time. Regarded as perception, it is a series of auditory or tactual (never of visual) sensations, which recur at regular intervals and show a regular variation of intensity. In other words, our interpretation of rhythm as a perception simply translates the objective definition into subjective terms. There are, however, certain phenomena of the rhythmical consciousness which have led some psychologists to accept the other view, that rhythm is a kind of emotion. (1) If we subject an observer to a series of regularly recurring and similar sounds, we find (within definite time limits) that in the majority of cases the series is apprehended as rhythmical. The most familiar instance is that of listening to the ticking of a clock; the beats of the pendulum are heard, not as tick, tick, tick, but as tick, tick, tick, tick, etc. (2) We can produce the effect of rhythm not only by changing the objective intensity of regularly recurring stimuli, but also (a) by changing their duration, (b) by changing the interval between them, and (c) by changing their quality. That is to say, the intensities may remain constant throughout, and yet (if some one of these three variations is introduced into the series) the observer will have the illusion of intensive fluctuation, and will therefore be constrained to hear the series as rhythmical. (3) There is a strong tendency to express' rhythm, to accompany a Example 4.

first beat of every bar has an accent, while in examples 2 and 3, although every bar retains its own accent, there is no special accent or emphasis at the beginning of the rhythmic figure. Accent thus deals with the notes of a single measure; rhythm with groups of notes extending over one or (generally) more measures. Music becomes intelligible only when these larger rhythmic divisions are clearly grasped. A cultivated ear soon tires of constant regularity of rhythm. To avoid monotony, composers resort to various means of breaking the rhythm, such as inserting an odd bar between the regular number of bars composing a rhythmic group, alternating twobar with three-bar rhythms, or making the weak ending of a phrase coincide with the strong beginning of a new phrase (thus really causing the elision of a bar).

The only simple rhythms are those consisting of a group of notes filling two or three measures (duple and triple rhythm). All rhythms extending over more than three bars are compound. Thus every four-bar rhythm can be resolved into two groups of two bars each. A six-bar rhythm may consist of two groups of three bars each or three groups of two bars each. The Scherzo of Beethoven's Ninth Symphony (Ex. 4) begins with a theme in quadruple rhythm (two groups of duple rhythm).

Example 6.

Example 7.

O 8

measure; whereas in the other two examples it fills two measures. It is evident from this that rhythm is not synonymous with accent; for the

A loose use of language has created a great deal of confusion in regard to the meaning of the term rhythm. The word is often carelessly

employed instead of accent or time, both of which terms are only subdivisions of rhythm. See AcCENT; SYNCOPATION; TIME.

RIAD, rê-äd', or RIYAD. The Wahabi capital in the Sultanate of Nedjed, Central Arabia (Map: Turkey in Asia, R 11). It is built on an extensive open plain in a well-cultivated region. In the centre of the city is a large square containing the market-place and the great mosque. The city is a resting-place for pilgrims on the way from Persia to Mecca and Medina. Riad dates from 1824. Population (estimated), 30,000.

RIALL, rial, Sir PHINEAS (1775-1851). A British soldier. He was born in Ireland, entered the British Army as an ensign in 1794, and soon rose to be major. In 1804 he was attached to the Fifteenth Foot, served for several years with distinction in the West Indies, and in 1810 was brevetted colonel. Three years later he was promoted major-general, and was sent to Canada to operate against the forces of the United States. In the following winter he destroyed Black Rock, Buffalo, and other villages on the American border, and during the next summer commanded the troops which opposed the invading army under General Jacob Brown. On July 5th he was defeated in the battle of Street's Creek, or Chippewa. On July 25th at the battle of Lundy's Lane (q.v.), where he held the immediate command of the British forces, he was severely wounded and was taken prisoner. In 1816 he was appointed Governor of Grenada, and administered the affairs of that island for several years. He was promoted lieutenant-general in 1825, was knighted in 1833, and was made a full general in 1841. Consult Morgan, Sketches of Celebrated Canadians and Persons Connected with Canadian History (Quebec, 1862).

