Grove's dictionary of music and musicians

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ROGUES' MARCH, THE EOI DES VIOLONS 121
of 1891. He took the Oxford degree of Mus.B.
in 1870, and that of Mus.D. in 1875. Dr.
Eogers's published works are ' Prayer and Praise,
a cantata,
'
a prize cantata, The Garden
(Llandudno, 1896), Evening Services in Bl>
and D, Anthems, Part-songs, Organ Solos, and
Songs ; a Symphony in A, a Psalm De Pro-
'
fundis,' and several Anthems and Services are
still in MS. w. B. s.
ROGUES' MARCH, THE. Originally a military
quickstep, which from some cause has
become appropriate to use when offenders are
drummed out of the army. When, from theft,
or other crime, it is decided to expel a man
from the regiment, the buttons bearing the
regimental number, and other special decorations,
are cut from his coat, and he is then
marched, to the music of drums and fifes playing
'The Rogues' March,' to the barrack gates,
and kicked or thrust out into the street. The
ceremony stiU continues at the present day.
The writer, though he has made diligent search,
cannot find traces of the tune before the middle
of the 18 th century, although there can be but
little doubt that the air, with its association,
had been in use long before that time. About
1790, and later, a certain more vocal setting
of the air was used for many popular humorous
songs. 'Robinson Crusoe,' 'Abraham Newland,'
and the better -known Tight ' little
Island,' are among these. The latter song, as
'The Island,' was written by Thomas Dibdin
about 1798, and sung by a singer named Davies
at Sadler's Wells in that year.
The original ' Rogues' March ' stands thus
It is foimd in many 18th-century collections of
fife and flute music ; the above copy is from
'The Compleat Tutor for the Fife,' London,
printed for and sold by Thompson & Son, 8vo,
circa 1759-60. F- K.
ROHR FLUTE (Rohrflbte). See Flutework,
vol. ii. pp. 68-9.
libretto by Louis Gallet,
ROI DE LAHORE, LE. Opera in five acts,
music by Jules Massenet.
Produced at the Grand Op6ra, Paris,
April 27, 1877, and at Covent Garden, Royal
Italian Opera, Jnne 28, 1879.
ROI DES VIOLONS—' King of the violins
—a title of great interest as illustrating the
struggle between Art and Authority. On Sept.
14, 1321, the minestriers or fiddlers of France
formed themselves into a regular corporation,
with a code of laws in eleven sections, which
was presented to the Prev6t of Paris, and by
him registered at the Chatelet. The Confraternity,
founded by thirty-seven jongleurs and
jongUresses, whose names have been preserved,
prospered so far as in 1330 to purchase a site
and erect on it a hospital for poor musicians.
The building was begun in 1331, finished in
1335, and dedicated to St. Julien and St.
Genest. The superior of this ' Confr^rie of St.
Julien des mte^triers' was styled 'king,' and
the following were ' Rois des men^triers ' in the
14th century:—Robert Caveron, 1338 ; Copin
du Brequin, 1349 ; Jean Caumez, 1387 ; and
Jehan Portevin, 1392.
In 1407 the musicians, vocal and instrumental,
separated themselves from the mountebanks
and tumblers who had been associated
with them by the statutes of 1321. The new
constitution received the sanction of Charles
VI., April 24, 1407, and it was enacted that
no musician might teach, or exercise his profession,
without having passed an examination,
and been declared suffisani by the 'Roi des
m^nestrels' or his deputies. These statutes
continued in force down to the middle of the
17th century. History, however, tells but
little about the new corporation. The only
'
rois ' whose names have been preserved in the
charters are—Jehan Boissard, called Verdelet,
1420 ; Jehan Facien, the elder, and Claude de
Bouchardon, oboes in the band of Henri 111.,
1575 ; Claude Nyon, 1590 ; Claude Nyon,
called Lafont, 1600 ; Fran9ois Rishomme,
1615 ; and Louis Constantin, 'roi' from 1624
to 1655. Constantin, who died in Paris 1657,
was a distinguished artist, violinist to Louis
Xlll. ,
and composer of pieces for strings in five
and six parts, several of which are preserved in
the valuable collection already named under
Philidor, vol. iii. p. 703.
In 1514 the title was changed to 'roi des
m&estrels duroyaume. ' All provincial musicians
were compelled to acknowledge the authority of
the corporation in Paris, and in the 1 6th century
branches were established in the principal towns
of France under the title of
' Confr&ie de St.
Julien des men^triers.' In Oct. 1658, LouisXIV.
confirmed Constantin's successor, Guillaume
Dumanoir I., in the post of Roi ' des violons,
maitres a danser, et joueurs d'instruments tant
haut que bas,' ordaining at the same time that
the Roi ' des violons ' should have the sole
privilege of conferring the mastership of the art
throughout the kingdom ;
that no one should
be admitted thereto without serving an apprenticeship
of four years, and paying sixty
livres to the ' roi,' and ten livres to the masters
of the Confr^rie ; the masters themselves paying
an annual sum of thirty sous to the corporation,
with a further commission to the ' roi ' for each