REWARI (14 and 15 Vict. chap. 55) courts of quarter sessions are authorised, in the case of any of the above offences which they have jurisdiction to try, to order such compensation; but the payment to one person must not exceed £5. If any one is killed in endeavouring to apprehend a person charged with one of these offences, the court may order compensation to be made to the family. The High Court has also a general power to order the payment of a reasonable sum to any person who has shown unusual courage or diligence in apprehending offenders. By the Larceny Act, 1916 (6 and 7 Geo. V. chap. 50), sec. 34, it is a felony, punishable by penal servitude to the extent of seven years, to corruptly take any reward for helping a person to recover property stolen or embezzled, unless all due diligence to bring the offenders to trial has been used. By the Larceny Act, 1861 (24 and 25 Vict., chap. 96), sec. 102, an advertisement offering a reward for the return of stolen or lost property, using words purporting that no questions will be asked or inquiry made after the person producing the property, renders the advertiser, printer, and publisher liable to forfeit £50 to any person who sues for the same. An action to recover the forfeiture from the printer or publisher of a newspaper can only be brought within six months after the forfeiture is incurred and requires the written assent of the Attorney-General or Solicitor-General. When a reward is advertised for the recovery of lost property, or for information, or for doing any other act, the performance of the act constitutes an acceptance of the offer in the advertisement, and the person performing the act is entitled to sue for the reward. Rewari, a town of the district of Gurgaon, in the extreme south of the Punjab, 50 miles SW. of Delhi by rail, an important centre for trade between Punjab and Rajputana; pop. 23,000. Reykjavík, the capital of Iceland, is situated on the south coast of Faxa Bay, in the west of the island. The first Norse settlers are supposed to have made their home there in the 9th century, when Ingólfr Arnarson after three years' search found on the beach the high seat pillars he had thrown overboard; but till near the end of the 18th it remained a small fishing village. Some factories were set up and a trading station established, but growth has been slow. A good sheltered harbour constructed since 1913. The most noteworthy buildings are the Althingshús or Parliament House, the Cathedral (the seat of the Bishop of Iceland), the National Museum (containing also the large National Library), and the University (with four faculties). The Hnitbjörg museum contains a collection of Einar Jónsson's sculptures. Reykjavik also possesses banks, hospitals, and various schools, and exports a considerable amount of fish, chiefly cod, herring, and salmon, mostly salted. Pop. (1850) 1000; (1901) 6600; (1920) 17,679. Reymont, WŁADYSŁAW STANISŁAW (18681925), Polish novelist, the son of a peasant, was for some time a strolling player and a railway worker, before definitely taking to literary work. He won the Nobel prize in 1924 for his huge novel, The Peasants (1904), a description of life on the land during the four seasons. His other chief work is The Promised Land, written after a stay in the industrial town of Łódz. Reymont is a realist, with an acute sense of observation and a keen sympathy with humanity. Reynard the Fox, a well-known popular epic the characters of which are animals instead of men. It belongs to the series of Beast-fables (q.v.) which have delighted the popular imagina tion from early ages and in all lands, from India to the Bushmen's country in South Africa (see FABLE). The stories that relate the knaveries of Reynard the Fox seem to have originated for the most part in northern France and Flanders from the 10th century onwards, and to have been composed and recomposed repeatedly in various forms in the 12th and following centuries. The authors or editors, so far as they are known, belonged chiefly to the ecclesiastical orders. The several versions differ not only in respect of language and of style, but also in the choice and arrangement of the episodes and incidents narrated. All turn upon the knaveries of Reynard the Fox, as practised by him in his quarrel with Isengrim the Wolf, who in all encounters generally comes off second best. The best versions, as the typical Flemish and Low German (to be referred to in detail lower down), reach a high level of literary excellence. The episodes are woven together into a veritable epic; the versification is agreeable and easy; the characters are consistent