(Lat. rosarium, a rose-garden), a string of beads used by Roman Catholics in their devotions, on which they reckon the number of times they repeat the Pater-noster and the Ave Maria. The former, or Lord's Prayer, they recite fifteen times; the latter, or angelical salutation, they recite one hundred and fifty times. Accordingly, the rosary is three times the ordinary chaplet. It is reported to be instituted in honour of the fifteen principal mysteries in our Saviour's life, and that of the Virgin Mary. Some have attributed the origin of the rosary to St Dominic. A Spanish writer tells us "we owe to Dominic de Guzman, a canon of the order of St Augustin, two most important blessings, the rosary and the holy office," A.D. 1202. Mosheim, among others, ascribes to this institution a higher antiquity (Eccles. Hist., cent. x., part ii., c. 4). "Pretty distinct traces," he says, "of the rosary and crown of St Mary, as they are called, or of praying according to a numerical arrangement, are to be found in this (the tenth) century. For they who tell us that St Dominic invented the rosary in the thirteenth century do not bring satisfactory proof of their opinion." "This," he adds in a note, "is formally demonstrated by Mabillon, Acta Sanct. Ord. Benedict., Praef. ad secul. v., p. 58, &c." This festival falls on the first Sunday in October. Its name is said to have been changed by Gregory XIII., from St Mary of the Victory, given to it by Pius V. on its institution in honour of the battle of Lepanto, which took place on that day. (See Brande's Dict. of Science.) ROSCUS, Q., the most celebrated comic actor of Rome, is spoken of in terms of the highest commendation by Cicero. The exact period of his birth is unknown, but he must have been somewhat older than Cicero (born B.C. 106), as he had already earned a high reputation before the death of Sulla, B.C. 78. His subsequent career was said to have been predicted by a strange occurrence whilst he was still a child. His early years were spent at Solomium, near Lanuvium; and whilst he was sleeping in his cradle, a serpent entwined itself round his body without injuring him. This circumstance in the life of the actor was afterwards represented by the artist Praxiteles, and celebrated by the poet Archias. Of his education we know nothing, except that he and Æsopus, the tragic actor, used to attend the Forum when Hortensius the orator pleaded, that they might imitate on the stage what they admired in him. Roscius had a peculiar squint of the eye, but this was of course concealed by the mask he wore. His private character was highly respected, and Cicero remarked that he was such an artist that he seemed the only one fit to appear upon the stage, and yet so excellent a man that acting was beneath his dignity. He thought him worthy of the Senate. He used to contend with Cicero which of them could represent the same sentiment in the greatest variety of ways, he by acting, and Cicero by his eloquence. So high an opinion did he entertain of his profession that he wrote a work comparing it with oratory. He gave lessons in elocution, and used to say that he never had a pupil whom he could altogether approve of. His gains as an actor are variously stated,—by Macrobious at 1000 denarii (£32,5s. 10d.) a day; and by Cicero at 600,000 sesterces for ten years (£48,434 10s.), which would make it somewhat less than £5000 a year; but for the last ten years he had refused to receive this pension from the Roman people. He had a dispute with one Fannius Chorea respecting a slave of whom they were joint owners, and Roscius was defended by Cicero in a speech which has come partially down to us. At what time this took place we have no means of judging. He died a little before the time (about B.C. 61) that Cicero delivered his oration in defence of Archias. (See Unterholzer, in Savigny's Zeitschrift, vol. i., p. 248; also München, Oratio M.T.C. pro Q.R.C.juridice exposita, Coloniae, 1829.)