212 ROM 
the Turkish possessions on the continent of Europe. It is 
bounded on the north by the Danube, on the east by the 
Black sea, on the south by the Mediterranean, and on the 
west by the Adriatic, Dalmatia, and Bosnia. This com¬ 
prises, however, Bulgaria, and Servia, which are by some 
considered distinct provinces. But without these, Rumelia 
has an extent of nearly 120,000 square miles, with a po¬ 
pulation of about 6,000,000. The whole of this fine coun¬ 
try, comprising Thrace, Macedon, and ancient Greece, is 
in a very backward state of civilization, and is not likely 
to improve at present. Many parts of it present large 
uncultivated wastes; and in no part almost is agriculture 
brought to the perfection of former ages. For climate, 
soil, manners of inhabitants, size of towns, history, &c. 
we refer to Turkey, and add at present only the terri¬ 
torial division, which, including Bulgaria and Servia, 
comprises 28 sandgiacats or districts, as follows: 
1. Visa, apart of Thrace; 2. Kirkilissa, Thrace; 3. Si- 
listria, Bulgaria; 4. Nicopoli, Bulgaria; 5. Vidin. Bulga¬ 
ria; 6. Csirmen, Bulgaria; 7. Sophia, Bulgaria; 8. Galli¬ 
poli, Thrace; 9. Salonica, Macedon ; 10. Kostendil, Mace¬ 
don; 11. Uskub, Macedon; 12. Tirhala, Thessaly; 13. 
Egribos, the island of Euboea, and the eastern part of 
Livadia; 14. Tripolizza, the western part of the Morea; 
15. Misitra, eastern part of Morea; 16. Ainabachte, west¬ 
ern part of Livadia; 17. Karli-Ili, Epirus; 18. Joannina, 
Epirus; 19. Delvino, part of Albania; 20. Avlona, part of 
Albania; 21. Ilbessan, part of Albania; 22. Sculari, part 
of Albania; 23. Ochri, parts of Albania and Macedon; 
24. Perserin, Servia; 25. Usitema, Servia; 26. Dukagin, 
Servia ; 27. Aladschahissar, Servia ; 28. Semendria, 
Servia. 
RO'MANISM, s. Tenets of the church of Rome.—Pa¬ 
pists have the common faith (and I wish to God they had 
no more), and their own proper romanism ; to the very 
same or like purpose as the Jews have the law and the pro¬ 
phets, and the talmud of their rabbins. Brevint. 
RO'MANIST, s. A Catholic.—The Romanists are 
guilty of too much scruple in this kind. Bp. Ha//.' 
To RO'MANIZE, v. a. To convert to Romish or Ca¬ 
tholic opinions. 
Yet if your English romanized hearts 
Gainst nature’s custome swell with foule defame. 
Brandish your stings, and cast your utmost darts, 
Against the greatnesse of her glorious name. Mir. for Mag. 
To Latinize ; to fill with modes of the Roman speech.— 
He did too much romanize our tongue, leaving the words 
he translated, almost as much Latin as he found them. 
Dry den. 
To ROMANIZE, v. n. To follow' a Romish opinion, 
custom, or mode of speech.—Thou hast seen a popish Jew 
interceding for the dead :—Tell me, gentle reader, whether 
doth the Jew romanize, or the Roman judaize, in his de¬ 
votions. Lighffoot. —So apishly romanizing, that the 
word of command still w*.s set down in Latin. Milton. 
ROMANO (Giulio), the most renowned among the im¬ 
mediate scholars of Raphael d’Urbino, his heir, and the 
contmuator of his works. He was born at Rome in the 
year 1492. While a pupil, he follow'ed less his master’s 
delicacy than energy of character, and chiefly signalized 
himself in subjects of war and battles, which he represented 
witn equal spirit and erudition. As a designer, he com¬ 
mands the whole mechanism of the human body; and, 
without fear of error, turns and winds it about to serve his 
purposes, but sometimes oversteps the modesty of nature. 