RIALTO, rê-äl'to (It., from rio, rivo, brook + alto, deep, high). The chief bridge of Venice, a graceful structure spanning the Grand Canal by a single marble arch 74 feet in length, and 32 feet high. The name is derived from Rivoalto, the island on which Venice was founded. Two rows of shops divide the bridge into a broad road and two narrow side passages. The bridge and adjacent district are referred to in Shakespeare's Merchant of Venice.

RIANT, rê'äN', PAUL EDOUARD DIDIER, Count (1836-88). A French scholar and historian, born in Paris. He was known as the foremost scholar of his day on the subject of the Crusades, possessed of a keen historical sense, skill in research, and marked scholarship in the interpretation of documents. In 1875 he founded the Société de l'Orient Latin, whose object was the publication of geographical and historical documents appertaining to the Crusades and Palestine. He collected an excellent library in the history of the Crusades, and in Scandinavian literature, of which Harvard University obtained the former portion, and Yale the latter. Among the numerous volumes written and edited by him are Expéditions et pèlerinages des Scandinaves en Terre Sainte au temps des croisades (1865); Magistri Thadei Neapolitani Hystoria de Desolatione et Conculcatione Civitatis Acconensis 1291 (1874); and Le changement de direction de la quatrième croisade (1878). The Catalogue de la bibliothèque de feu M. le comte Riant appeared at Paris in 1896-99 (3 vols.).

RIAZAN, rē'ȧ-zän'y'. A government and a city of Russia. See RYAZAN.

RIB (AS. ribb, OHG. rippi, Ger. Rippe; connected with OChurch Slav. rebro, rib, and probably with Ger. Rebe, tendril, OHG. hirnireba, brain covering, skull). An elastic arch of bone, which, with its fellows, constitutes with the vertebral column behind, and the sternum or breastbone in front, the osseous part of the walls of the chest. In man there are 12 ribs on each side. The first seven are more directly connected through intervening cartilages with the sternum than the remainder, and hence they are termed vertebrosternal or true ribs; while the other five are known as false ribs, and the last two of these, from being quite free at their anterior extremities, are termed floating ribs. A glance at a skeleton, or at a plate representing the articulated bones, will show that the ribs vary very considerably both in their direction and size. The upper ribs are nearly horizontal, but the others lie with the anterior extremity lower than the posterior, this obliquity increasing to the ninth rib, and then slightly decreasing. They inThoracic Inlet

12th Dorsal vertebra

Floating ribs Sub costal Angle

FIG. 1. THORAX, FRONT VIEW.

crease in length from the first to the seventh, and then again diminish. The spaces between the ribs are termed the intercostal spaces. On examining a rib taken from about the middle of the series, we find that it presents two extremities (a posterior or vertebral, and an anterior or sternal), and an intervening portion, termed the body or shaft. The posterior extremity presents a head, a neck, and a tuberosity. The head is marked by two concave articular surfaces divided by a ridge, the lower facet being the larger. These surfaces fit into the cavity formed by the junction of two contiguous dorsal vertebrææ, and the ridge serves for the attachment of a ligament. The neck is a flattened portion proceeding from the head; it is about an inch long, and terminates at an eminence termed the tuberosity or tubercle, whence the shaft commences. On the lower surface of this tubercle is a small oval surface, which articulates with a corresponding surface on the upper part of the transverse process of the lower of the two contiguous vertebræ. The shaft presents an external convex and an internal concave surface. A little in front of the tubercle the rib is bent inward, and at the same time up

ward, the point where this bending takes place being called the angle. The upper border of the rib is thick and rounded, while the lower border is marked by a deep groove, which lodges the intercostal vessels and nerve.

The ribs of mammals are mostly connected, as in man, with the bodies of two vertebræ, and with the transverse processes of the posterior one. In the Monotremata, however, they articulate with the vertebral bodies only; while in the Cetacea the posterior ribs hang down from the transverse processes alone. Their number, on each side, corresponds with that of the dorsal vertebræ. The greatest number, 23, occurs in the two-toed sloth, while in the Cheiroptera 11 is the ordinary number. In birds each rib articulates by means of a small head with the body of a single vertebra near its anterior border, and with the corresponding transverse process by means of the tubercle. Moreover, each rib possesses a

FIG. 2. ARTICULATION OF THE RIBS WITH THE SPINAL COLUMN, FRONT VIEW.

