On the contrary, "these painters, in selecting, omitted just those features which had given grace and character to their models. The substitution of generic types for portraiture, the avoidance of individuality, the contempt for what is simple and natural in details, deprived their work of attractiveness and suggestion. It is noticeable that they never painted flowers. While studying Titian's landscapes, they omitted the iris and the caper-blossom and the columbine, which star the grass beneath Ariadne's feet. . . . They began the false system of depicting ideal foliage and ideal precipices that is to say, trees which are not trees, and cliffs which cannot be distinguished from cork or stucco. In like manner, the clothes wherewith they clad their personages were not of brocade, or satin, or broadcloth, but of that empty lie called drapery . one monstrous nondescript stuff, differently dyed in dull or glaring colours, but always shoddy. Characteristic costumes have disappeared. . . . After the same fashion furniture, utensils, houses, animals, birds, weapons, are idealised-stripped, that is to say, of what in these things is specific and vital” i (Symonds, vii. 405).

With regard to the historical development of the declining art whose general characteristics we have been discussing, it is usual to group the painters under three heads the Mannerists, the Eclectics, and the Naturalists. By the first of these are meant the painters in the several schools who succeeded the culminating masters and imitated their peculiarities. We have already noticed, under the Florentine School (see p. 9), how this "mannerism" set in, and all the other schools show a like process. Thus Giulio Romano shows the dramatic energy of Raphael and Michael Angelo passed into mannerism. Tiepolo is a "mannerised" Paolo Veronese, Baroccio a "mannerised " Correggio. Later on, however, and largely under the

It was this false striving after "the ideal," as Mr. Symonds points out (pp. 406, 407), that caused Reynolds, with his obsolete doctrine about the nature of "the grand style," to admire the Bolognese masters. For Reynolds's statement of his doctrine see his Discourses, ii. and iii., and his papers in the Idler (Nos. 79 and 82); for Mr. Ruskin's destructive criticism of it, see Modern Painters, vol. iii. pt. iv. ch. i.-iii.

influence of the "counter-Reformation "-the renewed activity, that is, of the Roman church consequent on the Reformation,—a reaction against the Mannerists set in. This reaction took two forms. The first was that of the Eclectic School founded by the Carraccis at Bologna in about the year 1580. This school-so called from its principle of "selecting" the qualities of different schoolsincludes, besides the Carraccis themselves, Guido Reni, Domenichino, Sassoferrato, and Guercino. The last-mentioned, however, combined in some measure the aims both of the Eclectics and of the other school which was formed in protest against the Mannerists. This was the school of the socalled Naturalists, of whom Caravaggio (1569-1609) was the first representative, and whose influence may be traced in the Spanish Ribera (see Room XV.) and the Neapolitan Salvator Rosa. They called themselves "Naturalists,” as being opposed to the "ideal" aims alike of the Mannerists and the Eclectics; but they made the fatal mistake-a mistake which seems to have a permanent hold on a certain order of minds, for it is at the root of much of the arteffort of our own day-that there is something more "real" and "natural" in the vulgarities of human life than in its nobleness, and in the ugliness of nature than in its beauty (see below under 172, p. 327, and under Salvator Rosa passim).

228. CHRIST AND THE MONEY CHANGERS. Bassano (Venetian: 1510-1592). See under VII. 277, p. 151.

Christ is driving out from the House of Prayer all those who had made it a den of thieves-money-changers, dealers in cattle, sheep, goats, birds, etc. A subject which lent itself conveniently to Bassano's characteristic genre style.

93.

SILENUS GATHERING GRAPES.

Annibale Carracci (Eclectic-Bologna: 1560-1609). Annibale Carracci, younger brother of Agostino and cousin of Ludovico, was one of the three masters of the Eclectic School at Bologna. He was the son of a tailor and was intended for the business, but went off to study art under Ludovico. After studying at Parma and Venice he returned to Bologna, but left in 1600 to paint by commission in the Farnese Palace at Rome-where "he was received and

treated as a gentleman," we are told, "and was granted the usual table allowance of a courtier." This was thought worthy of remark, for he was boorish in his manner, fond of low society and eaten up with jealousy.

Silenus in a leopard skin, the nurse and preceptor of Bacchus, the wine-god, is being hoisted by two attendant fauns so that with his own hands he may pick the grapes. This and the companion picture, 94, originally decorated a harpsichord. 94. BACCHUS PLAYING TO SILENUS.1

Annibale Carracci (Eclectic-Bologna: 1560-1609). A clever picture of contrasts. The old preceptor is leering and pampered, yet with something of a schoolmaster's gravity, "half inclining to the brute, half conscious of the god." The young pupil-like the shepherd boy in Sidney's Arcadia, "piping as though he should never be old "-is "full of simple careless grace, laughing in youth and beauty; he holds the Pan's pipe in both hands, and looks up with timid wonder, with an expression of mingled delight and surprise at the sounds he produces" (Hazlitt: Criticisms upon Art, p. 6).

624. THE INFANCY OF JUPITER.

Giulio Romano (Roman: 1498-1546).

