area, and, without deviating from truth of projection, occupied a large space in proportion to the other kingdoms gathered round it. All the names were then entered in Chinese calligraphy. This map obtained immense favour, and was immediately engraved at the expense of the Viceroy and widely circulated.
In the accompanying cut we have endeavoured to portray this map. The projection adopted is a perspective of the hemisphere as viewed from a point at the distance of one diameter from the surface, and situated on the production of the radius which passes through
the intersection of 115° E. long. (Greenwich) with 30° N. lat. Something near this must have been Li-ma-teu’s projection. With a vertex much more distant the desired effect would be impaired, and with one nearer neither of the poles would be seen, whilst the exaggeration of China would have been too gross for a professed representation of the hemisphere.
The chief facts of Ricci's career are derived from Trigault; some contemporary works on the rites controversy have also been consulted; in the notice of Ricci's Chinese writings valuable matter has been derived from Notes on Chinese Literature by A. Wylie (London and Shanghai, 1867). A number of Ricci's letters are extant in the possession of the family, and access to them was afforded to Giuseppe La Farina, author of the work called La China, considerate nella sua Storia, &c. (Florence, 1843), by the Marchese Arnico Ricci of Macerata, living at Bologna. La Farina's quotations contain nothing of interest. There is a curious Chinese account of Ricci published by Dr Breitschneider in the China Review, iv. 391 sq. (H. Y.)
RICCIARELLI, DANIELE (1509–1566), Italian artist, generally called, from the place of his birth, Daniele de Volterra, studied painting under Sodoma and Peruzzi; Settling in Rome, he received abundant encouragement. His constant friend, Michelangelo, recommended him on all possible occasions, and he was commissioned to beautify with works of art a chapel in the church of the Trinita, to paint in the Farnese Palace, to execute certain decorations in the Palazzo de' Medici at Navona, and to begin the stucco work and the pictures in the Hall of the Kings. Towards the close of his life he turned his attention to statuary. His last work was a bronze horse intended for an equestrian statue of Henry II. of France. He died in 1566. The principal extant works of Ricciarelli are at Rome. These are a “ St John the Baptist” in the picture gallery of the Capitol, a “Saviour bearing the Cross.” in the Palazzo Rospigliosi, and a "Descent from the Cross, ” his masterpiece, in the church of Trinita de Monti. There is also an “Elijah” at Volterra.
RICCOBONI, MARIE JEANNE (1714–1792), whose maiden name was Laboras de Mézières, was born at Paris in 1714. She married in 1735 Antoine-François Riccoboni, a comedian and dramatist, from whom she soon separated. She herself was an actress, but did not succeed on the stage. Her works are Lettres de mistress Fanny Butler (1757); the remarkable Histoire du marquis de Cressy (1758); Milady Juliette Catesby (1759–1760), like her other books, in letter form; Ernestine (1798), which La Harpe thought her masterpiece; and three series of Lettres in the names of Adelaide de Dammartin (comtesse de Sancerre) (2 vols., 1766), Elizabeth Sophie de Vallière (2 vols., 1772), and Milord Rivers (2 vols., 1776). She obtained a small pension from the crown, but the Revolution deprived her of it, and she died on the 6th of December 1792 in great indigence. Besides the works named, she wrote a novel (1762) on the subject of Fielding’s Amelia, and supplied in 1765 a continuation (but not the conclusion sometimes erroneously ascribed to her) of Marivaux's unfinished Marianne.
All Madame Riccoboni’s work is clever, and there is real pathos in it. But it is among the most eminent examples of, the “sensibility” novel, of which no examples but Sterne’s have kept their place in England, and that not in virtue of their sensibility. A still nearer parallel may be found in the work of Mackenzie. Madame Riccoboni is an especial offender in the use of mechanical aids to impressiveness—italics, dashes, rows of points and the like. The principal edition of her complete works is that of Paris (6 vols., 1818). The chief novels appear in a Volume of Garnier’s Bibliothèque amusante (Paris, 1865).
See Julia Kavanagh, French Women of Letters (2 vols., 1862), where an account of her novels is given; J. Fleury, Marivaux et le marivaudage (Paris, 1881); J. M. Quérard, La France littéraire (vol. vii., 1835); and notices. by La Harpe, Grimm and Diderot prefixed to her Œuvres, (9 vols., Paris, 1826).
RICE, EDMUND IGNATIUS (1762–1844), Irish philanthropist, founder of the “Irish Christian Brothers,” was born at Westcourt, near Callen, Kilkenny, on the 1st of June 1762. He entered the business of his uncle, an export provision merchant in Waterford, in 1779 and succeeded him in 1790. In 1796 he established an organization for visiting and relieving the poor, and in 1802 began to educate the poor children of Waterford, renting a school and supporting two teachers. In 1803 he gave up his business and, joined by a number of friends, began to systematize his plans. Others, like-minded, opened schools at Dungarvan and Carrick-on-Suir. The little society numbered nine in 1808, and meeting at Waterford took religious vows from their bishop, assumed a “habit” and adopted an additional Christian name, by which, as by the collective title “Christian Brothers,” they were thenceforth known. Schools were established in Cork (1811), Dublin (1812), and Thurles and Limerick (1817). In 1820 Pope Pius VII. issued a brief sanctioning the 'order of “Religious Brothers of the Christian Schools (Ireland),” the members of which were to be bound by vows of obedience, chastity, poverty and perseverance, and to give themselves to the free instruction, religious and literary, of male children, especially the poor. The heads of houses were to elect a superior general, and Rice held this office from 1822 to 1838, during which time the institution extended to several English towns (especially in Lancashire), and the course of instruction grew out of the primary stage. Rice died on the 29th of August 1844. The Irish Christian Brothers have some hundred houses in Ireland with 300 attached schools and over 30,000 pupils. There are also industrial schools and orphanages, and the institute has branches in Australia, India, Gibraltar and Newfoundland.
RICE, JAMES (1843–1882), English novelist, was born at Northampton on the 26th of September 1843. Educated at Queens' College, Cambridge, where he graduated in law in 1867, he was called to the bar at Lincoln's Inn in 1871. In the meantime (1868) he had bought Once a Week, which proved a losing venture for him, but which brought him into touch with Walter Besant, a contributor [see Besant’s preface to the Library Edition (1887) of Ready-money Mortiboy]. There ensued a close friendship and a literary partnership between the two men which lasted ten years until Rice's death, and resulted in a large number of successful novels. The first of them, published anonymously, Rice being responsible for the central figure and the leading situation, was Ready-money Mortiboy (1872), dramatized by them later and unsuccessfully produced at the Court Theatre in 1874. In rapid succession followed My Little Girl (1873); With Harp and Crown (1874); This Son of Vulcan (1876); The Golden Butterfly (1876), the most popular of their joint productions; The Monks of Thelema, (1878); By Celia’s Arbour (1878); The Seamy Side (1880); The Chaplain of the Fleet (1881); Sir Richard Whittington (1881), and a large number of short stories, some of them reprinted in The Case of Mr Lucraft, &c. (1876), ’Twas in Trafalgar’s Bay, &c. (1879), and The Ten Years' Tenant, &c. (1881). .
James Rice died at Redhill on the 26th of April 1882.