and well-sustained; the contemporary manners, and the localities and circumstances, that make the background of the story are true and realistic; and the story is told without any other obvious purpose beyond that of affording honest amusement. These features do not, however, characterise all the versions: some have been clearly written for a satirical purpose, some are loosely-connected strings of ill-told adventures, others drag out a long and weary length through innumerable indifferent verses, whilst in others still the characters are simply men disguised as animals. The earliest versions were in Latin; but they seem to have been soon supplanted by French in the 12th century, and in their new dress the stories attained a much wider popularity. Since the beginning of the 16th century nearly all the editions printed can be traced back to one of two sources, a Flemish or a Low German, both of which, however, are based upon French forms of the epic. The task of tracing the connections between the numerous versions that exist in the different tongues is one of great complexity and difficulty. important, with mention of one or more trustIt will suffice in this place to enumerate the more worthy recent editions. The best Latin version, Isengrimus (ed. by Mone as Reinardus Vulpes, Stuttgart, 1832; and by Voigt, Halle, 1884), which Possesses considerable literary merit, was written in Flanders about 1146-48 by an unknown author. The Isengrimus printed in J. Grimm's Reinhart Fuchs (Berlin, 1834) is not an older, but a later and abbreviated, form of the same poem. The best (4 vols. Paris, 1826), with a supplement by ChaFrench versions that survive were edited by Méon baille (1835), and by Martin (4 vols. Strasburg, of the 13th and the middle of the 14th century, and 1882-88). They were written between the middle run to enormous length, the separate cycles or groupings of the episodes being called 'branches.' Meon's work includes three cycles: (1) Roman du Renart, apparently the work of three if not more authors, Pierre de St Cloud, a priest of Lacroix in Brie, and a Norman priest Robert de Lison; (2) Le Couronnement de Renart, attributed to Marie de France; and (3) Renart le Nouvel, by Jacquemars Gielée of Lille, about 1290. The last two are transparent satires upon certain of the monastic orders. There is a fourth cycle, a voluminous compilation or imitation by a priest of the neighbourhood of Troyes, made near the middle of the 14th century, and entitled Le Renart Contrefait (ed. F. Wolf, Vienna, 1861). The oldest extant High German version, Reinhart Vuhs or Fuchs (ed. Reissenberger, Halle, 1886), more usually called Reineke Fuchs, was adapted by some one unknown, early in the 13th century, from a still older version, Isengrimes Nôt, itself a trans lation made from old French sources about 1180 by an Alsatian, Heinrich der Glichesaere. The Flemish version which has been the basis of most of the translations, continuations, and editions that have been made since the invention of printing is entitled Reinaert de Vos (ed. Martin, Paderborn, 1874). It was written by one William, but whether William de Matoc, William Utenhove, or more probably an unknown William, is uncertain, and dates apparently from the middle of the 13th century. The source upon which it is built is the nineteenth branch' in the Roman de Renart (last | in vol. i. of Méon). The text that has been almost exclusively used in the later translations, &c., is that of a second edition, deviating in some respects from William's own, notably in the infusion of a didactic, satirical tendency; the author of this second edition is not known. It was from a prose version of this second edition, published at Gouda in 1479, that Caxton made his translation of The History of Reynard the Fox (1481; reprinted Edin. 1884). Upon this same edition was based the Low German version, Reinke de Vos (ed. Prien, Halle, 1887), which has been more often translated perhaps than any other version. Who the Low German translator was is not known, in spite of the question having greatly exercised many specialists. The editio princeps of Reinke is that of Lübeck (1498), and next to it stands that of Rostock (1517). There are Danish (by A. H. Weigere, Lübeck, 1555), Swedish (Stockholm, 1621), and several other High and Low German editions, for which, however, see the bibliography prefixed to Prien's Reinke. Nevertheless special mention must be made of Gottsched's High German prose version (1752) and Goethe's well-known High German poem, with Kaulbach's scarcely less known illustrations to the same. Popular High German translations are contained in Simrock's Deutsche Volksbücher (vol. i. 1845) and Marbach's Volksbücher (vols. xv.