ITALY.] ANNIBAL CARACCI. These two brothers, though strongly attached to each other, were never able to live in harmony together;-their minds, naturally irritable, took fire upon the smallest pretext, which Lodovico found much difficulty in pacifying, notwithstanding his prudence, and the ascendancy he had over them. Annibal then quitted Bologna, and from that moment he may be said to have placed himself at the head of the Caracci, and of their school. The pictures of Correggio revealed to him, at first, all those secrets which Lodovico was not able to penetrate, and he beheld what it was necessary for him to perform in order to attain perfection. At Venice, where he formed an intimacy with Paul Veronese, and Tintoretto, he found fresh opportunities of improving himself, and we may readily believe that he suffered none to escape, having, as he used to say, made painting his only mistress. Unfortunately, he was not capable of proceeding to Rome, where the sight of Raphael's works, and of the antique statues, would, doubtless, have given more correctness to his drawing, although that he ultimately attained, Loaded with the fruit of his meditations, he returned to Bologna, to be near his cousin and his brother. The mind of Lodovico was too generous not to acknowledge the superiority which his former disciple had acquired, and, in his turn, he took lessons of his relation Annibal. Agostino, on the contrary, unwilling to sink in reputation, devoted himself entirely to engraving for a considerable time. Annibal and Lodovico produced, after their new manner, productions eminent for good taste, vigorous design, and admirable composition; and no less remarkable for dignity than for truth. This induced the Bolognese painters to decry their best works; and Lodovico mistrusted his judgment. Annibal, however, certain of his powers, persisted in his ideas, and dissipated all his cousin's apprehensions. They were, at first, compelled to dispose of their pictures gratuitously, but the amateurs, in the end, began to appreciate all their beauties; and ignorance and envy were completely silenced. It was then that the celebrated academy of the Caracci was established, and formed the glory of Bologna. The name of its founders, particularly that of Annibal, attracted a considerable number of young artists, thirsting for information and success. Lodovico directed the whole by his wisdom and advice; Agostino taught perspective, and directed his attention to other branches of the art; while Annibal furnished examples, and communicated to his pupils the fruit of his profound reflexions. In this manner painting was preserved from the ruin with which it was threatened. In a few years, this school produced several admirable painters, such as Domenichino, Guido, Albano, Guercino, Lanfranco, Spada, &c. The glory of having brought forward such scholars was sufficient to excite jealousy, and it was discovered that Francisco Caracci, the younger brother of Annibal and Agostino, attempted to overthrow the establishment; but, happily, he failed in his object, and died at an early age, before he had established his reputation. Annibal, however, notwithstanding his various occupations at Bologna, retained a strong desire to visit Rome, where, he flattered himself, there was much to acquire; to accomplish which a fortunate occasion presented itself. The Cardinal Farnese was desirous of painting the gallery of his palace at Rome, and the Duke of Parma, his brother, persuaded Annibal to take upon himself the execution of this extensive work. He set out with a certain number of skilful pupils, and undertook this laborious task without due regard to the price ANNIBAL CARACCI. ITALY.] that might be set upon his labours. To supply the necessary poetical information, he had recourse to Agucchi, à man of considerable learning, and his intimate friend; but literary acquirements, and the services of his scholars, were subordinate to the science and genius of Annibal. Upon this magnificent gallery he was employed more than eight years, which produced this remark of Poussin, that "Annibal is the only painter that has existed since Raphael:-in this work he not only surpassed all preceding painters, but even surpassed himself." Annibal, with that modesty often attendant on real talents, was still desirous of the counsel of Lodovico, who, to prevent his abandoning his great undertaking, was compelled to go from Bologna to Rome. After encouraging him by his applause, to proceed in his stupendous work, Lodovico returned to his native country, where he long lived, beloved and admired until his death, which happened in 1619, leaving behind him an almost equal degree of reputation with his brother Annibal. Agostino went also to Rome to see his brother (for, from some perverseness in their natures, they could neither live amicably together, nor long apart), and assisted him materially in his performance, until Taccone, a pupil of Annibal, who was in his confidence, fomented between them fresh causes of disagreement, so as to render it necessary for the Cardinal Farnese to effect their separation. He sent Agostino to Parma, but grief at this removal, had taken such possession of his mind, which not even his numerous avocations were capable of solacing, that, joined to other afflictions, it threw him into a state of melancholy, which occasioned his death in the year 1602. Had he devoted himself to painting with greater application, he might have surpassed his brother Annibal, who, it is surmized, was jealous of his powers. Be that as it may, Anniba truly regretted the loss of Agostino, erected a rich mau soleum to his memory, and undertook the education of his natural son. This youth, who was named Antonio, and distinguished by the appellation of Il Gobbo; under the tuition of his uncle, manifested a lively and promising genius, and gave such evident tokens of an enlarged capacity, that the shortness of his life has been exceedingly regretted. Annibal having finished his vast enterprize with infinite success, experienced the most flagrant injustice in the recompence of his labours. He was offered a salary so pitiful and inadequate for such an assemblage of chef d'œuvres, that, notwithstanding his disinterestedness, which was extreme, he conceived the most lively indignation. He made no complaint, but his affliction at such illiberality was not the less rooted and violent. Renouncing, as it were, an art which appeared to subject those to contempt who exercised it, he no longer took up his pencil but with repugnance, and many a time was urged to break it through mortification. The journey to Naples, which he undertook, could not allay the progress of dejection that overwhelmed his mind, and which increased upon his return to Rome. To dissipate his chagrin, he plunged himself into certain imprudencies --a fatal malady was the result-and he fell a victim to the ignorance of his physicians, in 1609, in his forty-ninth year. Experiencing, unhappily for the arts, the fate of Raphael. He desired to be buried near his remains, not, as he said, that he conceived himself, by his talents, worthy of such a sepulture, but solely on account of the high veneration in which he held that distinguished ornament of his profession. At his funeral, persons of the highest quality in Rome assisted, and his pupils testified the deepest regret. Thus died Annibal Caracci, who, to very brilliant talents, united great goodness of heart. ITALY.] ANNIBAL CARRACCI. He was modest and tender in his disposition, of a lively sensibility, an enemy to ostentation, enthusiastically attached to his art; and combined, with all these qualities, a sprightly fancy, and an informed mind. His reply to Josepin is well known; and meeting one day his brother Agostino, in a public walk, surrounded by many persons of rank, he sent him a portrait of his father, whom he represented threading a needle with a pair of spectacles across his nose. Distinguished by grandeur of style, purity of design, by the vigour and facility of his pencil, and sometimes by truth of colouring, Annibal Caracci, though not a perfect painter, was, without doubt, an artist who by having constantly in view the union of ideal beauty and of nature, has trodden in the certain path to glory. This is confirmed by the many excellent scholars he produced, in which respect he proved himself superior to Raphael. As it may not be unpleasing to the general reader to learn the comparative excellencies of the Caracci, in the judgment of those who are the best able to appreciate their talents; we shall subjoin the following observations of Mr. Fuseli, on the merits of these distinguished painters. "Lodovico Caracci, far from subscribing to a master's dictates, or implicit imitation of former styles, was the sworn pupil of nature. To a modest, but dignified, design, to a simplicity eminently fitted for those subjects of religious gravity which his taste preferred, he joined that solemnity of hue--that sober twilight-that air of cloistered meditation, which has been so often recommended as the proper tone of historic colour. Too often content to rear the humble graces of his subject, he |