Rhode Island. She died in Washington on 29 July 1892.

Reilly, who could write forcibly, was one of the boldest and most impetuous of the Young Irelanders. Gavan Duffy severely condemns his treatment of D'Arcy McGee, whom he assailed with relentless hostility. Mitchel, who describes him as 'the largest heart, the most daring spirit, the loftiest genius of all Irish rebels in these latter days,' said that 'in all the wild activity of his life, he never aimed low and never spoke falsely.'

[Life of John Martin, by P. A. S., pp. 76104; Savage's '98 and '48; Duffy's Young Ireland; Mitchel's Jail Journal; Irishman, 16 Dec. 1876; O'Donoghue's Poets of Ireland, p. 213.]

D. J. O'D.

REILLY, WILLIAM EDWARD MOYSES (1827-1886), major-general, born at Scarragh, co. Down, on 13 Jan. 1827, was fourth son of James Miles Reilly of Cloon Eavin, co. Down, by Emilia, second daughter of the Rev. Hugh Montgomery of Grey Abbey. He was educated at Christ's Hospital, and at the age of fifteen became a cadet at the Royal Military Academy, Woolwich. He was commissioned as second lieutenant in the royal artillery on 18 Dec. 1845, promoted first lieutenant on 3 April 1846, and second captain on 17 Feb. 1854. In that year he was appointed aide-de-camp to General Fox-Strangways, who commanded the artillery in the Crimea; but, on his way out from England, he learned that Strangways had been killed in the battle of Inkerman. He went on to the Crimea, and volunteered for service as a battery officer. He was employed in the trenches through the winter, and in February 1855 he was made adjutant (and subsequently brigade-major) of the siege-train. He was present at the several bombardments, and was three times mentioned in despatches. He received a brevet majority on 2 Nov. 1855, the Legion of Honour of France, and the fifth class of the Medjidié, and was created C.B. After the fall of Sebastopol he was deputy-adjutant quartermaster-general at the headquarters of the army till it left the Crimea in June 1856. From December 1856 to April 1859 Reilly was aide-de-camp to Sir Richard Dacres, commanding the royal artillery in Ireland, and, under Dacres's direction, he compiled the official account of the artillery operations of the siege of Sebastopol.

During the war of 1866 between Prussia and Austria he was sent out as British commissioner with the Prussian army, but could not join it till 19 July, when the fighting He wrote a memorandum on the

was over.

Prussian army, or rather on its system of supply and transport, as tested in the field, and on its artillery material. While gene rally favourable, he blamed the hospital arrangements, and he pronounced the breechloading guns inferior to muzzle-loading guns, and, for some purposes, even to smoothbores.

Reilly became regimental lieutenant-colonel in 1868, and next year was the guest of Lord Mayo in India, whence he wrote some descriptive letters to the 'Times' newspaper. He spoke French fluently, and at the end of October 1870, while the siege of Paris was going on, he was sent out as extra military attaché to the British embassy at Tours. He at once joined the headquarters of the French army of the Loire, and became the channel for distributing British contributions in aid of the wounded. He was present at Beaune-la-Rolande, and the subsequent battles in front of Orleans. The hurried evacuation of Orleans by the French in the night of 4 Dec. took place without his knowledge. He was arrested there next morning by the Prussians, and sent to England by way of Saarbrück and Belgium. He wished to rejoin the British embassy, then at Bordeaux, but the British government decided that he should not. In recognition of his services the French government raised him to the grade of officer of the Legion of Honour on 20 March 1872, and commander on 4 Nov. 1878.

From April 1871 to January 1876 he was employed in the war office as assistant director of artillery. During this time he made several visits abroad to report on artillery questions: to Berlin in 1872, to France and to the Vienna exhibition in 1873. He also accompanied the Duke of Edinburgh to Russia in 1874. In his reports he still adhered to his preference for muzzle-loading guns, and did not think Great Britain had much to borrow from foreign artillery.

He became brevet-colonel on 22 Aug. 1873, and regimental colonel on 25 Sept. 1877. In January 1879 he was appointed to command the royal artillery at Aldershot, but in the following month he was sent out to South Africa, in a similar capacity, to take part in the Zulu war, which was then entering on its second stage. While he was inspecting one of his batteries his horse fell with him, and broke his wrist; and this prevented his being present at Ulundi. After his return, in 1883, he became director of artillery at the war office, with the temporary rank of brigadier-general. He resigned this post at the end of 1884 on account of ill-health.

