part being left rough. Similar work exists at Arak-el-Emir in Palestine (151 B.C.) The finest examples are those of the walls of the temple at Jerusalem, and at Hebron, where the stones are of immense size and the rustication projects sometimes over a foot. The Crusaders' castles in Palestine are all boldly rusticated, but the projecting portions have been worked over with a chisel in diagonal lines, and this enables them to be distinguished from the earlier masonry. In the five-sided tower at Nuremberg and the Burg-Capelle at Rothenburg, the rustication has a decorative value, so that in later work it was employed for the quoin-stones of towers. The masonry of the Palazzo Vecchio, and of the Pitti, Strozzi and Riccardi palaces, all in Florence, and of other palaces in Siena and Volterra, is rusticated. Rustication was employed in terraces and grottos in Italy, where on account of its extravagances it gave rise to the term “ grotesque.” In the later Renaissance the edges of the stone were bevelled off, with a sunk joint in addition; and the treatment was known as vermiculated, if in imitation of earth burrowed by worms; marine, if with small shell holes; stalactitic, if carved in imitation of lime deposits, &c. In Italy the projecting portions were sometimes worked into facets. Rustication was introduced into England by Inigo Jones, who, in old Somerset House, York Stairs Watergate, the gateway of the Botanical Garden at Oxford, and elsewhere, used it only in alternate courses, his example being followed by other architects of the Renaissance. The term is now applied to the ashlar blocks of masonry which alternate with the circular drums of columns in many public buildings.
RÜSTOW, FRIEDRICH WILHELM (1821–1878), Swiss soldier
and military writer, was a Prussian by birth. He entered the
service of his native country, and served for some years, until
the publication of Der Deutsche Militärstaat vor und während
der Revolution (Zürich, 1850) brought him official condemnation. He was sentenced by a court-martial to a long term of fortress imprisonment, but succeeded in escaping to Switzerland. He obtained military employment in the service of the Republic,
and in 1857 was major on the engineer staff. Three years
later he accompanied Garibaldi in the famous expedition
against the two Sicilies as colonel and chief of the staff, and to him must be ascribed the victories of Capua (19th Sept. 1860) and the Volturno (1st Oct. 1860). At the end of the
campaign he once more settled down at Zürich. At the outbreak
of the war of 1870 he offered his services to Prussia,
but was not accepted. In 1878, on the foundation of a military
professorship at Zurich, Rüstow applied for the post, and, on its
being given to another officer, lost heart and committed suicide.
Two younger brothers, both Prussian soldiers, were also distinguished men. The elder, Alexander (1824–1866), is remembered for his work Der Kustenkrieg (Berlin, 1848); the younger, Caesar (1826–1866), was one of the foremost experts of his time in the design and construction of military rifles, and the writer of several treatises on that subject, of which we may mention Die Kriegshandfeuerwaffen (Berlin, 1857–64). Both Alexander and Caesar fell on the field of battle in the war of 1866, at Königgratz and Dermbach respectively.
Amongst F. W. Rüstow's works, which covered nearly eve? branch of the military art, a large number must be mentioned. Historical—Heerwesen und Kriegführung Julius Cäsars (Gotha, 1855; 2nd ed., Nordhausen, 1862), Kommentar zu Napoleon III.'s Geschichte Julius Cäsars (Stuttgart, 1865–67), Geschichte des Griechischen Kriegswesens (in collaboration with Köchly, Aarau, 1852), Militär. Biographen (David, Xenophon, Montluc) (Zürich, 1858), Geschichte der Infanterie (Gotha, 1857–58; 3rd ed., 1884), Die Ersten Feldzüge Napoleons 1796–1797 (Zürich, 1867), Der Krieg von 1805 in Deutschland und Italien (Frauenfeld, 1854), Geschichte des Ungarischen Insurrektionkrieges 1848–49 (Zürich, 1860), reminiscences of 1860 in Italy (Leipzig, 1861) and monographs on the campaigns of 1848–49 in Italy (Zürich, 1849) and the (Crimean War (Zürich, 1855–56). Critical and General—Allgemeine Taktik (Zürich, 1858; 2nd ed., 1868), Kriegspolitik und Kriegsgebrauch (Zürich, 1876), Militär-Handwörterbuch (Zürich, 1859), Die Feldherrnkunst des XIX Jahrhunderts (Zürich, 1857; 3rd ed., 1878–79), Der Krieg und seine Mittel (Leipzig, 1856). He also wrote Annalen des Königreichs Italien (Zürich, 1862–63).
