GIULIO, a famous painter, was the disciple of Raphael, who had such an affection for him, that he appointed him, with John Francis Penni, his heir. His conceptions were more extraordinary and more elevated than even those of his master, but not so natural. He was wonderful in the choice of attitudes; but did not perfectly understand the lights and shades, and is frequently harsh and ungraceful. The folds of his draperies, says Du Fresnoy, are neither beautiful nor great, easy nor natural, but all extravagant, like the fantastical habits of comedians. He was, however, superior to most painters, by his profound knowledge of antiquity; and, by conversing with the works of the most excellent poets, particularly Homer, he made himself master of the qualifications necessarily required in a great designer. Julio Romano was also well skilled in architecture. He was employed by Cardinal de Medicis, who was afterwards pope under the name of Clement VII.; and afterwards went to Mantua, whither he was invited by Frederic Gonzago, marquis of that city, in order to avoid his being unjustly punished for his having drawn at Rome the designs of 20 obscene plates, engraved by Mark Antony, to which Aretino added the same number of sonnets. Julio Romano embellished the city of Mantua with many of his performances both in painting and architecture; and died in that city in 1545, at 45 years of age, much regretted by the marquis, who had an extraordinary friendship for him.