Reilly's knowledge of all matters pertaining to his arm of the service was most comprehensive, and as a practical artilleryman he had no rival. The energy that underlay his normal composure was conspicuously shown in the last months of his life, when he vindicated the ordnance department from the charges formulated by Colonel Hope in the columns of the 'Times.' 'I deny the charges you make; I defy you to prove them; I assert that they are false!' was the last emphatic declaration of Reilly, written from Guernsey. A commission on warlike stores was appointed, under the chairmanship of Sir James Fitzjames Stephen [q. v.], to investigate the allegations; its report supported the charge of weak administration, but refuted that of corruption.

Reilly published, besides pamphlets on the artillery or military organisation of France and Prussia: 1. 'An Account of the Artillery Operations before Sebastopol,' 4to, 1859 (written by desire of the secretary of state for war). 2. Military Forces of the Kingdom;' pamphlet, 1867. 3. 'Supply of Ammunition to an Army in the Field; pamphlet, 1873. 4. War Material at the Vienna Exhibition;' pamphlet, 1873.

[Official Army List; Records of the Royal Horse Artillery; Times, 19 April 1867; Pall Mall Gazette, 3 April 1873; Morning Post, 29 July 1886; private information.] E. M. L. REIMES, PHILIP DE (1246?-1296), romance writer. [See PHILIP DE REMI.]

REINAGLE, GEORGE PHILIP (18021835), marine painter, youngest son of Ramsay Richard Reinagle [q. v.], was born in 1802. He was a pupil of his father, but he gained much facility in the treatment of marine subjects by copying the works of the Dutch painters Bakhuisen and Willem van de Velde. He exhibited first at the Royal Academy in 1822, when he sent a portrait of a gentleman; but in 1824 he contributed a 'Ship in a Storm firing a Signal of Distress,' and a 'Calm,' and in 1825 A Dutch Fleet of the Seventeenth Century coming to Anchor in a Breeze,' and other naval subjects in the following years. In 1827 he was present on

board the Mosquito at the battle of Navarino, and on his return he drew on stone, and published in 1828, Illustrations of the Battle of Navarin,' which was followed by Illustrations of the Occurrences at the Entrance of the Bay of Patras between the English Squadron and Turkish Fleets, 1827.' He also painted incidents of these engageand 1831. He was present with the English fleet on the coast of Portugal in 1833, and his picture of Admiral Napier's Glorious Triumph over the Miguelite Squadron' was one of his contributions to the Royal Academy in 1834. Four naval subjects in 1835 were his last exhibited works. He worked both in oil and in watercolours, and gave much promise as a painter of shipping and marine pieces. His works appeared also at the British Institution, and occasionally at the Society of British Artists.

Reinagle died at 11 Great Randolph Street, Camden Town, London, on 6 Dec. 1835, aged 33.

[Redgrave's Dict. of Artists of the English School, 1878; Royal Academy Exhibition Catalogues, 1822-35; British Institution Exhibition Catalogues (Living Artists), 1825-35.] R. E. G.

REINAGLE, JOSEPH (1762-1836), music composer, the son of a German musician resident in England, was born at Portsmouth in 1762. He was at first intended for the navy, but became apprentice to a jeweller in Edinburgh. Then, adopting music as a profession, he studied the French horn and trumpet with his father, and soon appeared in public as a player of those in

struments.

Acting on medical advice, he abandoned the wind instruments, and studied the violoncello under Schetky (who married his sister), and the violin under Aragoni and Pinto. He succeeded so well that he was appointed leader of the Edinburgh Theatre band. After appearing as a 'cellist in London, he went in 1784 to Dublin, where he remained for two years. Returning to London, he took a prominent position in the chief orchestras, and was principal 'cello at the Salomon concerts under Haydn, who showed him much kindness. Engaged to play at the Oxford concerts, he was so well received that he settled in the city and died there in 1836. Reinagle was a very able violoncellist, and enjoyed a wide popularity. Nathaniel Gow [q.v.]was one of his Edinburgh pupils. He composed a good deal of music for violin, violoncello, and pianoforte, and wrote a 'Concise Introduction to the Art of playing the Violoncello,' London, 1835, which went through four editions. A younger

note.