-xvii.). English readers should consult the introduction to W. J. Thoms's edition of Caxton's Reynard (1845), Carlyle's Miscellaneous Essays (not quite accurate), F. S. Ellis's History of Reynard the Fox (1894), Joseph Jacobs's introduction to his version (1895); The Epic of the Beast: consisting of English translations of Reynard the Fox and Physiologus (introd. by William Rose, 1924). As Reynolds, JOHN FULTON, an American general, was born in Lancaster, Pennsylvania, 20th September 1820, graduated at West Point in 1841, and became commandant there in 1859. brigadier-general he fought at Mechanicsville and Gaines's Mills, and was taken prisoner at Glendale, but exchanged in August 1862. At the second battle of Bull Run his own bravery induced his brigade to stand fast, and so prevented a complete rout. In November he was commissioned majorgeneral, and in 1863 commanded a corps at Fredericksburg. He was killed at Gettysburg, where he commanded the left wing, on 1st July 1863. The state erected a granite shaft on the spot where he fell, and his men a bronze heroic statue on the field; and in 1884 an equestrian statue was unveiled in Philadelphia. Reynolds, Sir JOSHUA, P. R. A., portrait and subject painter, was born at Plympton Earls, near Plymouth, on 16th July 1723, the year of Kneller's death. His father, a clergyman and master of Plympton grammar-school, intended him for the medical profession; but he developed a strong aptitude for painting, was continually studying the plates in Cats's Book of Emblems, Dryden's Plutarch, and the other volumes that came in his way, and at the age of eight had mastered the Jesuit's Perspective, and applied its principles to drawings executed by himself. In October 1740, accordingly, he was sent to London to study art, | and placed in the studio of Thomas Hudson, a portrait-painter, of very moderate abilities, much employed at the time. In 1743 he returned to Devonshire, and some of the portraits of local worthies which he then produced still exist. In the following year he was again in London pursuing his art; but in the beginning of 1747, after the death of his father, he settled in Plymouth Dock, now Devonport, where he learned much from a study of the works of William Gandy of Exeter. In 1749 he made the acquaintance of Commodore, afterwards Lord, Keppel, who invited him to accompany him on a cruise in the Mediterranean; and, after painting many of the British officers in Minorca, he made his way to Rome, where he studied Raphael and Michelangelo, and in the Vatican caught a chill which permanently affected his hearing, and necessitated his use of an eartrumpet during the rest of his life. He also visited Bologna, Genoa, Florence, Parma, and Venice. Returning to England in October 1752, he soon afterwards established himself in a studio in St Martin's Lane, London, and attracted notice by his portraits of the second Duke of Devonshire and Commodore Keppel. Before long he was in excellent practice, and in the year 1755 he had no fewer than a hundred and twenty sitters, of whom he produced portraits in which the influence of the Italian masters, and especially of Correggio, is clearly visible; works in which he was certainly aided by such assistants as Marchi, but which he impressed with his own character and individuality. He soon removed to Great Newport Street; and finally, in 1760, he purchased a mansion on the west side of Leicester Square, to which he added a studio and reception-room. He was now at the height of his fame, and a valued friend of his most celebrated contemporaries. In 1764 he founded the famous literary club of which Dr Johnson, Garrick, Burke, Goldsmith, Boswell, and Sheridan were members; all of whom were portrayed by his brush. He was one of the earliest members of the Incorporated Society of Artists, and contributed to its exhibitions till 1768, when, on the establishment of the Royal Academy, he was elected its first president; and in the following year he received the honour of knighthood from the king. In 1769 he delivered the first of his Discourses to the students of the Academy, fifteen of which have been published. They are full of valuable and well-considered instruction, and, along with his papers on art in the Idler, his annotations to Du Fresnoy's Art of Painting, and his Notes on the Art of the Low Countries (the result of a visit to Belgium and Holland in 1781), show a correct and cultivated literary style. He contributed his picture of Miss Morris as 'Hope nursing Love' to the first exhibition of the