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Updated: June 29, 2025
It was I who hindered her from giving those three pictures to the Church a Domenichino, a Correggio, and an Andrea del Sarto worth a good deal of money." "But Angelique?" asked the young man. "If you do not marry her, Angelique is done for," said the Count. "Our holy apostles counsel her to live a virgin martyr.
He knows nothing of pictures, 'Of the colouring of Titian, the grace of Raphael, the purity of Domenichino, the corregioscity of Correggio, the learning of Poussin, the airs of Guido, the taste of the Caracci, or the grand contour of Michael Angelo, of all those glories of the Italian and miracles of the Flemish school, which have filled the eyes of mankind with delight, and to the study and imitation of which thousands have in vain devoted their lives.
The Caracci and Domenichino have immortalized themselves by their frescos in its gallery. The Farnese Hercules, the masterly Flora, and the urn of Cæcilia Metella, formerly adorned the court; and in the palace itself was the beautiful group of the Farnese bull.
No better proof of the exalted merits of Domenichino can be desired, than the fact that upwards of fifty of his works have been engraved by the most renowned engravers, as Gerard Audran, Raffaelle Morghen, Sir Robert Strange, C. F. von Muller, and other illustrious artists; many of these also have been frequently repeated.
In the midst of this his master, Annibale Caracci, surprised him, and was so impressed with his method that he threw his arms about his pupil's neck, exclaiming, "To-day, my Domenichino, thou art teaching me!" The most celebrated work by Domenichino is the "Communion of St. Jerome," in the Vatican.
The great thing in art is charm, and the great thing in charm is spontaneity. Domenichino, having talent, is here and there an excellent model he was devoted, conscientious, observant, industrious; but now that we've seen pretty well what can simply be learned do its best, these things help him little with us, because his imagination was cold.
No age, we fancy, can surpass Italy in the fifteenth and sixteenth centuries, when the genius of Raphael, Correggio, and Domenichino blazed with such wonderful brilliancy. Painting in some form, however, is very ancient, though not so ancient as are the temples of the gods and the statues that were erected to their worship.
The work here referred to is a series of frescoes, which he did not live to quite finish, representing the events of the life of St. Januarius, in the chapel of the Tesoro of the cathedral at Naples, which he began in 1630. The malicious spite which the text attributes to the rivals of Domenichino is not at all exaggerated.
The greatest masters of the art Michael Angelo, Raphael, Titian, Guido, Domenichino, Paul Veronese, Rubens, Guercino, Agostino Caracci, and many hardly less distinguished artists either omitted to sign their pictures at all, or signed their name at full length, sometimes with the addition of their local surname, or employed the initial syllables or letters of their name in the ordinary Roman form, without any attempt at grouping them into a monogram.
They aimed to unite such a style as Correggio's who belonged to no school with that of the severely mannered artists of the preceding centuries. These artists were called Eclectics, and the Bolognese school of the Carracci was the most important centre of the movement, while Domenichino, a native of Bologna 1581-1631 was the most distinguished painter of the school.
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