'diverging appendage,' which projects backward over the next rib, so as to increase the consolidation of the thoracic framework, necessary for flying. The dorsal vertebræ here never exceed 11, and are commonly 7 or 8 in number, and the ribs proceeding from them are connected with the sternum, not by cartilage, as in mammals, but by true osseous sternal ribs, which are regularly articulated at one end with the sternum, and at the other with the termination of the spinal ribs. In the chelonian reptiles the ribs (as well as the vertebræ and the sternum) deviate remarkably from the normal type, the lateral parts of the carapace consisting mainly of ankylosed ribs united by dermal plates. In the crocodiles there are only twelve pairs of true or dorsal ribs; while in the other saurians, and in the ophidians, the ribs are usually very numerous. In the frogs there are no true ribs, the reason probably being that any bony element in their thoracic walls would interfere with the enormous thoracico-abdominal enlargement which these animals periodically undergo at the breeding period. See SKELETON; SPINAL COLUMN.

RIB. In architecture, a projecting band or molding on an arched or flat ceiling. It is of universal use in all styles of Gothic architecture and it is the key-note of the Gothic system of construction. (See GOTHIC ARCHITECTURE.) Ribs were first used in certain Romanesque schools during the eleventh and early twelfth centuries, especially those of Lombardy, Normandy, and the Rhine. They simply followed the diagonal lines

of intersection of two barrel vaults on a square plan. But the Gothic system, by using the pointed arch in the ribbing, by making a complete framework of diagonal, transverse, and longitudinal ribs, not only self-sufficient, but capable of sustaining weight and transmitting thrust, and by turning the shell of each vaulting compartment into a concave surface, made of the combination the basic unit of the structure. The ribs were at first heavy and simply molded, becoming in the thirteenth century more slender and elaborately molded. Their intersection at the crown of the vault was commonly decorated with carved ornamentation in the form of floral bosses or pendants. In late Gothic, especially in England and Germany, intermediate ribs of no constructive use were added in the vaulted fields for decorative effect, some of which were called lierne. The fan-tracery vaults and paneled vaults are two of the most elaborate of these styles of ribbing. Cusping and tracery were used in late Gothic ribbing, and the ribs often wandered in curved lines across the vaulting.

RIB, FRACTURE OF THE. A very common surgical accident, resulting usually from blows or falls upon the chest. It is not uncommon, however, for ribs to be broken by indirect violence, such as a crushing or squeezing force which springs the convexity of the ribs outward until fracture occurs. Instances are on record where the ribs of very old persons have been actually broken by very violent coughing.

The treatment for fractured ribs consists in the application of broad strips of adhesive plaster which encircle the chest wholly or in part and which by their pressure steady the broken fragments and prevent their moving upon one another in the act of respiration.

Where the sharp extremity of a broken rib penetrates the layers of the pleura and enters the lung and escape of air occurs from the lung substance into the pleura, and thence through the wound in the parietal layer of the pleura into the subcutaneous connective tissue, it is made evident by a puffiness of the skin and a peculiar crackling sensation to the touch. This condition, which is known as surgical emphysema, may extend over the entire trunk and occasionally has been known to invade nearly the entire body.

RIBAUT, rê'bo', or RIBAULT, JEAN (c.1520-65). A French navigator and colonizer, born at Dieppe. In 1562 he was given command of an expedition organized by the Huguenot leader, Admiral Coligny, which had for its object the founding of a Huguenot colony in America. With his two vessels he explored the Florida coast, and finally, anchoring at Port Royal, built Fort Charles, near the present Beaufort, S. C. Leaving twenty-six colonists, he went back to France, from which, on account of the civil wars, he was unable to return for some time. Meanwhile the colony had been abandoned. Another settlement of French Protestants, however, had been made in 1564 under Laudonnière at Fort Caroline, on the Saint John's River, and in August of the next year Ribaut came over with seven vessels and assumed command of the colony. The appearance of a Spanish squadron, which had been dispatched with orders to kill all the Protestants in the settlement, drove him to sea. He planned to attack the Spaniards in their new settlement at Saint Augustine, but his fleet was wrecked and

