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KOMANESQUE ART. 249 EOMANOFF. examples survive. CoiiU'inporaiy niiniatures, however, which correspoixl in the main with these frescoes, reveal an art still followin-; early Christian traditions in general plan, but pos- sessing a highly developed system of ornament, Germanic in cliaracter. Under the successors of Charles painting declined, hut with the develop- ment of Komanesque architecture it found in- creased employment, as early as the ninth cen- tury, on the large wall stirfaces of most German churches. These paintings are executed with rapid technique, and are decorative in color and design, the backgroinid being generally blue, the colors light, and the halos of saints and borders of costumes laid over with gold. Though in- ferior to contemporary Byzantine art in tech- nique, they contain elements which it lacks — life, character, and action. The oldest examples are in the Churcli of Oberzell in the island of Eeichenau (tenth century) : of better quality are, among otlicrs, the paintings in tlie lower Church of Schwarzrheindorf (twelfth), and in the cathe- drals of Brunswick and of Gurk in Carinthia (early thirteenth). Panel painting was also practiced, especially upon the ceilings of flat- roofed basilicas, of which the best example is that of Saint Michael's at Hildesheim (after 11S6). Smaller panels upon gold backgrounds were also tised, at first as the antependia of altars. Fr.xce axd Italt. Romanesque wall paint- ings in France are not so common, the most im- portant being in the central provinces — in the chapel at Liget (Indre-et-Loire) . in Saint Jean at Poitiers, and Saint Savin at Poitou — all dat- ing from the twelfth century. In Italy painting lagged far behind, being purely mechanical, and for the most part under Byzantine intluence. Roman examples of the period are excessively rude, while the frescoes at Sant' Angelo in Formis at Capua, like others in Southern Italy, w"ere probably executed by native artists under Greek influence. In the mosaics of the period Italian pictorial art found its best expression, especially in those at Venice and in Sicily. (See Mos.wc.) They. as well as other paintings, were dominated by Byzantium, which throughout the epoch also influenced painting in France, and to a less ex- tent in Germany. Bibliography. For the Italian Romanesque see: ilothes. Die Baukuiist dcs Mittrlalters in Italics (Jena, 1884) : Dartin, Etude sxr I'lirchi- tcctiin' lomharJe (Paris, 18G5) : Rohault de Fleury. Lcs monumcnis de Pise (lu moi/eii-ufie (ib., ISO(i); Cummings. History of Architecture in Ituh) (Boston, 1901). France: VioVet-le-Diic, Dictionnairc raisonnc de I'architectnre du Xlitne ail XVIciiie siecle (10 vols.. Paris, 1875); also Verneilt, L'architecturc hi/::(nttine en France (ib., 1851) ; Revoil, L'architrcttirc romane du midi de la Franee (ib., 1807-73) ; Ruprich-Robert, L'ar- chitecture normande aux Xlcine et Xlleive siccles (ib., 1884). Germany: Otte. Ge- schiehte der ronianisclien Baukuitst in Deutsch- laiid (Leipzig. 1874) ; also FOrster, Denlcmiiler dciitscher Baukunst (12 vols., ib., 1855-60); Dohme. Geschichte der deutsehen Baukunst (Ber- lin, 1887) : Hartung, Motive der mitfelalterlichcH Baiikunst in Deutschlaiul (ib., 1806 et seq.l, with photographic plates. England: Parker. Intro-, duction to Gothic Architecture (London, 1881) ; also Gilbert Scott. Lectures on Medieval Archi- tecture (ib., 1879) ; Ruprich-Robert (see above under France) ; Bell's series of monographs on English Cathedrals ( ib., 1800 et se.|.). Si-ais: Street, Gothic Architecture in .S'/hiih ( lyomlon, 1865) ; for plates, Cavedn, Grsrhichic der Bnu- kiuist in .S'poiiicH, trans. (Stuttgart, 18.58) ; Uhde, Baudinkmiilcr in N/xiiiioi uml I'orlui/iil (Berlin, lS80-9,"i); and the Monumcnlos Arqui- tcctonicos Espafia (Madrid, 1859-71)). For Sculpture and Painting, cmisult the authori- ties referred to under GoTliic Art. ROMANINO, rf.'niAne'nA, (IiHol.AMO (1485- 1566), An Italian painter of the N'enetian »chool, born in Brescia. ■ He was probably a pupil of Feramola, or Chiverehio, and is little known out- side Italy. He painted chielly in his native city, aiul most of his work is to be found there aiid in the surrounding country. He was a line colorist, with peculiar skill" and charm in the use of light and shade, but was uneven in 111* treatment. His works include a large "Ma- donna," in the Doria Gallery at Rome (at- tributed to him by'Morelli) : '-"Xativity" (1525), in the National Gallery, London ; a ""Madonna and Saints" (1513), in' the Padua (lallery; and a "Last Supper," in the same place. He also left a few notable portraits. ROMAN LAW. See Civil Law. ROMANOFF, r<>nia'n*f. The Imperial House of Russia. It first appears in Russia in the four- teenth century when Andrew Kobyla came from Prussia to Moscow (1341) and entered the service of the Grand Duke Simeon. The boyar Roman Ynrieviteh. the fifth in direct descent from Andrew, died in 1543, leaving a .son and a daughter, the latter of whom became ('zarina by her marriage with Ivan the Terrible ( 1547 ) . The son. Xikita, was one of the regency during the minority of Feodor I., and his eldest son, Feodor, under the name of Philaret, was elevated to the rank of Archimandrite and Metropolitan of Rostov during the reign of the false Demetrius (1605-06). He refused to recognize the Polish Prince Ladislas as Czar of Russia in 1612, and for this the Poles took him with them on their retirement from JIoscow in face of tlie nationalist rising, and held him captive for nine years. Iii February, 1613, the Russian nobles and clergy chose as their ruler Michael Fendorovitch Roma- noft', the son of the imprisoned Metropolitan, and the representative, through his grandmother, of the royal House of Rurik. He was succeeded by his eldest son, Alexis (1645-76). Alexis wa» twice married, and left by his first wife two sons, Feodor and Ivan, and several daughters, and by his second wife one son, Peter. His eldest son, Feodor (1672-82), died without issue, and was succeeded by his half-brother, Peter the Great, with whom Ivan was associated until KiSO. Peter was twice nuirried : by his first marriage he had a son, Alexis, who died in his father's lifetime, leaving one son, Peter. Peter the Cireat was suc- ceeded by his wife, Catharine I. (q.v.), by whom he had " two daughters, Anna and Elizabeth. Catharine I. (1725-27) 'left the throne to the son of Alexis, Peter II. (1727-30), the last of the male line of Romanoff: and on his death with- out heirs the succession reverted to the female line, the daughter of Ivan. Peter the Great's half- lirother, Anna Ivanovna, being placed upon the throne (1730-40). She was succeeded by her infant grand-nephew, Ivan IV. (1740-41). A