Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/83

 Museum, and the Madonna with Saints (1502-12), S. Francesco, Brescia. After the sack of Brescia, Romanino found a home among the Benedictines of S. Giustina, Padua, for whose church he painted (1513) a splendid altarpiece, Madonna with Saints, now in the Padua Gallery. His Last Supper, painted for the refectory and now in the same gallery, shows less care and skill. He returned to Brescia in 1516-17, and in 1521 contracted with Moretto to paint the chapel of Corpus Christi in S. Giovanni Evangelista, where his frescos and canvases are still extant, though much injured; worked in Cremona about and after 1517, and in Trent about 1540. Among his best works is the Nativity (1525), National Gallery, London. Other noteworthy works are: Pietà, Madonna Enthroned and Saints, Berlin Museum; Christ carrying his Cross, Tosi Collection, Brescia; Assumption, S. Alessandro, Bergamo; Christ's Sermon on the Mount, S. Pietro, Modena; four large frescos (1519-20), Choir, Duomo, Cremona; two do., Brescia Gallery; Marriage of Virgin, S. Giovanni Evangelista, ib.; Descent from the Cross, Gallery, ib.; Decorative Frescos, Episcopal Palace, Trent; Organ Doors, Duomo, Brescia.—C. & C., N. Italy, ii. 367; Vasari, ed. Le Mon., xi. 107, 262; Burckhardt, 734; Lermolieff, 445; Lübke, Gesch. ital. Mal., ii. 607.

ROMANO. See Giulio Romano.

ROMANS LEAVING BRITAIN, Sir John Everett Millais, Bart., Sir I. Lowthian Bell, Washington Hall, Durham, England; canvas. The parting between a Roman legionary and his British mistress, on a cliff path overlooking the sea, where a large galley is waiting for the soldier. He kneels at her feet with his arms clasped about her and his face hidden in her breast; she has her hands upon his shoulders and gazes with a passionate, savage stare on the sea. Royal Academy, 1865.

ROMANS OF THE DECADENCE, Thomas Couture, Luxembourg Museum, Paris; canvas, H. 15 ft. 3 in. × 25 ft. 4 in. Illustration of Juvenal (Sat. VI.). A Roman debauch in the decline of the Empire. A feast in the atrium of a magnificent house, where the statues of the fathers look down upon the degenerate sons, represented in every stage of intoxication. Salon, 1847. Study, Christian Herter, New York.—Larousse, v. 417.

ROMBOUTS, J., flourished in Haarlem about 1660. Dutch school; landscape painter in the style of Ruysdael and Hobbema, but not an imitator of either; perhaps identical with Gilles Rombouts, who was received into Haarlem guild in 1652, and by whom is a Weaver Shop Interior (1656) in the Haarlem Museum. Works: Wood Landscapes in Museums of Amsterdam, Basle, Berlin, Brunswick, Gotha (2), Leipsic; Winter Landscape with Skaters, Kunsthalle, Hamburg; Dutch Village (1658), Dresden Gallery; Sea Shore with many people watching Sea Fight in the Distance, Old Pinakothek, Munich; Entrance to the Forest (figures and animals by A. van de Velde), Six Gallery, Amsterdam; Windmill on a Canal (?), Historical Society, New York.—Kugler (Crowe), ii. 479; Burger, ii. 132, 293; Riegel, Beiträge, ii. 399.

ROMBOUTS, SALOMON, flourished in Haarlem about 1650. Dutch school; landscape painter; circumstances of his life unknown. Works: Dutch Park with Figures (by Lingelbach), Städel Gallery, Frankfort; Coast near Scheveningen with many Figures, Leipsic Museum; Farm-House and Yard near Pond with Fishermen, Old Pinakothek, Munich.

ROMBOUTS, THEODOOR, born in Antwerp, baptized July 2, 1597, died there, Sept. 14, 1637. Flemish school; history and genre painter, pupil of Abraham Janssens; went to Rome in 1616, whence he was invited to Florence by the Grand Duke of Tuscany, and then visited Pisa; master of guild in Antwerp in 1625, and dean in 1628-30. In 1635 painted two large pictures of the Entrance of the Archduke Ferdinand into Ghent. Portrait painted by Van Dyck.