ships. He died on the 14th August, 1774. Reiske was no mean

scholar and critic, and he was unrivalled in Arabic philology. But he was rash and self-confident, as may be seen in his "Conjecture in Jobum." Indeed many of his works were sped through the press to gain him a scanty livelihood. Among his oriental works may be mentioned his editions of the Annals of Geography of Albulfeda, and his medical "Miscellaneæ ex Arabum monumentis." He also edited Theocritus, Plutarch, the Oratores Attici, Maximus Tyrius, Dionysius Halicarnassensis, Constantinus Porphyrogenitus, and Cicero's Tusculanæ Questiones. At the age of forty-eight Reiske married Christine Müller, nineteen years his junior, a union which greatly augmented his happiness, and aided his literary pursuits. She was born at Kumberg, near Wittemberg, in 1735. The match was one of mutual love, and Christine nobly sustained her part. Under her husband's instructions she attained great proficiency in scholarship, and could collate manuscripts, as that of Achilles Tatius, arrange various readings, correct proofs, suggest better translations, in short, did lovingly and laboriously the work of a skilful and learned assistant; nay she could also suffer with her husband, for in one season of distress she persuaded him to allow her to sell her jewels. After his death she published several works left by him in an unfinished state, as the Oratores Græci, Libanius, Dio Chrysostom. She was also an original authoress and a translator, as in her "Hellas" and her "Zur Moral." She died at her native town, 27th July, 1798. She deserves to be remembered as a learned woman, industrious, patient, brave, and unassuming. Her affection for her husband, and her tender regard for his memory, may be seen in many parts of his autobiography published by her after his death.—J. E. REISSIGER, Karl Gottlieb, a musician, born at Belzig, near Wittemberg, on the 31st January, 1798, and died at Dresden, the 7th November, 1859. His father. Christian Gottlieb, filled the office of cantor, and published some music of merit. Taught by him, Carl made such early progress as a pianist that at ten years old his playing was famous in the town, and he was trusted to play the plain hymns upon the organ. In 1811 Reissiger obtained the scholarship at St. Thomas' school at Leipsic, where as a singing boy he gave such sign of talent as greatly to interest the organist, Johann Gottfried Schicht, famous for his numerous collection of chorales, for several extensive compositions, and for a work on theory. Being too poor to hire a pianoforte. Reissiger pursued his musical studies with great difficulty; still he composed some motets in 1815-16 that were much commended. He entered himself as a student of theology at the university in 1818, but his necessities, no less than his inclination, even then bound him to music; since with his scanty means he was glad to be able to fill an engagement in the orchestra at the Abbonnement concerts, where he also occasionally sang. Finding that his predilection was decidedly for music, and that this was justified by his natural capacity, Schicht gave him a systematic course of lessons in composition, and raised a subscription to allow him a pension for three years which would enable him to pursue his studies without embarrassment. Reissiger thus provided for left Leipsic in 1821; went to Vienna, where he wrote an opera called "Das Rockenweibchen" (which being prohibited by the censorship, its overture only was played) and some orchestral music; and proceeded to Munich in 1822, in order to place himself under the tuition of Winter. He wrote an overture upon a theme given him by this master, which was played with such effect that the intendant of the theatre commissioned him to write an overture and dramatic music for the tragedy of Nero. Winter also furnished him with the libretto of an Italian opera, "Didone,"' on which, as well as on a mass, he wrought while under the direction of this experienced musician. On hearing of the illness of Schicht in 1823, Reissiger returned to Leipsic in time to witness the death of his friend. He then went to Berlin, where he was most kindly received; from thence he sent "Didone" to Weber at Dresden, under whose care it was produced with much applause. He was commissioned by the Prussian ministry to visit France and Italy, to examine and report upon the musical seminaries in these countries preparatory to the organization of a conservatorium in the Prussian capital, and he started on this tour in July, 1824. At Paris he published his first trio for pianoforte, violin, and violoncello. Op. 25, and obtained considerable success as a player and composer. While in