Vasari, who visited him at Mantua, prefers his drawings to 
his pictures, as being more full of that original fire which 
distinguishes his conception, and was apt to evaporate in 
the longer process of finish: some have, with better evidence, 
objected to the character of his physiognomies, as more 
sagacious than enamoured, less simple than vulgar, and 
often dismal and horrid, without being terrible. In colour, 
whether fresco or oil, his hand was as expeditious, and his 
ROM 
touch, especially in the former, as decided, as his eye and 
choice were congenial. Bricky lights, violet demi-teints, 
and black shades, compose in general the raw, opaque tone 
of his oil pictures; far different from that characteristic tone 
which signalizes the Battle of Constantine, painted by him 
from the design and after the death of Raphael, and which 
was by Poussin admired as being most happily adapted to 
the subject. The style of his draperies is classic, but the 
arrangement of the folds generally arbitrary and mannered; 
the hair and head dressses of his women are always fanciful 
and luxurious, but not always arranged by taste; whilst 
those of his men frequently border on the grotesque. 
After he had completed the Hall of Constantine in the 
Vatican from the design of his master Raphael, he went to 
Mantua, where the increased practice and authority, derived 
from the superintendence of the great works he had just com¬ 
pleted, established his reliance on himself; and the patron¬ 
age of the Gonzaghi roused that loftiness of conception, and 
gave birth to those magnificent plans, from which Mantua 
and the palace del T., as from enchantment, rose. To the 
stores of antique treasures belonging to this great family, of 
which the statues, busts, and basso- relievos at present in the 
academy are but insignificant remains, he added his own; 
rich in designs of Raphael, and in studies and plans from 
the antique. No designer ever possessed such industry with 
so much fire, so much consideration with such fecundity, or 
combined with equal rapidity such correctness, or with great 
recondite knowledge in mythology and history, so much 
popularity and care in treating it. 
The palace del T. furnishes specimens in every class of pic¬ 
turesque imagery. Whatever be the dimension, the subject, 
or the scenery, minute or colossal, simple or complex, ter¬ 
rible or pleasing, we trace a mind bent to surprise or to 
dazzle by poetic splendour; but sure to strike by the ori¬ 
ginality of his conception, he often neglects propriety in 
conducting his subjects, considered as a series: and in the 
arrangement or choice of the connecting parts, hurried into 
extremes by the torrent of a fancy more lyric than epic, he 
disdains to fill the intermediate chasms, and too often leaves 
the task of connection to the spectator. 
In this palace, Giulio adopted the method of his master. 
He prepared the cartoons, and the pictures were executed 
by his pupils; but he retouched, corrected, and gave the 
last finish to them: unfortunately, his master-strokes have 
been covered again by modern pencils; and the fable of 
Psyche, the Allegories of Human Life, the Giants storming 
Heaven, exhibit now indeed his composition and design, 
but not his hand: this is better preserved in the paintings 
of the old palace, or, as it is now called, the Corte of Man¬ 
tua; which are in fresco, and relate chiefly the histories of 
the Trojan war. They have the same beauties and defects 
as those of the palace del T .: each, singly considered, is a 
proof of the poetic spirit and the practical powers of the 
master; as a cyclus they want connection and evidence. 
Helen sleeping, Vulcan forging Arms for Achilles, are beauti¬ 
ful; and Minerva in the act of slaying Ajax, the son of 
Oileus, sublime. Nor is his versatility less admirable in the 
Bacchic or amorous subjects; the capricci and grotesque 
conceits with which he decorated the small cabinets of the 
same palace. 
The altar-pieces of Giulio are not numerous. He did not 
live to finish those which he had begun for the cathedral of 
Mantua. The most remarkable of those which he finished 
with his own hand, are the three frescoes at St. Marco; and 
in the church of St. Cristofero, the athletic figure of that 
saint, groaning under the weight of the divine Infant on his 
shoulders. They are, however, far inferior, for genuine 
pathos and classic execution, to the Martyrdom of St. Ste¬ 
phen, on the head altar of the church of St. Stephen at 
Genoa. 
Of Giulio’s scholars and assistants, the most celebrated 
were F. Primaticcio, chiefly employed in the stuccoes and 
ornaments of the palace del T .; Benedetto Pagni ofPescia, 
who accompanied Giulio from Rome to Mantua; and Ri- 
naldo 
