of tint, and picturesque character, his prints have never been surpassed for accuracy and precision of drawing, truth and refinement of expression, and painter-like feeling. His rendering of the designs of Raphael has not been equalled by any subsequent engraver. Marcantonio's prints were from the first in great request; hence from the plates having been frequently retouched by inferior hands, prints that bear his name do little justice to his skill. Very high prices are paid for genuine prints. It is recorded that for an impression of his "Murder of the Innocents" Berghem paid sixty florins: a good impression but with a portion damaged and restored, brought £61, at the sale of Mr. Johnson's engravings in London, April, 1860. At the same sale a very fine impression of his "Judgment of Paris" sold for £320. His prints exceed six hundred in number. Extremely fine collections of them are in the print-room of the British Museum, and in the Louvre.—J. T—e.
RAINE, James, an eminent English antiquary, was born in 1791 at Ovington in Yorkshire. Educated at the grammar-
