375 
R 0 
the suckers, which should be done every autumn; and if 
there are any very luxuriant branches, which draw the 
nourishment from the other parts of the plant, they should 
be taken out, or shortened, to cause them to produce more 
branches, if there be occasion for them to supply a vacancy ; 
but you must avoid crowding them with branches, which is 
as injurious to these plants as to fruit-trees; for, if the 
branches have not equal benefit from the sun and air, they 
will not produce their flowers so strong, nor in so great plenty, 
as when they are more open, and better exposed to the sun, 
so that the air may circulate the more freely between them. 
Those little elegant varieties of the Provence rose, called 
greater rose de meaux, and smaller rose de meaux cr pom- 
pone rose, may be increased, like most of the other species, 
by suckers, which, however, are not very plentifully pro¬ 
duced in these, and do not extend to any great length. 
The roots should not be divided oftener than once in three 
years. If the old wood be cut down every year, after the 
plants have done blowing, they will throw out more vigorous 
shoots, and flower more freely. 
The moss Provencero.se rarely sends up suckers, and when 
the branches are laid down they are long before they put 
out roots; it is therefore frequently propagated, by budding 
it upon stocks of the other sorts; but the plants so raised are 
not so durable as those which are propagated by layers; 
and this latter method is now most usually adopted. 
ROSA FATUINA, in Botany, a name given by some 
authors to the piony. 
ROSA JUNOIS, a name given by some authors to the 
lily. 
ROSA (Salvator), an eminent Italian Painter, who also 
shone considerably as a poet and a musician. He was born 
in 1615, in the Borgo de Renella, near Naples. His father, 
Vito Antonio Rosa, was an architect and land-surveyor. 
Salvator very soon lost his baptismal name for the nick-name 
of Salvatoriello, in consequence of his mischievous tricks 
and lively gesticulations when a boy, or more probably, this 
was the common diminutive of it given to all children. He 
was intended by his parents for the church, but early showed 
a truant disposition, and a turn for music and drawing. He 
used to scrawl with burnt sticks on the walls of his bed-room, 
and contrived to be caught in the act of sketching outlines 
on the chapel walls of the Certosa, when some priests were 
going by to mass, for which he was severely whipped. He was 
then sent to school at the monastery of the Somasco in Naples, 
where he remained two years, and laid in a good stock of 
classical learning, of which he made great use in his after 
life, both in his poems and pictures. It appears that during 
this period, he cultivated the composition of music and the 
writing of lyric poetrv, amusements he never entirely aban¬ 
doned in after life. Of his merits as a musician, Dr. Burney 
has spoken very favourably in his history of music, and it 
is said that in one of his cantatas, he anticipated Corelli (to 
whom the invention is usually attributed) in the introduction 
isf a moving base. The poetry of Salvator had much spirit, 
originality and depth of feeling. But it has been said that 
he was incapable of sustained excellence, and that his satire, 
though biting, was often coarse. Yet he was so great a 
favourite, that his epitaph at Florence describes him as the 
“ first of Tuscan poets.” 
Salvator’s first passion for painting, was excited by carelessly 
sketching in the work-shop of Francesco Francanzani (a 
painter at that time of some note in Naples, who had married 
one of his sisters), whose praises encouraged him, and under 
whose eye he pursued his professional studies. Soon after 
this he is supposed to have made a tour through the moun¬ 
tains of the Abruzzi, and to have been defaiued a prisoner by 
the banditti there, but of this circumstance there is no evidence, 
and indeed it was probably surmised only from the subjects 
of his pictures. On the death of his father, he endeavoured 
to maintain his family by sketches in landscape or history, 
which he sold to the brokers in Naples, and one of these (his 
Hagar in the wilderness) was noticed and purchased by the 
celebrated Lanfranc, who was passing the broker's shop iu 
his carriage. Salvator, finding it in vain to struggle any 
S A. 
longer with chagrin and poverty in his native place, went to 
Rome, where he met with little encouragement and fell sick, 
and once more returned to Naples. An accident, or rather 
the friendship of an old school-fellow, now introduced him 
into the suite of the Cardinal Brancaceia, and his picture of 
Prometheus brought him into notice, and recalled him to 
Rome. 