Royal Academy, along with his portraits of the Duchess of Manchester, Mrs Blake, Mrs Crewe, and Mrs Bouverie; and in 1771 completed his subject of 'Count Ugolino and his Children in the Dungeon,' usually regarded as his most successful effort in the direction of historical art. In 1784 he succeeded Allan Ramsay as painter to the king; in the same year he finished and exhibited his portrait of Mrs Siddons as the Tragic Muse,' in the possession of the Duke of Westminster, undoubtedly his greatest portrait, a work existing in several versions, of which one is in the Dulwich Gallery; and in 1787 he undertook three subjects for Boydell's Shakespeare Gallery, executing Puck, The Witch Scene from Macbeth,' and The Death of Cardinal Beaufort.' Hitherto he had devoted himself with little interruption to his art, having speedily recovered from a slight attack of paralysis from which he suffered in 1782; but in July 1789 his sight RHABDOMANCY became affected, and he ceased to paint, though he was still able to enjoy intercourse with his friends. The following year was embittered by an unfortunate dispute with the Academy regarding the appointment of a professor of Perspective, which led to his resignation of the presidentship, a resolution which he afterwards reconsidered and rescinded; and on the 10th of December 1790 he delivered his last Discourse to the students. Gradually his strength sank-for, unknown to his physicians, he was suffering from a painful form of liver complaint-and he peacefully expired on the 23d February 1792. It is in virtue of his portraits that Reynolds ranks as the head of the English school of art. In the dignity of their style, the power and expressiveness of their handling, the variety and appropriateness of their attitudes, in the beauty of their colouring and the delicacy of their fleshpainting, his portraits have never been surpassed. He was at home alike in portraying the strength of manhood and the grace of the gentler sex; and his pictures of children have an especial tenderness and beauty which have given a world-wide celebrity to works like 'Master Bunbury, The Strawberry Girl,' and ‘Simplicity. His efforts in the higher departments of historical and imaginative art were less successful, and too often these can be regarded only as among the failures of a great artist. In his technical methods Reynolds was unfortunately most careless and uncertain. He was continually experimenting in new processes and untried combinations of pigments, with the result that even in his own lifetime his works deteriorated, especially in their flesh-tints. a a most was Personally Reynolds was man of fine and varied culture, and he was distinguished by an exquisite urbanity, the expression of amiable and equable disposition, which exceptionally fitted to win and retain friendship. His dignified gentleness, his mild reasonableness, tamed even the fierceness of Dr Johnson; and there was more of truth than is usual in poetic panegyric in the lines of Goldsmith which speak of this painter as Still born to improve us in every part, His pencil our faces, his manners our heart. The first great collection of the works of Reynolds was brought together by the British Institution in 1813, and numbered 142 pictures; another gathering was formed by the same body in 1823; 154 examples of his art were included in the South Kensington Portrait Exhibition of 1867; and 231 were exhibited in the Grosvenor Gallery in 1883-84. His authentic works have been estimated by Taylor to number between two and three thousand; and from these some 700 engravings have been executed, some of them-such as the mezzotints of J. R. Smith, John Dixon, William Dickinson, Valentine Green, and James M'Ardell-ranking among the finest examples of the art. The literary works of Reynolds have been published in various editions, including that of Malone, with memoir by Farington (1819), and that of Beechey (1835; new ed. 1890). See Northcote (a pupil of Reynolds), Memoirs of Sir Joshua Reynolds, Knight (1813); Leslie and Taylor, Life and Times of Reynolds (1865); E. Hamilton, A Catalogue Raisonné of the Engraved Works of Reynolds (1881); the important work by Sir W. Armstrong, Reynolds (1900); studies by Lord R. Sutherland-Gower (1902) and W. B. Boulton (1905); J. F. Molloy, Reynolds and his Circle (1906); and J. R. Davies, Reynolds (with some coloured reproductions, 1913). Rhabdomancy. See DIVINING ROD. Rhadamanthus, in Greek Mythology, the son of Zeus and Europa, and brother of Minos of Crete. He settled in Boeotia, where he married Alcmene. So great was his reputation during life for the exercise of justice that after death he was appointed a judge in the under-world, along with Minos and acus. Rhætia, an ancient Roman province embracing a large part of the Alpine tract between the basins of the Po and the Danube, now included in the Grisons and Tyrol. Its inhabitants were brave and turbulent, and were only subdued by Drusus and Tiberius after a desperate resistance. The province was then formed, to which Vindelicia was soon added; but later Rhætia was subdivided into Rhætia Prima and Rhætia Secunda (Vindelicia). The only important town in Rhætia was Tridentinum (Trent); the colony of Augusta Vindelicorum (Augsburg) was in its northern part.