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Updated: June 29, 2025
Domenichino has outraged every feeling of devotion, every sense of truth, every sympathy for the true suffering of the women who were cruelly murdered for their faith, in his picture of the Martyrdom of St. Agnes.
Domenichino is said to have excited the extreme hostility of rival painters, and to have suffered especially from the malice of the Neapolitans, when he was invited to work among them. After a cruel struggle Domenichino died in Naples, not without a horrible suspicion of having being poisoned, at the age of sixty, in 1641.
Domenichino soon began to win many prizes in the school, and left it well trained and prepared for a brilliant career. He gave much thought to his art, shunned private society, and if he went out at all he frequented public places where large numbers of people were gathered, thus affording him an opportunity to study their varying expressions.
It was not long after Domenichino entered this school before one of these occasions took place, and while his fellow-students brought in their works with confidence, he timidly approached and presented his, which he would gladly have withheld. Lodovico Caracci, after having examined the whole, adjudged the prize to Domenichino.
The fame of Domenichino was now so well established that intrigue and malice could not suppress it, and Pope Gregory XV. invited him back to Rome, and appointed him principal painter, and architect to the pontifical palace. "The public," says Lanzi, "is an equitable judge; but a good cause is not always sufficient without the advantage of many voices to sustain it.
The Gadfly, sitting on the steps of the episcopal palace, looked up from under his ragged white locks, and gave the password in a husky, trembling voice, with a strong foreign accent. Domenichino slipped the leather strap from his shoulder, and set down his basket of pious gewgaws on the step.
"Yes; he will have plenty of time to give you the address of the meeting-place while the people are gaping at Montanelli. That was our plan; but if you don't like it, we can let Domenichino know and arrange something else." "No; it will do; only see that the beard and wig look natural." "Are you one of the pilgrims, father?"
The most serious work yet written on composition, Burnet’s “Light and Shade,” was penned at a time when the influence of old masters held undisputed sway. The thought of that day in syllogism would run as follows: The work of the Old Masters in its composition is beyond reproach. Botticelli, Raphael, Paul Potter, Wouvermans, Cuyp, Domenichino, Dürer, Teniers et al., are Old Masters.
At the moment, in which they let down the body into the earth, the scene was such as only the dark pencil of a Domenichino, perhaps, could have done justice to.
Not many pictures, great or small, escaped their eager young eyes. They grew familiar with the works of Domenichino, Guercino, Garofalo, Carlo Dolci, Sassoferrato, etc., and the days of their stay in Rome rapidly passed by. Mrs. Douglas was very desirous to take them for a few days to Naples, or rather to the environments of Naples.
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