Giulio Pippi, called "the Roman," was born at Rome and was Raphael's favourite pupil; to him Raphael bequeathed his implements and works of art. But the master could not also bequeath his spirit, and in Giulio's works (such as 643 and 644, pp. 326, 330, which, however, are now attributed to a pupil), though "the archaeology is admirable, the movements of the actors are affected and forced, and the whole result is a grievous example of the mannerism already beginning to prevail" (Woltmann and Woermann: History of Painting, ii. 562). 'Raphael worked out the mine of his own thought so thoroughly, so completely exhausted the motives of his invention, and carried his style to such perfection, that he left nothing unused for his followers. ... In the Roman manner the dramatic element was conspicuous; and to carry dramatic painting beyond the limits of good style in art is unfortunately easy. ... For all the higher purposes of genuine art, inspiration passed from his pupils as colour fades from

panion to "Silenus gathering Grapes" makes also in favour of the description given in the text above.

Eastern clouds at sunset, suddenly" (Symonds, iii. 490, 491). In 1523 Giulio entered the service of the Duke of Mantua, and besides executing a very large number of works in oil and fresco, he was distinguished as an architect and rebuilt nearly the whole town. Vasari made his acquaintance there and admired his works so much that Giulio deserved, he said, to see a statue of himself erected at every corner of the city.

An illustration of the classic myth of the infancy of Jupiter, who was born in Crete and hidden by his mother, Rhea, in order to save him from his father Saturn ("all-devouring Time"), who used to devour his sons as soon as they were born, from fear of the prophecy that one of them would dethrone him. In the background are the Curetes "who, as the story is, erst drowned in Crete that infant cry of Jove, when the young band about the babe in rapid dance, arms in hand to measured tread, beat brass on brass, that Saturn might not get him to consign to his devouring jaws" (Lucretius, Munro's translation, ii. 629).1

135. LANDSCAPE WITH RUINS.

Canaletto (Venetian: 1697-1768). See under 939, p. 316. The artist, "disgusted with his first profession (of scene painter), removed," we are told, "while still young to Rome, where he wholly devoted himself to drawing views from nature, and in particular from ancient ruins" (Lanzi, ii. 317). This is no doubt one of the results. There is something effective in the sculptured lion who sits sedate among the ruins-something of the idea expressed by the Persian poet

They say the Lion and the Lizard keep

The Courts where Jamshyd gloried and drank deep.

1054. A VIEW IN VENICE.

Francesco Guardi (Venetian: 1712-1793).

Guardi was a scholar and imitator of Canaletto.

An interesting record of Venetian costume-notice the crinolines and the big wigs-a hundred years ago.

1 S. Palmer, the artist, and friend of William Blake, wrote of this picture, "By the bye, you want to see a picture bound by a splendid imagination upon the fine, firm, old philosophy, do go and look at the Julio Romano (Nursing of Jupiter) in the National Gallery. That is precisely the picture Blake would have revelled in. I think I hear him say, 'As fine as possible, Sir! It is not permitted to man to do better !''' (Memoir of Anne Gilchrist, p. 59).

1157. THE NATIVITY.

Bernardo Cavallino (Neapolitan: 1622-1654).

A very unpleasing picture by a pupil of Stanzioni (who was a rival of Spagnoletto).

48. TOBIAS AND THE ANGEL.

Domenichino (Eclectic-Bologna: 1581-1641). Domenico Zampieri was a scholar of the Carraccis. Like Agostino, he was invited to Naples, and like him incurred the hostility of the trade unionism of the Neapolitan painters. The notorious triumvirate of these painters, the "Cabal of Naples," were suspected of causing his death. At Rome also, where he worked for some years, he was much persecuted by rival artists. Accusations of plagiarism were levelled at him, and his more pushing competitors "decried him to such a degree that he was long destitute of all commissions." It is interesting to contrast the conditions of (literally) "cut-throat competition," under which the Italian painters of the decadence worked, with the Guild System of the Flemish (see p. 260), and the honourable time and piece work of the earlier Italians.

For the story of Tobias and the angel see I. 781, p. 17.

22. ANGELS WEEPING OVER THE DEAD CHRIST. Guercino (Eclectic-Bologna: 1591-1666).

An interesting work by Giovanni Francesco Barbieri, called Guercino, the Squintling, from an accident which distorted his right eye in babyhood. He attained to much fame and wealth in his day; but was self-taught, and the son of humble parents, his father being a wood-carrier, and agreeing to pay for his son's education by a load of grain and a vat of grapes delivered yearly. In art-history Guercino is interesting as showing the blending of the Eclectic style of the Carraccis with the Naturalistic style of Caravaggio. In the motives of his picture one sees reflected the Catholic revival of his day,"the Christianity of the age was not naïve, simple, sincere, and popular; but hysterical, dogmatic, hypocritical, and sacerdotal. It was not Christianity indeed, but Catholicism galvanised by terror into reactionary movement" (Symonds, vii. 403). A comparison even of this little picture—in its somewhat morbid sentiment-with such an one as Crivelli's VIII. 602, p. 180-with its deeper because simpler feeling-well illustrates the nature of the change.