in a letter from Viterbo on 8 April 1292 (Letters from Northern Registers, p. 97). Edward took the matter up, and contended that the excommunication was an infringement of his prerogative, since Bek was, as palatine, a temporal as well as a spiritual dignitary. Romanus was for a time imprisoned in the Tower, but obtained his release and restoration to royal favour on payment of a fine of four thousand marks, at Easter 1293 (Chron. Lanercost, p. 138; Hist. Dunelm. Script. Tres, pp. 73, 93; Ann. Mon. iii. 376; Rot. Parl. i. 102–5). At York itself Romanus continued the building of the minster. In 1289 he had obtained a papal indult to apply the first-fruits to this purpose, and on 6 April 1291 he laid the foundation-stone of the nave (Cal. Papal Reg. i. 496; Hist. of the Church of York, ii. 409). He likewise founded the prebend of Bilton at York, and obtained leave from the pope to divide the prebends of Langtoft and Masham, but the scheme was vetoed by the king (Cal. Papal Reg. i. 496, 500). Romanus was also a benefactor of the church of Southwell, where he founded several stalls (Dugdale, Monast. Angl. vi. 1314–15). He died at Burton, near Beverley, on 11 March 1296, and was buried in York Minster on 17 March.
Romanus was engaged in constant quarrels, and was probably hot-headed and indiscreet. Hemingburgh describes him as a great theologian and very learned man, but maddened, as it were, with avarice (ii. 70–1). The York historian, however, says that he was hospitable and munificent beyond all his predecessors. He kept up a great retinue, and was always zealous for the welfare of his church (Hist. of the Church of York, ii. 409). Romanus preserved his interest in learning. In 1295 we find him writing on behalf of the university of Oxford (Wilkins, Concilia, ii. 214), and he encouraged the attendance of clergy studying theology in the chancellor's school at York (Hist. of the Church of York, iii. 220). A number of letters from Romanus's register are printed in Raine's ‘Letters from the Northern Registers’ (pp. 84–105, 108) and ‘Historians of the Church of York’ (iii. 212–20). A letter from Romanus, refusing to sanction the papal appropriation of the prebend of Fenton in the church of York, is printed in ‘Fasti Eboracenses,’ pp. 342–4. Some of the principal contents of the ‘Register’ are summarised in the same work, pp. 330–40. Hemingburgh says that, owing to his early death, Romanus left little wealth, and his executors were unwilling to act, so that the cost of his funeral was defrayed by others (ii. 71). He, however, bequeathed a mill and fifteen acres of land to the vicars-choral of the church of St. Peter, York (Cal. Pat. Rolls, Edward I, 1292–1301, pp. 352, 382).
[Raine's Letters from the Northern Registers; Historians of the Church of York and its Archbishops (both in Rolls Ser.); Chron. de Melsa (ib.); Chron. de Lanercost (Bannatyne Club); Trivet's Annals, and Walter de Hemingburgh (Engl. Hist. Soc.); Bliss's Cal. of Papal Registers; Cal. Pat. Rolls, Edward I; Dixon and Raine's Fasti Eboracenses, pp. 327–49; Le Neve's Fasti Eccl. Anglicanæ, ed. Hardy; other authorities quoted.]
ROMER, EMMA, afterwards Mrs. Almond (1814–1868), vocalist, born in 1814, was the daughter of John Romer and his wife, Sarah Cooper. She was a pupil of James Elliot, and later of Sir George Smart. Her first theatrical appearance was announced at Covent Garden Theatre for 16 Oct. 1830, when, as Clara in the ‘Duenna,’ she exhibited a soprano voice of great volume and compass, together with considerable dramatic talent. But the faultiness of her voice-production, and failure in the technique of her art, checked her immediate progress.
In 1834, however, after appearing at Covent Garden as Zerlina in ‘Fra Diavolo’ and Rosina in the ‘Barber of Seville’ (for her benefit), Miss Romer was engaged at the English Opera House (Lyceum), where she created the rôles of Eolia in Barnett's ‘Mountain Sylph’ and Zulima in Loder's ‘Nourjahad.’ In the winter she returned to Covent Garden, where, in 1835, as Amina in ‘La Sonnambula,’ she ‘reached the topmost round of the ladder of fame’ (Theatrical Observer). But she immediately afterwards declined a minor part, and threw up her Covent Garden engagement. Subsequently, as Agnes in ‘Der Freischütz’ and Liska in ‘Der Vampyr’ (Lyceum, 1835), she won much admiration. In September 1835 she married George Almond, an army contractor.
After her marriage Mrs. Almond appeared at Covent Garden as Esmeralda in ‘Quasimodo,’ a pasticcio from the great masters. The death of Malibran in 1836 afforded her further opportunities, and she now filled the chief rôles in English and Italian opera at Drury Lane, appearing in ‘Fair Rosamond’ (1837), ‘Maid of Artois,’ ‘La Favorita,’ ‘Robert le Diable,’ ‘Bohemian Girl,’ ‘Maritana,’ and many other pieces. In 1852 she undertook the management of the Surrey Theatre, where, during three seasons, she brought out a series of operas in English. After the death of her husband, Mrs. Almond retired from her profession, settling at Margate. She
