[Born at Bologna, 1581. Died at Naples, 1641. Aged 60.]
A famous painter of the Bolognese school. A pupil of the Carracci. At Rome, painted some frescos, and other pictures, but was poorly paid. His life one series of misfortunes. His fame and skill excited the jealousy of the Roman and Neapolitan artists, who destroyed his paintings, mixed deleterious compounds with his colours, and—it is believed—at last poisoned him. His works occasionally reveal artlessness, and a clear conception of nature, but he never escapes from the trammels of the imitative school of the Carracci. His great work, the “Communion of St. Jerome,” pronounced by Poussin only inferior to the Transfiguration of Raffaelle. Yet for this picture, Domenichino received fifty scudi—about ten guineas. In person, stout and short—hence his name, Domenichino (little Dominic). Passionately fond of music, and devoted to study and tranquillity. Whilst he painted, he would have his house as quiet and as noiseless as a monastery.
[By Alessandro d’Este. There is another bust of him in the Louvre by Mlle. Charpentier.]
160. Pietro di Cortona, or Pietro Berettini. Painter.
[Born at Cortona, 1596 or 1609. Died at Rome, probably about 1669.]
A painter of the modern and degenerate school of art, who lived and worked at Florence and Rome. So stupid in his youth, that he was called “Ass’s Head.” Was employed to paint a ceiling in the Barberini palace—perhaps the largest picture ever undertaken by a single artist. At Florence he executed the ceilings of the Pitti palace.
[This bust is by Pietro Pierantoni.]
161. Arcangelo Corelli. Violinist and Composer.
[Born at Fusignano, near Bologna, 1653. Died at Rome, 1713. Aged 60.]
Corelli’s playing was distinguished by the most perfect sweetness and smoothness. Of execution, as now understood, he had none. But he possessed grace, finish, and an exquisite power of expression. His works still keep their ground as an indispensable study for all who would acquire a broad and artist-like style of playing. He was a modest and unaffected man, and enjoyed an equable temper, which not even the rough outbursts of Handel could disconcert. He had also humour. He would lay down his violin if folks talked whilst he was playing, and apologize for interrupting the conversation.