- For the Rhætic Beds, see TRIASSIC SYSTEM. Rhamnacea (Buckthorns), a family of di cotyledons, consisting of trees or shrubs; often spiny; with simple, generally alternate leaves, and stipules minute or wanting. There are about 500 known species, natives of temperate and tropical countries, and very generally distributed over the globe. The prevailing principle in the buckthorns is a bitter extractive which is acrid or astringent, tonic and anti-febrile. Some of them are used in dyeing (see BUCKTHORN, and FRENCH BERRIES), some in medicine (see RED ROOT), and the fruit of some is pleasant (see JUJUBE); whilst Hovenia dulcis, a native of China and Japan, is remarkable for the thickening of its flower-stalks after flowering, so as to form a succulent sweet red pulp, with a flavour resembling that of a pear. The lotus of the ancient Lotophagi, celebrated by Homer, is the fruit of Zizyphus Lotus, a small shrub abundant in Spain, Sicily, Barbary, Tunis (see LOTUS). The wood of Rhamnus Frangula yields a superior charcoal for the manufacture of gunpowder. Rhampsini'tus, a Grecised form of the Egyptian name Ramses, or Rameses, apparently Rameses III., the builder of the pavilion of Medînet Abu at Thebes. Of him Herodotus (II., 121 et seq.) relates a story substantially the same as one of the most widespread folk-tales of the world. The king built a treasury of stone. The architect left one stone loose, so nicely adjusted as to be unnoticed. Before death he entrusts the secret to his two sons, who plunder the treasure at will, until the elder is brother cuts off and carries away his head, so that caught in a snare. By his desire, the younger he may remain unknown. By further wiles the younger brother continues to outwit the king, and at last marries his daughter. Such is the oldest recorded version of Asbjörnssen's Master-thief' and Campbell's Shifty-lad,' Dr Barbu Constantinescu's Rumanian gypsy story Trophonios and Agamedes in the treasury of of The Two Thieves,' a variant of the story of Hyrieus at Hyria (Paus. ix. 37), of Augeias in Elis, and of Hermes (ápxòs ønλntŵv), as well as of the Hindu legend of Karpara and Gata, or that of Ali Baba and the Forty Thieves in the Arabian Nights. The story occurs in the oldest version (12th century) of the romance of the Seven Wise Masters,' the Dolopathos, sive de Rege et Septem Sapientibus, from which Ser Giovanni probably derived the story as found in his Pecorone (written circa 1378), where it is related of an architect named Bindo who stole a golden vase from the treasury of the Doge of Venice. It will be found, more or less perfect, in every collection of European folk-tales, whether Norse, Gaelic, modern Greek, French, Breton, Albanian, Sicilian, Hungarian, Dutch, Tyrolese, Danish, or Russian, as well as Kabyl, Mongolian, Tibetan, and Singhalese. See Liebrecht's translation (1851) of Dunlop's History of Prose Fiction; A. Schiefner in vol. xiv. of the Bulletin of the St Petersburg Academy of Sciences; W. A. Clouston's Popular Tales and Fictions (1887); and Maspero's Contes Populaires de l'Egypte Ancienne (3d ed. 1906). Rhapsodists (Gr., from rhaptein, 'to stitch together,' and ōdē, 'an ode'), a class of men in ancient Greece who travelled from place to place reciting poetry. They are distinct from the professional minstrels (aoidoi) of the Odyssey, although their legitimate successors; but they also seem, at first at least, to have been composers of epic poetry, although it is hardly probable that this was often the case after the 6th century B.C. We find distinct traces of the public recitation by rhapsodists of the Homeric poems as early as 600 B.C., at places so far apart as Sicyon, Syracuse, Delos, Chios, Cyprus, and Athens. Indeed at Athens ancient law prescribed the recitation of Homer once every four years at the festival of the Great Panathena. To the early rhapsodists mainly belongs the credit of the wide diffusion of the Homeric poems through out the Greek world. They themselves