Rome he wrote an opera called "Der Almenschätz," which was never performed, except only its overture, and this has been much admired. He went back to Berlin in October, 1825, and drew up a scheme for a conservatorium, which was approved, but never carried into effect. He taught there in the institution directed by Zelter, but had little opportunity of coming before the public. In October, 1826, he went to the Hague, whither he was invited for the purpose of reorganizing the musical academy, but he had also an offer in November to succeed Marschner as vice-kapellmeister at Dresden, for which he relinquished the engagement in Holland. At Dresden, his colleague Morlachi being ill, the twofold duty fell upon him of conducting the Italian as well as the German opera; and he exerted himself so efficiently that in 1827 the king conferred on him the office of kapellmeister, which had been vacant since the death of Weber, and this he filled till the end of his days. His fame as a dramatic composer, if not his career, may be said to have commenced from this time. He brought out the melodrama of "Yelva" (the overture of which has been popular in England) in 1827; the opera of "Libella" in 1828; that of "Die Felsenmühle" (which was eminently successful throughout Germany) in 1829; another opera, "Turandot," was given a few years later; "Adele von Foix" appeared in 1841, and "Die Schiffbruch der Medusa" in 1846. Reissiger also wrote an oratorio called "David," masses, and other pieces for the church, a symphony, several detached overtures, an immense number of songs, and a large quantity of chamber music, among which his pianoforte trios have specially been distinguished; their unaffected fluency of style having procured for them a most extensive though a short-lived popularity.—G. A. M. RELAND, Adrian, a learned orientalist, was born 17th July, 1676, at Ryp, a hamlet in North Holland, his father being minister in the place. After Adrian's birth the father removed to Amsterdam, and in that city the education of the youth commenced. At the early age of eleven he had gone through the usual classical course. Under the guidance of Surenhusius, the next three years were devoted to the Hebrew, Chaldee, Syriac, and Arabic languages. He then entered the university of Utrecht, and after a three years' course was admitted to the degree of doctor in philosophy. His university studies were conducted under Grævius and Leusden, and his divinity course was begun under Witsius. He next removed to Leyden, and soon after became tutor to the son of the earl of Portland, King William's favourite. In 1699 he was chosen professor of philosophy at Hardenwyk; but he quitted this situation in a short time, as on the recommendation of King William he was appointed professor of oriental languages and ecclesiastical antiquities at Leyden. He held this situation seventeen years, and died in his forty-second year of small-pox, on 5th February, 1718. The great erudition and sound mind of Roland are conspicuous in all his works. The principal of these are—"De Religione Mohammedica" in 1715, a useful book for the time; "Dissertationes Miscellaneæ" in 1716, an able and interesting collection; "Analecta Rabbinnica" in 1702; "Antiquitates Sacræ" in 1708, a useful compend or text-book; "Dissertationes quinque de nummis Veterum Hebræorum;" and "De Spoliis Templi." His principal work—his enduring monument—is his "Palestina ex monumentis veteribus illustrata." Recent travel has added greatly to our knowledge of the Holy Land; but Reland's work remains a study for all writers on sacred geography.—Peter Reland, his brother, compiled a good and valuable "Fasti Consulares," printed after his death in 1715.—J. E. RELHAN, Richard, an English botanist, lived during the latter part of the eighteenth century. He studied at Cambridge, and published "Flora Cantabrigiensis," or an account of the plants growing wild in the neighbourhood of Cambridge; also, "Heads of a Course of Lectures on Botany, read in the University of Cambridge." These publications extended from 1785 to 1793. He was a fellow of the Royal and Linnæan societies.—J. H. B. REMBRANDT VAN RHYN, Hermanszoon, was born at Leyden, in his father's mill, July the 15th, 1606 or 1608; early accounts give the former year—he himself at his marriage gave the latter. After spending some time at the Latin school of Leyden he became the pupil of Jacob Van Swanenberg, with whom he remained three years. He afterwards studied a short time with Peter Eastman at Amsterdam, and with Jacob Pinas at Haarlem, being absent from home altogether about four years. Rembrandt was, however, really his own master; his style was original; and some of the pecu-