CHAPTER VII.
CARRACCI, 1555-1609—GUIDO RENI, 1575-1642—DOMENICHINO, 1581-1641—SALVATOR ROSA, 1615-1673.
In the falling away of the schools of Italy, and especially of the followers of Michael Angelo and Raphael, into mannerism and exaggeration, fitly expressed in delineation of heathen gods and goddesses, there arose a cluster of painters in the North of Italy who had considerable influence on art.
The Carracci included a group of painters, the founders of the later Bolognese School. Lodovico, the elder of the three, was born at Bologna, 1555. He was educated as a painter, and was so slow in his education, that he received from his fellow-scholars the nickname of 'Il Bue' (the ox). But his perseverance surmounted every 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 the term eclectic applied to his school. Its whole tendency was to technical excellence, and in this tendency, however it might achieve its end, painting showed a marked decline. As an example of the motives and objects supplied by the school, I must borrow some lines from a sonnet of the period written by Agostino Carracci:
'Let him, who a good painter would be,
Acquire the drawing of Rome,
Venetian action, and Venetian shadow,
And the dignified colouring of Lombardy,
The terrible manner of Michael Angelo,
Titian's truth and nature,
The sovereign purity of Correggio's style,
And the true symmetry of Raphael;
And a little of Parmegiano'a grace,
But without so much study and toil,
Let him only apply himself to imitate the works
Which our Niccolino has left us here.'
Lodovico opened a school of painting at Bologna, in which he was for a time largely assisted by his cousins. He died 1619.
Agostino Carracci, cousin of Lodovico, was born at Bologna in 1559. His father was a tailor, and Agostino himself began life as a jeweller. He became a painter and an engraver in turn, devoting himself chiefly to engraving. Towards the beginning of the seventeenth century he was with his more famous brother, Annibale, at Rome, where he assisted in painting 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, but malicious, practical joke, which has been handed down to us. Agostino was fond of the society of people of rank, and Annibale, aware of his brother's weakness, took the opportunity, when Agostino was surrounded by some of his aristocratic friends, to present him with a caricature of the two brothers' father and mother, engaged in their tailoring work.
Agostino died at Parma when he was a little over forty, and was buried in the cathedral there, in 1602.
Annibale, Agostino's younger brother, was born in 1560. It was intended by his parents that he should follow their trade and be a tailor, but he was persuaded by his cousin Lodovico to become a painter. After visiting Parma, Venice, and Bologna, he worked with his cousin and teacher for ten years. Annibale was invited to Rome by the Cardinal Odoardo Farnese, to decorate the great hall of his palace in the Piazza Farnese, 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 persecutions of the Neapolitan painters, completed the breaking up of his constitution. He painted, with the assistance of Albani, the frescoes in the chapel of San Diego in San Giacomo degli Spagnole, and pressed upon his assistant more than half of his pay. Annibale's health had already given way, and after a long illness he died, when forty-nine years of age, at Rome, 1609, and was buried near Raphael in the Pantheon.