held the office of treasurer of the United States mint. He died after a short illness on the 19th April, 1813. He was a man of extensive professional and general acquirements, and of benevolent character. He set apart one-seventh of his income for charitable purposes, and when dying his last injunction to his son was, "Be indulgent to the poor." His merits were recognized by foreign governments, as well as by his own. He received medals from the king of Prussia and the queen of Etruria, who consulted him on the subject of yellow fever; and a diamond ring from the emperor of Russia. Amongst his writings are, a "History of the Yellow Fever in Philadelphia," 1793; a treatise on "Diseases of the Mind;" "An Inquiry into the Effects of Public Punishments on Criminals and Society," to which the amelioration of the Pennsylvanian code is attributable; and two volumes of Medical Inquiries and Observations.—F. C. W.
RUSHTON, Edward, a zealous Roman catholic divine and controversialist, was born in Lancashire, and was educated first at Brazennose college, Oxford, where he took his degree of A.B. in 1572, and afterwards at Douay. He was ordained a priest at Rome and sent to labour in England, where he was arrested and condemned to death; but after suffering imprisonment for five years his sentence was commuted into banishment. He died of the plague at Louvain in 1586. Rushton published "Synopsis Rerum Ecclesiasticarum;" a "Profession of Faith;" and Sanders' work, De Schismate Anglicano, to which he made considerable additions.—J. T.
RUSHWORTH, John, a very useful historical compiler and collector, was born in Northumberland, of good family, about 1607. Studying for a short time at Oxford, he became a barrister at Lincoln's inn, but from an early period he seems to have neglected his profession, to collect papers and documents, memorials of contemporary events, and to be an eye-witness and ear-witness of what was most remarkable in the stirring time on which he had fallen. He took notes indefatigably of parliamentary and judicial proceedings, not missing a day of Lord Strafford's trial, and roamed about the country to see such sights as the camp at Berwick, the battle of Newburn, and the council of York. His taste for seeing what was memorable, for notetaking, and for collecting information was amply gratified, when on the meeting of the Long parliament he was appointed assistant to its clerk, Henry Elsynge, in which employment he travelled to and fro with messages from the house. In 1645 he was appointed secretary to Fairfax, and there is a letter to him from Cromwell asking for his influence with the "general," on behalf of one of the Lilburns. He accompanied Cromwell as secretary in his Scotch expedition of 1650, and represented Berwick in the parliaments of 1658 and 1660. The first part of his "Historical Collections," published in 1659, had been dedicated to the prelate, Richard Cromwell, and the dedication was withdrawn on the Restoration, but Rushworth found little favour with the new régime. He was secretary to Sir Orlando Bridgman, while keeper of the great seal, and sat for Berwick in the parliaments of 1678 and 1679, and in the Oxford parliament. But his last years were spent in misery, which he endeavoured to alleviate by drinking. In 1684 he was arrested for debt and imprisoned in the king's bench, where he died in 1690. The publication of his "Historical Collections of private passages of state, weighty matters in law, and remarkable proceedings in parliament," was not completed until 1701. The period embraced in them is from 1618 to the execution of Charles; the papers relating to subsequent years are supposed to have been lost. Rushworth's extraordinary collection, chaotic and multifarious, is indispensable to the student of the history of Charles I.'s reign, though described by Carlyle as containing only "one jewel to the waggon load of useless rubbish."—F. E.