A son, ALEXANDER ROBERT REINAGLE (1799-1877), musician, born at Brighton on 21 Aug. 1799, was from 1823 to 1853 organist of St. Peter's-in-the-East, Oxford, and died at Kidlington, where he is buried, on 6 April 1877. He published 'Psalm Tunes for the Voice and Pianoforte ' (circa 1830), in which appears the tune St. Peter,' now widely used, and included in most church collections (PARR, Church of Engl. Psalmody; LovE, Scottish Church Music).

[Biogr. Dict. of Musicians, 1824; Grove's Dict. of Music; Wasielewski's Violoncello and its History (Stigand's edit.), pp. 191, 216.]

J. C. H.

REINAGLE, PHILIP (1749-1833), animal and landscape painter, was born in 1749. He entered the schools of the Royal Academy in 1769, and afterwards became a pupil of Allan Ramsay (1713–1784) [q. v.], whom he assisted in the numerous portraits of George III and Queen Charlotte. He exhibited first at the Royal Academy in 1773, sending portraits almost exclusively until 1785, when the monotonous work of producing replicas of royal portraits appears to have given him a distaste for portraiture, and to have led him to abandon it for animal painting. He became very successful in his treatment of sporting dogs, especially spaniels, of birds, and of dead game. In 1787, however, he sent to the academy a View taken from Brackendale Hill, Norfolk,' and from that time his exhibited works were chiefly landscapes. He was elected an associate of the Royal Academy in 1787, but did not become an academician until 1812, when he presented as his diploma picture An Eagle and a Vulture disputing with a Hyæna.' He likewise exhibited frequently at the British Institution. Reinagle was also an accomplished copyist of the Dutch masters, and his reproductions of the cattle-pieces and landscapes of Paul Potter, Ruysdael, Hobbema, Berchem, Wouwerman, Adriaan van de Velde, Karel Du Jardin, and others have often been passed off as originals. He also made some of the drawings for Dr. Thornton's New Illustration of the Sexual System of Linnæus,' 1799-1807, and for his Philosophy of Botany,' 1809-10; but his best drawings for book illustration were those of dogs for Taplin's Sportsman's Cabinet,' 1803, which were admirably engraved by

John Scott.

Reinagle died at 5 York Place, Chelsea, London, on 27 Nov. 1833, aged 84. His son, Ramsay Richard Reinagle, is noticed sepa

[Redgrave's Dictionary of Artists of the English School, 1878; Bryan's Dictionary of Painters and Engravers, ed. Graves and Armstrong, 1886-9, ii. 356; Royal Academy Exhibition Catalogues, 1773-1827; British Institution Exhibition Catalogues (Living Artists), 1806-29.]

R. E. G.

REINAGLE, RAMSAY RICHARD (1775-1862), portrait, landscape, and animal painter, son of Philip Reinagle [q. v.], was born on 19 March 1775. He was a pupil of his father, whose style he followed, and he exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters. After his return home he painted for a time at Robert Barker's panorama in Leicester Square, and then entered into partnership with Thomas Edward Barker, Robert's eldest son, who was not himself an artist, in order to erect a rival building in the Strand. They produced panoramas of Rome, the Bay of Naples, Florence, Gibraltar, Algesiras Bay, and Paris, but in 1816 disposed of their exhibition to Henry Aston Barker [q. v.] and John Burford (Art Journal, 1857, p. 47).

In 1805 Reinagle was elected an associate of the Society of Painters in Watercolours, and in 1806 a member. He became treasurer in 1807, and was president from 1808 to 1812. Between 1806 and 1812 he sent to its exhibitions sixty-seven drawings, mostly Italian landscapes and scenery of the English lakes. During the same period he exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823. He was a clever copyist of the old masters, and is said to have been much employed by a picture-dealer in restoring and improving' their works. In 1848 he sent to the Royal Academy exhibition as his own work a small picture of Shipping in Breeze and Rainy Weather off Hurst Castle,' painted by a young artist named J.W.Yarnold, which he had purchased at a broker's shop, and in which he had made some slight alterations. Attention was called to the imposition, and a full inquiry made by the academy resulted in his being called upon to resign his diploma as a royal academician. In 1850 he published in the Literary Gazette' (pp. 296, 342) two letters in which he unsuccessfully endeavoured to exculpate himself. He continued to exhibit at the academy until 1857, but in his later years sank into poverty, and was assisted by a pension from the funds of the

a

academy. He died at Chelsea on 17 Nov. 1862. George Philip Reinagle [q. v.] was his youngest son.