the project was abandoned after a slight initial success. Meanwhile, the Spanish leader Menendez had taken Fort Caroline, on the Saint John's River, by rapid and skillful tactics. Over one hundred of the garrison were murdered by the Spaniards, as well as others of the French forces who later fell into the hands of Menendez. Ribaut traveling toward the settlement was met by Menendez, and with most of his party surrendered unconditionally. All but a few were put to death, Ribaut himself meeting his fate bravely. Consult: Winsor, Narrative and Critical History of America, vol. ii. (Boston, 1886); Parkman, Pioneers of France in the New World (ib., 1885); Gaffard, La Floride française (Paris, 1875). RIB'BECK, OTTO (1827-98). A German classical philologist. He was born in Erfurt, studied in Berlin under Lachmann, Böckh, and Bopp (1845), and in Bonn under Welcker, the last Hellene,' and with Ritschl, whose critical method he so closely followed. After receiving his degree in Berlin he went to Italy, where he spent a year. In 1853 he became a member of Böckh's seminar at Berlin, and from 1854 to 1877 taught successively at Elberfeld, Bern, Basel, Kiel, and Heidelberg. He became Ritschl's successor at Leipzig in 1877. Ribbeck's peculiar prov ince was Latin poetry, and his great fame was as a bold textual critic. Besides many contributions to the Rheinisches Museum, of which he became an editor in 1876, his more typical works are the valuable collection of Latin comic and tragic fragments (1852-55; enlarged 1871-73; 3d ed. 1897-98); the text of Juvenal (1859), which is very radically reconstructed on the general principles of his essay, Der echte und unechte Juvenal (1865), in which Ribbeck held satires 1-9 and 11 as original and all else of the textus receptus late additions; the great text of Vergil (1859-62; prolegomena 1866), based on a minute study of the interrelations and history of the manuscripts, but marred by a subjective and fanciful, if brilliant, criticism, which is also to be found in the Horace of 1869; and an edition of Plautus's Miles Gloriosus (1881). But his most valuable works were the Geschichte der römischen Dichtung (1889-92; 2d ed. 18971900) and the masterly Life of Ritschl (1879

81). Mention should also be made of his series of classical character sketches, Alazon (1882); Kolar (1883), and Agroikos (1885), patterned

somewhat on Theophrastus.

RIBBED VAULTING. A form of arched vaulting in which the masonry of the vault is sustained by ribs, which form a sort of skeleton, upon which the concave surfaces forming the shell of the vault rest. The ribbed vault is a development of the quadripartite groined vault, in which the groins are strengthened by means of ribs of masonry, but differs from it in that the concave surfaces of the vault are independent structures, transmitting the thrust to the ribs. (See GROINED VAULTING.) For the different varieties of Ribbed Vaulting, see VAULT. It is the basal unit of Gothic architecture, under which title its development is fully discussed. RIBBON. See SILK.

RIBBON (OF. riban, ruban, rubant, Fr. ruban; perhaps connected with Ir. ribin, ribbon, Welsh rhibin, streak, Gael. rib, hair, rag). In heraldry (q.v.), a diminutive of the ordinary called the bend.

RIBBON-FISH. (1) Any of a variety of pelagic fishes characterized by a much elongated and compressed body, especially those of the suborder Tæniostomi, including three families, represented by very few species. They are of very delicate structure, with naked and silvery skin, a long dorsal fin often uniting with the tail-fin, a small mouth, and a protractile snout. They are widely distributed from polar to tropical seas, but are nowhere found in abundance, being deepsea fishes, and mere occasional visitants of the coasts. Owing to the delicacy of their frame, perfect specimens are seldom obtained. Specimens 20 feet long with a depth of 12 inches and a thickness of only an inch or two have been taken. See OARFISH.

(2) One of the roncadors (q.v.) of the Gulf of Its Mexico and West Indies, Eques lanceolatus.