* RUSKIN, John, the most earnest and eloquent of modern writers on art, was born in London in February, 1819. He was the only child of an opulent London wine merchant, and in an interesting autobiographical passage of vol. iii. of "his Modern Painters," he has recorded the early awakening in himself of a deep feeling for nature, accompanied by a "continual perception of sanctity in the whole of nature from the slightest thing to the vastest—an instinctive awe mixed with delight, an indefinable thrill such as we sometimes imagine to indicate the presence of a disembodied spirit." He was a solitary and companionless child, "accustomed to no other prospect than that of the brick walls over the way;" and in the frequent journeyings of his late childhood, the beauty and grandeur of nature produced an effect upon him, "which," he thinks, "a country-bred child would not have felt." From this early period dates "the gift of taking pleasure in landscape, which I assuredly possess," Mr. Ruskin says in the passage already quoted, "in a greater degree than most men, it having been the ruling passion of my life, and the reason for the choice of its field of labour." The favourite book of his childhood was Sir Walter Scott's Monastery. He received his later education at Oxford as a gentleman-commoner of Christ church. In 1839 he gained the Newdegate prize for English poetry. The title of his poem, published in the same year, was "Salsetto and Elephanta," the two well-known islands with their temple-caves, which Mr. Ruskin peopled anew with the forms of Indian mythology, closing his glowing poem with an aspiration for the extinction of Hindooism by Christianity. Gifted with a taste for the practice as well as the study of art, he learned the rudiments of drawing and painting under Copley Fielding and J. D. Harding; and many of his illustrations of his own books bespeak his technical mastery of design. After some years of study and reflection he published in 1843 the first volume of his celebrated work, "Modern Painters; their superiority in the art of landscape painting to all the ancient masters proved, &c.: by a Graduate of Oxford." "Fidelity to Nature" was Mr. Ruskin's war-cry; and Turner, the pictorial apostle of the new art-faith, preached with an earnestness, an eloquence, an affluence of minute knowledge both of art and nature, and a mastery of descriptive language which made many admirers and not a few disciples. In the autobiographical passage previously cited, Mr. Ruskin says—"To Wordsworth, Carlyle, and Helps (with Dante and George Herbert in the olden time) I owe more than to any other writers, most of all perhaps to Carlyle." The influence of this last-named writer, whose scorn of "art" is well-known, may be most clearly traced in the passages of Mr. Ruskin's art-writings, in which he denounces the false and formal in works of design. Five volumes of the "Modern Painters" have appeared; in these after the first the original aim of the work was expanded, and it became a treatise on art and nature in general. In 1849 appeared his "Seven Lamps of Architecture," preaching to architects another form of the truth which he had expounded to painters in his first work. It was followed in 1851 by "The Stones of Venice," the result of a singularly careful personal study of the grand old city of the Lagunes. In 1851, too, he published a curious little politico-ecclesiastical pamphlet quaintly entitled "Notes on the construction of Sheepfolds," in which was recommended a union of the protestant churches of Europe on an evangelical-episcopal basis, and the original suggestion made that ecclesiastical courts, with lay juries added to them, should be empowered to try and punish with excommunication "liars, cheats, and dishonest persons" generally. The rise of the pre-Raphaelite school was hailed by Mr. Ruskin in letters to the Times, and a pamphlet on "Pre-Raphaelitism," 1851. In 1854 he published his popular and striking "Lectures on Architecture and Painting," delivered at Edinburgh, and a pamphlet on the opening of the Crystal palace in its relations to the prospects of art, recommending the preservation as opposed to the restoration of ancient Gothic remains. In 1855 he began a series of annual "Notes" on the Royal Academy Exhibition (1855-59), followed in 1857 by "Notes" on the pictures of Turner, then exhibited at Marlborough house. In the latter year he published his volume of "Lectures on the political economy of Art," delivered at Manchester, in which he foreshadowed his intention of grappling with one of the most serious and difficult of social problems. This was done in the series of papers entitled "Unto this last," which he contributed to the Cornhill Magazine for 1860, and in which the wages question and the relations between employers and employed were examined in a spirit very different to that of ordinary political economy. In 1862 appeared, with his sanction, a volume of "Selections from the writings of John Ruskin."—F. E.
RUSSELL, Family of: the Russells claim descent from the Rozels of Normandy. They long occupied a respectable position among the gentry of Dorsetshire; but the first man of historical note among them was John Russell of Kingston Russell, grandson of a Sir John Russell, speaker of the house of commons in the reign of Henry VI. The opportunity of rising in life was afforded him by an accident. In 1505 Philip, archduke of Austria, and in right of his wife, king of Castile, on his way from Spain to Flanders, was compelled by stress of weather to put in at Weymouth, where he was hospitably entertained by