There are by Reinagle in the South Kensington Museum a small oil-painting of Rydal Mountains' and seven landscapes in watercolours. The Bridgewater and Grosvenor Galleries have each a landscape by him, and there is in the National Gallery of Scotland a fine copy of the 'Coup de Lance' by Rubens. Three plates, Richmond,' 'Sion House,' and 'The Opening of Waterloo Bridge,' in W. B. Cooke's The Thames,' were engraved after him by Robert Wallis, and many of the illustrations in Peacock's Polite Repository,' from 1818 to 1830, were engraved by John Pye from his designs. There is also a view of Haddon Hall,' engraved by Robert Wallis, in the 'Bijou ' for 1828, and one of 'Bothwell Castle,' engraved by Edward Finden, in Tillotson's 'Album of Scottish Scenery,' 1860.

Reinagle wrote the scientific and explanatory notices to Turner's Views in Sussex,' published in 1819, and the life of Allan Ramsay in Allan Cunningham's 'Lives of the British Painters.'

[Roget's History of the Old Watercolour' Society, 1891, i. 212, 277; Sandby's History of the Royal Academy of Arts, 1862, ii. 35; Redgrave's Dictionary of Artists of the English School, 1878; Bryan's Dictionary of Painters and Engravers, ed. Graves and Armstrong, 1886-9, ii. 356; Royal Academy Exhibition Catalogues, 1788-1857; Art Journal, 1848 p. 280, 1863 p. 16.]

R. E. G.

REINBALD. [See REGENBALD.] REINHOLD, THOMAS (1690?-1751), singer, reputed to be the son of the archbishop of Dresden, was born in Dresden about 1690. He early showed an aptitude for music, which his family apparently discouraged. But he secretly left Dresden to follow Handel, a friend of his reputed father, to London. There, through Handel's good offices, he came under the protection of Frederick, prince of Wales, who ultimately stood sponsor to his eldest son (see below). In 1731 Reinhold, described as Reynholds, was singing at the Haymarket Theatre. He sang in the first performance of Handel's 'Arminio' at Covent Garden on 12 Jan. 1737, and created principal parts in many of Handel's operas and oratorios (GROVE, Dict. of Music and Musicians, iii. 103). Reinhold was one of the founders, in 1738, of the Royal Society of Musicians. When vocal music was added to the other attractions of Vauxhall Gardens in 1745, Reinhold was one of the first singers engaged. He died in Chapel Street, Soho, in 1751, and on 20 May

Garrick lent his theatre for a benefit performance for his widow and children (cf. London Daily Advertiser).

6

His son, CHARLES FREDERICK REINHOLD (1737-1815), bass singer, was born in London in 1737, and became a chorister at St. Paul's and the Chapel Royal. He was brought up by the Royal Society of Musicians, and made his first appearance on the stage as Oberon in Christopher Smith's opera The Fairies' in 1755. Four years later he began a long career as singer at Marylebone Gardens. He seems to have been an actor as well as a singer, for he appeared at the gardens on 30 Oct. 1769, as Giles in the Maid of the Mill.' He also sang at many of the Lent oratorios in 1784 and subsequent years, and in 1784 he was one of the principal basses at the Handel commemoration in Westminster Abbey. In the previous year he had been appointed organist of St. George-the-Martyr, Bloomsbury. He retired from public life in 1797, and died in Somers Town on 29 Sept. 1815. He is described as an admirable singer, but a parsimonious man.

REISEN, CHARLES CHRISTIAN (1680-1725), gem-engraver, born in 1680 in the parish of St. Clement Danes, London, was the eldest son of Christian Reisen, a goldsmith, of Trondjhem in Norway. The elder Reisen, leaving Norway, visited Scotland about 1664, and worked for two years at Aberdeen for a goldsmith named Melvin. In September 1666 he came to London, and began to work as an engraver of seals. He was afterwards confined to the Tower for four years on suspicion of engraving dies for coining, but was discharged without a trial, and died in England about 1700, leaving a widow and several children.

Charles Christian Reisen, who had made rapid progress as a gem and seal engraver under his father's instruction, became the support of the family, being principally employed in cutting crests and arms. He gained little from an introduction to Prince George of Denmark, but attracted the attention of Robert Harley, earl of Oxford, who permitted him to study the antique in his library and museum. In course of time Reisen formed a collection of medals,' prints, drawings, and books, and was chosen director of Sir Godfrey Kneller's academy. On the trial of Bishop Atterbury, he was examined as an expert as to the impression of a seal. Horace Walpole