Calliopolitan.
1. Elt Ttjv apxi]ii inov o \nyor, Kai 6 Aii7_o9 riToi" ^eT<< 3'euu,
Kai S'CO? nTOV 6 \('>709.
2. 'EtoDtoc rtTOf CIS tJjk upX'/" fJ'-i'ru ^eou.
Hilarion.
1. 'Ajr' iipxrii I'lTOK 6 Ao7os',
Kai 6 A670? tjTov oi^ov /ie rov ^eov, Kai 6 A070V i]Tuv ^eo9.
2. AuTof riTov iiv' upx"^^* o/ioC /it TOV ^eov.
Bible Societi/'s Version.
1. 'El- upxji I'lTo » Ao7of,
Kui o Ac(7{JV ttTO Ttupu Tt^ ^fU),
Kai ^cq? >'iTo 6 A67of.
2. OuTor iiTO iv upx^ vapa ry ^eiZ.
See The Bible of Every Land, and the Annual Reports of the British and Foreiyn Bible Society. (B. P.)
Romaine, Wii.i.iam, an English divine and writer, was born at Hartlepool, county of Durham, Sept. 25, 1714, and was the sou of a French Protestant who took refuge in England upon the revocation of the Edict of Nantes. Komaine attended school at Houghton -le- Spring for seven years, and then entered Hertford Col- lege, Oxford, in 1730 (or 1731), and thence removed to Christ Church. He took his degree of A.JI. Oct. 15, 1737, having been ordained deacon the year before. He be- came curate of Loe Trcnchard, Devonshire, in 1737 ; was ordained priest in 1738, and tlie same year curate of Ban- stead and Horton, Middlesex. In 1741 Daniel Lambert, lord-mayor of London, appointed him chaplain. In 1748 he became lecturer of St. George's, Botolph Lane, and St. Botolph's, Billingsgate; and in the following year (1749) lecturer of St. Dustan's-in-the-West, which po- sition he held until his death. In 1750 he was appoint- ed assistant morning preacher at St. George's, Hanover Square, and continued until 1756; in 1752 professor of astronomy in Gresham College ; curate and morning preacher at St. Olave's, Southwark,in 1756-1759; morn- ing preacher at St. Bartholomew the Great, near West Smithfield, 1759, for nearly two j^ears; chosen rector of St. Andrew Wardrobe, and St. Ann's, Blackfriars, 1764, an election which was disputed, but confirmed by the Court of Chancery in 1766. In the duties of this office he continued faithfully employed until his death, .July 26, 1795. Romaine's best-known works are. Practical Commentaries on Psalm cvii (Lond. 1747) : — The Lord our Righteousness, two sermons (ibid. 1757, 8vo) : — Twelve Sermons on Solomon's Song (ibid. 1758-59, 8vo) : — The Life of Faith (ibid. 1763) : — Scripture Doctrine of the Sacrament of the Lord's Supper (ibid. 1765): — Walk of Faith (ibid. 1771, 2 vols.): — Essay on Psalmody (ibid. 1775). See Allibone, Diet, of Brit, and Amer. Authors, s. V. ; Darling, Cyclop. Bibliog. s. v.
Roraam'ti-e'zer (Heb. id. [for Romamti' E'zerl, nty "iri^pi, or "y "'ri'OTC'n, heights of help ; Sept. 'Vwfitp^iiZ,Ep, V. r. 'PaJ/(f^^l£^fp, 'Pw/ieSjiufi^ep), the tenth named of the fourteen sons of Heman, the king's seer in the time of David. He was chief of the twenty- fourth section of the singers, and his family, consisting of twelve persons, were among those engaged in the music of the tabernacle service (1 Chron. xxv, 4, 31). B.C. cir. 1014.
Roman ('Pw^rtTot), a citizen of the Roman empire (q. V.) (1 Mace, vili, 1," 23-29; xii, 16; xiv,40; xv, 16; 2 Mace, viii, 10, 36; xi, 34; John xi, 48; Acts ii, 10; xvi, 21,37, 38; xxii, 25-29; xxiii,27; xxv, 16; xxviii, 17). Such persons, wherever born, were entitled to special privileges. See Citizenship.
Roman Art. The ancient Romans were charac- terized by a strong practical feeling. They had im- mense organizing, governing power; but they had lit- tle of that fine aesthetic sensitiveness which is necessa- ry as the foundation of an indigenous, native art with a people. Still, the position of Rome with reference to the general history of art is very important. It is mar- vellous, indeed, that a people who seemed originally to have had so little native talent for art shoidd have be- come the most extensive patrons of art in all history. The inability of the Roman peojile to originate works of high art was recognised by their own writers. Vir- gil wrote : " To others it is granted to give life to mar- ble and to lend breath to bronze, but the art of Rome is to govern nations, to conquer the proud, and to spare the weak." The Romans may be compared to rich people in our day who desire to possess works of art without knowing how to appreciate or understand them,
R03IAX ART
70
ROMAN ART
or who wish to use them as a means of displaying their ostentatious luxury. The presence of works of high art also created a proud rivalry among the aristocratic and wealthy which is altogether distinct from the pat- ronage to art which comes from native, artistic impulse. During the tirst two hundred and fifty years of her e.Kistencp. Rome might be considered as an Etruscan city, so fully did the Etruscan spirit prevail in all her temples and other works of art. During the first two centuries of the republic, almost no works of art were executed within this great capital, though the names of a few Greek artists in Rome are recorded as early as five hundred years before Christ.
Witli the conquest of Carthage first, followed by the conquest of Greece and Egypt, a new epoch was open- ed in the artistic life of the Roman people. Rome now became the great storehouse of the art treasures of the entire world. Greece especially was despoiled to en- rich the private palaces and majestic public buildings of the great metropolis. With this gathering of the art treasures of the world into the great capital commences what may with propriety be called the beginning of the development of a true Roman art. The chief develop- ment of Roman art lay in the department of architect- ure. Profusely as painting and sculpture were emplo3-ed in ornamenting public and private buildings of all grades, both in Rome itself and in all the remotest cities of the vast empire, these arts were practiced exclusively by Greek sculptors and painters. The great majority of architects, also, in the Roman dominions were Greeks, though their work was characterized by Roman ele- ments and was executed in the Roman spirit.