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148 HOMANELLI— ROMANO, Louvre, tbe so-called Salles, des Sai- sons, de la Paix, des Homains, and du Centaure, with subjects from the ^neid, and for which he was made a Knight of the order of St. Michael by Louis XIV. A large copy of Guide's Triumph of Bacchus by Bomanelli is at Hampton Court. In the Gallery of the Louvre are the Gathering of the Manna, and two mythological subjects. He painted more iu fresco than in oil. (Passeri.) ROMANINO, GmoLAMO Romani, called II Eomanimo, a native of Brescia^ painted in 1510, d. about 1550. Ve- netian School. He was the scholar of Stefano Bizzi, and the contemporary and rival of Bonvicino, called II Moretto di Brescia ; and he surpassed that master in boldness of conception and energy of expression, though he was inferior to him in the simplicity of his compositions, in the finish and the choice of his forms. The works of Titian seem to have been the great models of Romanino: the Descent from the Cross, from the CasaBrog- noli, Brescia, which is now in the Berlin Gallery, is considered one of Romanino's master-pieces; it is men- tioned by Ridolfi as having been praised by Palma as a genuine Venetian work, alluding to its rich colour and impasto, in Titian's style. It is a some- what coarse picture, but very powerful in composition and colour. The Dead Christ with Mourners (1510), in the Manfrini Gallery at Venice, is a truly grand work, says Kugler, conveying a touching expression of grief. Works. Brescia, San Domenico, the Coronation of the Virgin, with St. Domenic and other Saints : San Gio- vanni Evangelista, Christ in the House of the Pharisee; the Resurrection of Lazarus; the Marriage of the Virgin, &c. : San Giuseppe, the Crucifixion, with various Saints : Santa Maria Cal- ehera, Sant' ApoUonio administering the Sacrament; the Last 'Supper. Padua, in the sacristy of Sta. Justina, a Madonna enthroned. Verona, San Giorgio, scenes from the life and Death of St. George. Berlin Gallery, Judith with the head of Holophemes ; a Madonna and Child enthroned, with Angels and Saints. {Ridolfi^ Lanzi, Brognoli.) ROMANO, GiULio, or Giuuo Pippi, 6. at Rome 1492 or 1498, d. at Mantua, Nov. 1, 1546. Roman School. Giulio's father was Pieti-o di Filippo de' Gian- nuzzi, who seems to have placed his son as early as his eleventh or twelfth year with Raphael, if the entry in the Archivio delta Sanita of Mantua with regard to Giulio's age be correct — that he was only forty-seven when he died : Vdsari states that he was bom in 1492. Pippi is an abbreviation of di Filippo. Giulio was the most distinguished of the scholars of Raphael; he assisted him in various works during his life- time, and with Penni completed seve- ral left unfinished after Raphael's death. When a mere boy, Giulio ap- pears to have been entrusted with im- portant works by Raphael : he painted in the Loggie, and in the Famesina: and he dead-colopred some of Raphael's principal oil pictures. This peculiar education of Giulio seems to have deve- loped his executive powers, at the ex- pense of some of the more graceful and spiritual qualities of his art. He and Gianfrancesco Penni were co-heirs of Raphael's artistic effects, on the condition of completing his unfinished works ; and they executed accordingly the four great frescoes of the Sala di Costantino in the Vatican, containing the "Battle of Constantine," the "Ap- parition of the Cross," the " Baptism of Constantine," and the "Presenta- tion of Rome to the Pope :" all finished in 1523. Giulio was endowed with a fertile invention, great energy of cha- racter, an animated and cheerful appre-