The Old Masters and Their Pictures

Raphael, into mannerism and exaggeration, fitly expressed in delineation of heathen gods and goddes

very obstacle. He visited the different Italian towns, and studied the works of art which they contained, arriving at the conclusion that he might acquire and combine the excellences of each. This combination, which could only be a splendid patch-work without unity, was the great aim of his life, and was the origin of th

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Bologna, in which he was for a time larg

g the Farnese Gallery, designing and executing the two frescoes of Galatea and Aurora with such success, according to his contemporaries, that it was popularly said that 'the engraver had surpassed the painter in the Farnese.' Jealousy arose between the brothers in consequence, and they separated, not before Annibale had perpetrated upon Agostino a small,

a little over forty, and was buri

, with scenes from the heathen mythology, for which work he received a monthly salary of ten scudi, about two guineas, with maintenance for himself and two servants, and a farther gift of five hundred scudi. It was a parsimonious payment, and the parsimony is said to have preyed on the mind and affected the health of Annibale, and a visit to Naples, where he, in common with not a few artists, suffered from the jealous p

art, has a powerful effect on many beholders, who prefer conventionality to freedom; or rather, who fail to distinguish conventionality in its traces. Annibale was the most original while the least learned of the Carracci; yet, even of Annibale, it could be said that he lacked enthusiasm in his subjects. His best productions are his mythological subjects in the Farnese Palace. A celebrated picture of his, that of the 'Three Marys' (a dead Christ, the Madonna, and the two other Marys), is at Castle Howard, and has been ex

ing and genre pictures, such as 'The Greedy Eater,' as separate bran

d favour, but taking offence at some supposed injustice, he left Rome, and settled at last in Bologna, where he established a large school. Though he made great sums of money, which might have enabled him to live in the splendour which he coveted, on account of his addiction to gambling and his grossly extr

pidity, with little wonder, seeing that at this stage he sold his time at so much per hour to picture-dealers, who stood over him, watch in hand, to see that he fulfilled his bargain, and carried away the saints he manufactured wet from the easel. Such manufactory took him only three hours, sometimes less. His charges had risen from five guineas for a head, and twenty guinea

iosi Palace at Rome. In our National Gallery there are nine specimens of Guido's works, i

arracci. While yet a very young man, Domenichino was invited to Rome, where he soon earned a high reputation, competing successfully with his former fellow-scholar, Guido. Domenichino's 'Flagellation of St Andrew,' and 'C

ns, when he was invited to work among them. After a cruel struggle Domenichino died in Naples, not without a horrible suspicion of having bei

er writes that martyrdom as a subject for painting, which had been sparingly used by Raphael and his scholars, had come into fashion in Domenichino's time, for 'painters and poets soug

hese compositions. His good and bad qualities are those of his school, already quoted, and perhaps it is in keeping with these qualities that the

the bold young Neapolitan started for Rome at the age of twenty years; and Rome, 'the Jerusalem of Painters,' became thenceforth Salvator Rosa's head-quarters, though the character of the man was such as to force him to change his quarters not once or twice only in his life, and thus he stayed some time, in turn, at Naples, Viterbo, Volterra, and Florence. At Volterra the aggressive natur

dency governed by a viceroy. Salvator was in the Compagnia della Morte commanded by Falcone, a battle painter, during the troubles, a wild enough post to please the wild painter, even had he not been in addition a personal adheren

vator Rosa's familiarity with mountain passes, and his love of peopling them appropriately with banditti in action. Salvator Rosa was a dashing battle painter, a mediocre historical painter, and an excellent portrait painter as well as landscape painter. But it is chiefly by the savage grandeur of his mountain or forest