GULF RIBBON-FISH (Eques lanceolatus).

generic name is due to the long dorsal spines, suggesting a rider; and its common name to blackish-brown bands which curiously ornament its yellowish-gray body.

RIBBON GRASS. See CANARY GRASS.

RIBBONISM. The name given to a movement which originated in Ireland about 1808, and took the form of secret associations of Catholics banded together for the purpose of combating the activity of the Orangemen (q.v.), and known as

Ribbon societies. The name was derived from the green ribbon which was the badge of the orArmagh, Down, Antrim, Tyrone, and Fermanagh, ganization. The societies appeared chiefly in and seem never to have gained a footing in the The members of the purely Catholic counties. the poorest classes, and the religious purposes Ribbon societies belonged almost exclusively to cial and agrarian. of the organization soon became merged with soconsistently to have opposed the movement. The Catholic clergy seem

RIBBON SNAKE. One of the American garter-snakes (Eutania saurita) common from Alleghanies. It is a light chocolate brown above, Massachusetts to Louisiana, but rare west of the with three yellow stripes and greenish below. The only peculiarity in its habits is its fondness for water. Eutania Sackenii of Florida, which is clear olive Two closely similar species are with straw-colored stripes; and Eutania proxima, of the Mississippi Valley and Texas, which GARTER-SNAKE. is blackish brown, with dull yellow stripes. See

RIBEIRO, rê-bā'ro, BERNARDIM (c.1486c.1550). A Portuguese poet, born at Torrão, in the Province of Alemtejo. There is little positive information about this poet. He was a gentlemen of the chamber at the Portuguese Court for several years, and there had an unfortunate love affair with a relative of the King, who is said by some to have been Donna Joana de Vilhena. His best known work is the pastoral

romance Menina e Moça (1554), the correct title of which is Saudedes or Tristezas. It introduces his own love affair and a number of the personages of the Portuguese Court. Although very obscure and confused as to plot, it contains passages of descriptive beauty. The Obras de Bernardim Ribeiro were published in 1645, 1785, and 1852. The best modern edition is that of Dom Jose Pessanha, the Menina e Moça with a Prefacio (1891).

RIBEIRO-FERREIRA, fâr-ra'ê-rå, THOMAZ ANTONIO (1831-1901). A Portuguese poet and statesman, born at Parada de Gonta, and educated for the bar at Coimbra. In 1870 he became secretary general of the Portuguese colonies. He received the Colonial portfolio in 1878, that of the Interior in 1881, in 1885 and in 1890 was Minister of Public Works, and in 1895 and 1896 served as Minister to Brazil. In prose he wrote for the press and published two volumes of travels, but he was best known as a poet, with a typically Portuguese languor and grace, but much patriotism withal, as in Dissonancias (1891). Earlier poems are: Sons que passam (1854) and Vesperas (1858), both lyric collections; Don Jaime (1861; 6th ed. 1880), a national epic; and Delfina do mal (1868; revised 1881), a narrative.

RIBERA, rê-Bã'rå, JUSEPE DE, called Lo SPAGNOLETTO (1588-1656). An historical painter and etcher, Spanish by birth and training, but one of the leading masters of the Neapolitan school and the greatest colorist of Italy in the seventeenth century. He was born at Jativa, Province of Valencia, January 12, 1588. First instructed by Ribalta at Valencia, he received most of his training and spent the greater part of his life in Italy. He studied after the works of the great masters in Rome, then especially after Correggio and the Venetians, from whom he derived his vivacity of color. He formed his style, however, chiefly after Caravaggio, of whom he seems to have been an independent follower, rather than a direct pupil. After years of vicissitude, he settled at Naples, where he secured a patron in the rich picture dealer Cortese, whose daughter he married. Like Caravaggio's pictures Ribera's exhibit a wild, extravagant fancy, but great vigor, and, although imbued with the darkness of shadow masses peculiar to the Neapolitan "Tenebrosi" (Darklings), they show a much finer instinct of the chiaroscuro. He delights in scenes of horror, such as tortures and martyrdoms of all kinds, but occasionally shows also poetic charm and was the first to combine realism with the Roman Catholic spirit. He painted numerous heads and half-figures of hermits, saints, and philosophers with great anatomical exactness. Especially good are his various representations of the "Martyrdom of Saint Bartholomew," examples of which are in the museums of Madrid, Berlin, and Dresden. Among his finest paintings are the "Immaculate Conception" (1635), in the Convent of the Augustine Recollets at Salamanca, excelling in splendor of color and light and in the charm of the Virgin's figure the representations of this subject by Murillo, Guido Reni, and Rubens; the "Descent from the Cross" (1637), admirable for its delineation of pain, and "Communion of the Apostles," both in San Martino, Naples; the "Adoration of