were held in high esteem and richly rewarded; but in later days the art came to be practised in a mere mechanical manner, and the influence of the rhapsodists ebbed accordingly. In Plato's Ion we get a picture of the rhapsodist as he was about the middle of the 4th century B.C. Ion is a native of Ephesus who goes from city to city reciting Homer to crowds of hearers, appearing on a platform in a richly-embroidered dress, a golden wreath on his head. He adds dramatic force to his declamation, and brings Homer home to his hearers' hearts, being himself possessed by Homer. Moreover, he interprets Homer in a continuous exposition, and is proud of his fluency of ideas. Ion is described as devoted exclusively to Homer, but there were a few of his brethren who gave themselves also to Orpheus, Musæus, Hesiod, Archilochus, or Simonides. It is unlikely that Homer was ever sung to music, although in earlier times there were heroic lays which were sung to the accompaniment of the lyre. As lyric poetry became more distinctly cultivated, such epic lays came to be simply declaimed, the rhapsodist holding a branch of bay in his hand instead of a lyre. Rhatany, or RATTANY, a half-shrubby plant, of the family Leguminosa, a native of the cold sterile tablelands of the Andes in Peru and Bolivia. It is called Ratanhia in Peru. It is valued for the medicinal properties of the root, which are shared more or less by other species of the same genus, also natives of South America. In the British Pharmacopoeia the dried roots of two species (Krameria triandra, Peruvian Rhatany, and K. argentea) are official under the name Krameriæ Radix. The roots vary a good deal in size and thickness, but are always rough-looking, and reddish in colour. The bark has a strongly astringent taste, and when chewed tinges the saliva red; the wood is nearly tasteless. The dried root is a powerful astringent, and is employed in diarrhea, mucous discharges, passive hæmorrhages, and cases where an astringent or styptic action is indicated. The finely-powdered root is also a frequent constituent of tooth-powders. Rhatany root is imported from various parts of South America, but chiefly from Lima. It is extensively imported into Portugal in order to communicate a rich red colour to wines. Its peculiar properties are due to rhatany-tannic acid, found in the root-bark to the extent of 20 per cent.; it also contains a red colouring matter. RHEINLAND Rhea, an ancient Cretan earth-goddess, daughter of Uranus and Gæa, wife of her brother the Titan Cronus, and by him mother of the Olympian deities Zeus, Hades, Poseidon, Hera, Hestia, Demeter. She was early identified with the Asiatic naturegoddess Cybele, the Great Mother, who was worshipped on mountains in Mysia, Lydia, and Phrygia. Her Cretan Curetes corresponded to the Phrygian Corybantes, many of whom mutilated themselves like Attis in the frenzy of their orgies. The regular priests of Cybele, the Galli, made themselves eunuchs for conscience' sake. A Sibylline oracle decreed the introduction of the worship of the Great Mother at Rome in 204 B.C., and in 217 a temple was dedicated on the Palatine. The cult became widely extended under the Empire. In the 2d century A.D. the rites of the Taurobolia and Criobolia were added, in which candidates were baptised for purification and regeneration with the blood of sacrificial bulls and rams. the article CYBELE.-RHEA SYLVIA was the mother of Romulus (q.v.). See Rhea, or NANDU, or SOUTH AMERICAN ÖSTRICH, a genus of Ratite birds, differing from the ostriches of the Old World in having three toes with compressed nails, fully feathered head and neck, proportionally larger wings, and no conspicuously feathered tail. The feathers have no aftershaft. The Rheas live chiefly on the open plains, and are predominantly vegetarian; they run very swiftly and swim well. They are polygamous, and the male lay. The eggs of Rhea americana (from Southern incubates the twenty to thirty eggs which his hens Brazil and Bolivia southwards), fourteen to twentyfour, are golden yellow, those of R. darwini (from the southern part of the continent) deep green, but both kinds fade into white. There is a third species, R. macrorhyncha, from north-east Brazil. Rhegius, URBANUS (1489-1541), reformer, born at Langenargen, Lake of Constance, was professor of Poetry and Rhetoric at Ingolstadt, and cathedral preacher at Augsburg, where he preached Lutheran doctrines and wrote satires. Later he removed to Celle. Rheingau, a district, 14 miles long, stretching Mainz to the village of Lorch, 8 miles below Bingen, along the right bank of the Rhine, from opposite formerly