Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/81

 ROMAKO, ANTON, born at Atzgersdorf, near Vienna, in 1835. Genre painter, pupil of Vienna Academy and of Rahl; lived afterwards mostly in Rome; is particularly successful with Viennese children types and Italian figures. Works: Woman of Seville (1851), New Pinakothek, Munich; Battle of Arminius (1852); Wine, Woman, and Song, Marietta, Serenade of Italian Peasants, Scene from Decameron (1860); Vanity (1861); Poetry (1862), New Pinakothek, Munich; Shepherd Boy from the Campagna; Roman Country Girl; Girl from Sabine Mountains; Lady blowing Bubbles; Assault of Turks on Vienna; Ristori as Phædra; Madonna; Portrait of Pius IX. (1872); Wine, Woman, and Song (Jubilee Exhibition, Berlin, 1886); Last Hours of Beatrice Cenci, A. Adams, Watertown, Mass.; Sentinel of Louis XV., D. W. Powers, Rochester.—Wurzbach, xxvi. 315.

ROMAN CHARITY (Caritas Romana), the title generally given to illustrations of an act of filial piety narrated by several ancient writers, in which a daughter nourishes with her own milk a parent condemned to death by hunger. According to Valerius Maximus (v. 8) and Pliny (Nat. Hist., vii. 36) the imprisoned parent is a mother; but Festus and Solinus make the characters of the drama a father named Cimon and his daughter Pera. The latter is the version adopted by the painters. There is an antique painting of the subject in the Studj Museum, Naples. In the Church of S. Niccolò in Carcere, Rome, supposed to stand on the site of the Temple of Piety, said by Pliny to have been erected over the dungeon, is shown a series of cells, one of which is reputed to be the scene of the Caritas Romana. This place inspired the beautiful lines in "Childe Harold" (iv. 148-151).

By Gerard Honthorst, Old Pinakothek, Munich; canvas, H. 3 ft. 9 in. × 4 ft. 8 in. Figures seen to the knees. The daughter, holding a lighted candle in one hand and looking anxiously towards the right, presents her breast to her aged father, who, half-nude, has chains on his wrists. One of Honthorst's best pictures. Lithographed by Ferdinand Piloty, the elder. Etched by Joseph Hauber. Engraved by Johann Karl Schleich.

By Jules Joseph Lefebvre, Melun Museum. The daughter, holding her infant in her arms and looking around anxiously lest somebody may observe her, presents her breast to her father through the barred window of his cell, outside of which she is standing. Painted in Rome, whence sent to the École des Beaux Arts in 1863; Salon, 1864; purchased by the State.

By Rubens, Blenheim Palace; canvas, H. 6 ft. 4 in. × 6 ft. The old man kneeling on some straw, with his hands bound behind him; his daughter, bending by his side, looks with anxious eyes towards the grated prison-window; in foreground, her infant asleep on the straw. Engraved by J. Smith. Blenheim sale (1886), £1,200, to Murray.—Smith, ii. 113, 248; Waagen, Treasures, iii. 124.

Subject treated also by Guido Reni, Marseilles Museum, Cologne Museum; Jean Jacques Bachelier, Louvre, Paris; Parmigianino, Naples Museum; Benedetto Crespi, Madrid Museum; Francesco Migliori, Dresden Gallery; Wenzel Marus (1857); Rubens, Hague Museum, Hermitage in St. Petersburg; Nicolas Poussin (engraved by J. Pesne).—Hobhouse, Historical Illustrations; Larousse, iii. 995.

ROMAN EMPEROR, Alma-Tadema, W. T. Walters, Baltimore; canvas, H. 2 ft. 9 in. × 5 ft. 8 in.; dated 1871. Claudius hailed ironically as emperor by soldiers and others, who discover him hiding behind the terminal bust of Caligula, whose dead body lies at its foot. Engraved by Rajon.—Art Journal, Feb., 1883; Portfolio (1877), 125.

ROMAN EMPIRE, BIRTH OF, Claude Lorrain, Earl Radnor, Longford Castle; canvas, H. 4 ft. × 4 ft. 6 in. A seaport at sunrise, with landing of Æneas in Latium. Liber Veritatis, No. 122. Engraved by