It is doubtful, however, how long he might have remained 
here in precarious dependence, had not his talents as an im- 
provisatrice brought him into popular notice: on a festal oc¬ 
casion he appeared in a car with a masked troop in the cha¬ 
racter of a charlatan. The pleasantry of his verse, the 
sprightliness of his music, and the satirical hits he directed 
against the nobles, ravished the people; he became the delight 
of the vulgar, and a fashion with the great. In a short time 
his paintings attracted universal attention, and the means of 
bettering his fortune were soon at his disposal. , 
His satirical spirit induced him, however, to attack 
Bernini, the court artist, and the party he offended by this 
indiscretion, opposed and irritated him through life. His 
brilliant talents and agreeable accomplishments gained him, 
however, many friends, and his painting was much patronized, 
though uot exactly in the way he wished. He had a notion 
that his excellence lay in historical drawing, but his cotem¬ 
poraries, as well as posterity, decided that his landscapes were 
the true supporters of his reputation. Nothing, however, 
could exceed the irritability he displayed on this topic. 
Lady Morgan, in her romantic “ Life and Times of Salvator 
Rosa,” relates on the subject two anecdotes worth tran¬ 
scribing. 
The Prince Ximines, having arrived at Rome, found time 
in the midst of the honours paid to him, to visit Salvator- 
Rosa, and being received by the artist in his gallery, he told 
him frankly, that he had come for the purpose of seeing and 
purchasing some of those beautiful small landscapes, whose 
manners and subjects had delighted him in many foreign 
galleries.—“ Be it known then to your Excellency,” in- 
terupted Rosa impetuously, “ that I know nothing of land¬ 
scape painting ! Something, indeed, I do know of painting 
fgures and historical subjects, which I strive to exhibit to 
such eminent judges as yourself, in order that, once for all, I 
may banish from the public mind that fantastic humour, of 
supposing I am a landscape, and not an historical painter.” 
Shortly after, a very rich Cardinal, whose name is not re¬ 
corded, called on Salvator to purchase some pictures; and as 
his eminence walked up and down the gallery, he always 
paused before some certain quadretti, and never before the 
historical subjects, while Salvator muttered from time to time 
between his teeth, “ Sempre sempre pash picoli.” When at 
last the Cardinal glanced his eye over some great historical 
picture, and carelessly asked the price, as a sort of company 
question, Salvator bellowed forth “ line Milione:'' his 
eminence, stunned or offended, hurried away, and returned no 
more. 
Salvator was a party in the famous conspiracy of Massi- 
niello at Naples, and he left a beautiful sketch of that unfor¬ 
tunate patriot. At the end of the short lived revolution, 
Salvator returned to Rome disheartened, disappointed, and 
gave vent to his feelings on this occasion by his two poems. 
La Babilonia and La Guerra, which are full of the spirit of 
love and hatred, of enthusiasm and bitterness. About the 
same time, he painted his two allegorical pictures of 
“ Human Frailty,” and “ Fortune.” These were exhibited in 
the Pantheon, and from the sensation they excited, and the 
sinister comments that were made on them, had nearly con¬ 
ducted Salvator to tbs Inquisition. In the picture of “ For¬ 
tune” more particularly, the nose of one powerful ecclesiastic, 
and the eye of another, were detected in the brutish phy¬ 
siognomy of the swine who were treading pearls and flowers 
under their feet; a Cardinal was recognized in an ass, scatter¬ 
ing with his hoof the laurel and myrtle which lay in his path, 
and in an old goat reposing on roses, some there were who 
even fancied they saw the infallible lover of Donna Olympia, 
the Sultana Queen of the Quirinal! The cry of atheism and 
sedition, and of contempt for established authorities, was thus 
raised 