See Zemim, “ F. W. Rüstow," in Unsere Zeit. vol. 2 (Leipzig, 1882).
RUTEBEUF, or Rustebuef (fl. 1245–1285), French trouvére, was born in the first half of the 13th century. His name is nowhere mentioned by his contemporaries. He, frequently plays in his verse on the word Rutebeuf, which was probably a nom de guerre, and is variously explained by him as derived from rude -baeuf and rude reuvre. He was evidently of humble
birth, and he was a Parisian by education and residence.
Paulin Paris thought that he began life in the lowest rank of the minstrel profession as a jongleur. Some of his poems have autobiographical value. In Le Mariage de Rutebeuf he says that on the 2nd of January 1261 he married a woman old and ugly, with neither dowry nor amiability.[1] In the Carnplainte de Rutebeuf he details a series of misfortunes which
have reduced him to abject destitution. In these circumstances
he addresses himself to Alphonse, comte de Poitiers, brother
of Louis IX., for relief. Other poems in the same vein reveal
that his own miserable circumstances were' chiefly due to a
love of “play particularly a game played with dice, which was
known as griesche. It would .seem that his distress could not
be due- to lack of patrons, for his metrical life of Saint Elizabeth
of Hungary was written by request of Erard de Valéry, who
wished to present it to Isabel, queen of Navarre; and he
wrote elegies on- the deaths of Anceau de l'Isle Adam, the third
of the name, who died about 1251, Eude, comte de Nevers
(d. 1267), Thibaut V. of Navarre (d. 1270), and Alxphonse, comte
de Poitiers (d.» 1271), which were probably paid for by the
families of the personages celebrated. In the Pauvreté de
Rutebeuf-he addresses Louis IX. himself.
The piece which is most obviously intended for popular recitation is the Dit de'l'Herberie, a dramatic monologue in prose- and verse supposed to 'be delivered by a quack doctor. Rutebeuf wasalso a master in the verse conte, and the five of his fdbliaux that have come down to us are gay and amusing. The matter, it may be added, is sufficiently gross. The adventures of Frére Denyse le oordelier, and of “la dame qui alla trois fois autour du rnoutier, " find a place in the Cent Nouvelles nouvelles.
Rutebeuf's serious work as a satirist probably dates from about' 1260. His chief topics are the iniquities of the friars, and the defence of the secular clergy of the university of Paris against their encroachments; and he delivered a series of eloquent and insistent poems (1262, 1263, 1268, 1274) exhorting princes' and people to take part in the crusades. He was a redoubtable champion of the university of Paris in its quarrel with the religious orders who were supported by Pope Alexander IV., ' and he boldly defended Guillaume de Saint-Amour when he was driven into exile. The libels, indecent songs and rhymes condemned by the pope to be burnt together with the Périls des derniers temps attributed to Saint-Amour, were probably the work of Rutebeuf. The satire of Renart le Bestburné, which borrows from the Reynard cycle little but the names under which the characters are disguised, was directed, according to Paulin Paris, against Philip the Bold. To his later years belong his religious poems, and also the Voie de Paradis, the description of a dream, in the manner of the Roman de la Rose.
The best work of Rutebeuf is to be found in his satires and verse contes. A miracle play of his, Le Miracle de Théophile, is one of the earliest dramatic pieces extant in French. The subject of Theophilus, the Cilician monk who made a pact with the devil, which was afterwards returned to him by the intervention of the Virgin, was a familiar one with the story-tellers of the middle ages. Rutebeuf can claim no priority in the choice of the subject, which had been treated dramatically in the Latin' piece ascribed to the nun Hroswitha of Gandersheim, but his piece has considerable importance in dramatic history. The (Euvres of Rutebeuf were edited by Achille Tubinal in 1839 (new edition, 1874); a more critical edition is by Dr Adolf Kressner
- ↑ 1 It has been suggested that Brunetto Latini was thinking of Rutebeuf when he wrote in his Livre du Trésor: “ Le Rire, le jeu, voila la vie du jorrgleur, qui se moque de lui-meme, de sa femme, de ses enfants, de tout le monde."