belonged to the archbishopric of Mainz, and now forms part of the administrative district of Wiesbaden in Prussia. Protected by mountains from the north and east winds, and exposed to the mid-day sun, the Rheingau produces wines of the best quality, as Johannisberger, Rüdesheimer, Marcobrunner, Assmanshäuser, &c. Rheinland, also called Rheinprovinz, Rheinpreussen, Rhenish Prussia, the westernmost and (except the city of Berlin) the most thickly peopled of the provinces of Prussia, lies on both sides of the Rhine and the Lower Moselle, and is bounded on the W. by Luxemburg, Belgium, and the Netherlands. The southern end forms, with part RHENISH ARCHITECTURE of Bavaria, the Saar Territory, placed by the Treaty of Versailles under the League of Nations till 1935, when it is to decide its future by plebiscite. The same treaty assigned some 400 square miles to Belgium (Eupen and Malmédy). Area of province 10,048, including 574 in the Saar region. Pop. (1885) 4,344,527; (1890) 4,710,313; (1910) 7,120,519; (1925) 7,250,195, not including the Rhenish Prussian part of the Saar Territory, which had in 1922 622,418 inhabitants. The capital is Coblenz. The surface is more or less mountainous, except in the extreme north, reaching 2500 feet on the west of the Rhine, but only 1800 on the east side. The soil of the higher tracts is not very fertile, and is largely forest land; but the valleys of the Rhine, Moselle, and Nahe are very fruitful, and so are the flat districts in the north. Of the total area, twothirds is cultivated, including meadows and vineyards, and nearly one-third under forest. Grain, potatoes, beet-root, tobacco, hops, flax, &c. are the more important crops. Much wine and large quantities of vegetables are grown. Coal, iron, and lead are mined. The sulphur-springs of Aachen and Burtscheid have a European reputation. Industry and manufactures are prosecuted with the greatest energy and success, this province ranking first in all Prussia in this respect. It is enough to name some of its towns: Cologne, Elberfeld-Barmen, Düsseldorf, Crefeld, Duisburg, Essen, MünchenGladbach, Aachen. There is a university at Bonn. This province was formed in 1815 out of the duchies of Cleves, Jülich (Juliers), Guelders, and Berg, and numerous minor territories. The Treaty of Versailles provided that most of Rheinland should be occupied by the Allies, to be evacuated by varions dates down to 1935. A separatist movement fomented by France ended in fiasco. The Ruhr (q.v.) basin was occupied later by the French. Rhenish Architecture, the style of the countries bordering on the Rhine when the arts first revived after the fall of the Roman empire. 669 They and Lombardy being at the time of Charlemagne part of the same empire, Lombard Architecture (q.v.) has considerable affinity with that north of the Alps. Some very early examples of this style are still to be found in Switzerland. Architecture received great encouragement from Charlemagne and his successors, and the Rhenish style made great progress up to the beginning of the 13th century, when the fashion of copying the Gothic architecture of France superseded it. It is, however, a well-marked style, and is complete and perfect in itself. Like the Lombard style, it is round-arched, and has some remarkable peculiarities. Many of the earliest churches seem to have been circular (like the cathedral at Aachen, built by Charlemagne), but in course of time the circular church was absorbed into the Basilica, or rectangular church (see ROMANESQUE ARCHITECTURE), in the form of a western apse. Most German churches thus have two apses-an eastern and a western. They also have a number of small circular or octagonal towers, which seem to be similar in origin to the Round Towers (q. v.) of Ireland. They exemplify in a remarkable manner the arrangements of an ancient plan of the 9th century, found in the monastery of St Gall, and supposed to have been sent to the abbot, as a design for a perfect monastery, to aid him in carrying out his new buildings. The arcaded galleries at the eaves, and the richly-carved capitals, are among the most beautiful features of the style. Examples are very numerous from about 1000 to 1200 A.D. The three great specimens of the style are the cathedrals of Mainz, Worms, and Speier. The last is a magnificent building, 435 feet long by 125 feet wide, with a nave 45 feet wide, and 105 feet high. It is grand and simple, and one of the most impressive buildings in existence. There are also numerous fine examples of the style at Cologne -the Apostles' Church, St Maria im Capitol, and St Martin's being amongst the most finished |