the Shepherds" (1650), in the Louvre; the "Martyrdom of Saint Lawrence," in the Vatican; a "Pietà" in the National Gallery, London; and "Saint Mary of Egypt Praying at Her Grave" (1641), in the Dresden Museum, of exceptional charm in the expression of the head. Of the fifty pictures in the Madrid Museum, the best are: "Jacob's Dream;" "The Immaculate Conception;" "Isaac Blessing Jacob;" "Magdalen;" "Saint Rochus;" "Prometheus;" and "The Blind Sculptor of Gambazo." Of singular interest is a half-figure of "Homer, as Improviser with the Violin," in the Turin Gallery, and his latest work, the "Saint Sebastian" (1651), in the Museum of Naples. Of his twenty-six etchings the best-known are "The Drunken Silenus with Satyrs" (1628), the equestrian portrait of "Don Juan d'Austria" (1648), two of "Saint Jerome," and "Satyr Scourged by Cupid." Consult: Bermudez, Diccionario histórico bellas artes, iv. (Madrid, 1800) Eisenmann, in Dohme, Kunst und Künstler Italiens, iii. (Leipzig, 1879); Woermann, in Zeitschrift für bildende Kunst (ib., 1890); and Diccionario enciclopédico hispano-americano, xvii. (Barcelona, 1895).

de las

RIBHUS (Skt. ṛbhu, dexterous, from rabh, Gk. haμßável, lambanein, to take; ultimately connected with Ger. Alp, AS. alf, Eng. elf). In Vedic mythology, a group of divine artificers. They are usually three in number, and were originally mortals. They are closely associated with Indra, and also with Savitar, the sun, while in their appearance they are like the sun, and ride in a bright car drawn by fat steeds. They are most frequently mentioned as the artisans of the gods. The physical basis of the divine asSome scholars pect of the Ribhus is doubtful. regard them as the three seasons which are at a standstill during the twelve days of the winter solstice. Consult: Nève, Essai sur le mythe des Ribhavas (Paris, 1847); Macdonell, Vedic Mythology (Strassburg, 1897); Ryder, Die Ṛbhu's im Rgveda (Gütersloh, 1901).

RIBOT, rê'bô', AUGUSTIN THÉODULE (182391). A French genre and portrait painter of the realistic school, born at Saint-Nicolas-d'Attez (Eure). He first painted mirror frames, and then worked for a while under Glaize and studied Chardin and the Dutch and Spanish masters in the Louvre. He began his exhibits at the Salon by a series of stilllife pictures and kitchen scenes, painted broadly with strong Rembrandt-like effects of light and shade. These include "Cooks at Dinner Time" (1861), and "Chickens Roasting" (1861). His "Saint Sebastian" (1861) showed his powerful, if somewhat coarse, talent, in another manner. This picture, with "The Good Samaritan," and "Jesus in the Temple," is in the Luxembourg. His later works were mainly portrait heads, chiefly of old people, which are wonderful studies of wrinkled flesh and startling expression. was decorated with the Legion of Honor. sult Muther, The History of Modern Painting (New York, 1896).

He

Con

RIBOT, ALEXANDRE FÉLIX JOSEPH (1842—). A French statesman, born in Saint Omer (Pas de Calais), and educated for the law in Paris. He was one of the founders of the Société de Législation Comparée, was for two years (187577) at the head of a department in the Ministry of Justice, and in 1878 was elected a Deputy.