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Updated: June 29, 2025


It was, to tell the truth, the first time an' Italian festa had really exhibited to my eyes the genial glow and the romantic particulars promised by song and story; and I confess that those eyes found more pleasure in it than they were to find an hour later in the picturesque on canvas as one observes it in the Pinacoteca. I found myself scowling most unmercifully at Guido and Domenichino.

In this particular also the gloomy taste of the family seemed to predominate. There were some fine family portraits by Vandyke and other masters of eminence; but the collection was richest in the Saints and Martyrdoms of Domenichino, Velasquez, and Murillo, and other subjects of the same kind, which had been selected in preference to landscapes or historical pieces.

The young painters, to ridicule the persevering labours of DOMENICHINO, which were at first heavy and unpromising, called him "the great ox;" and Passeri, while he has happily expressed the still labours of his concealed genius, sua taciturna lentezza, his silent slowness, expresses his surprise at the accounts he received of the early life of this great artist.

John," by Domenichino, the most striking, with a divine head of our SAVIOUR, by Leonardo da Vinci, and many others too tantalising to mention. Mr. King, Emmeline, Mr. Elton, and ourselves, filled the coach. Mr. King in high spirits, talked all the way there and back, and was exceedingly entertaining and instructive.

Shawls were not yet worn, but I made an arrangement with broad scarfs lightly intertwined round the body and on the arms, which was an attempt to imitate the beautiful drapings of Raphael and Domenichino. The picture of my daughter playing the guitar is an example. Besides, I could not endure powder. I persuaded the handsome Duchess de Grammont-Caderousse to put none on for her sittings.

"Whom do you call the greatest painters of the school, uncle?" asked Malcom, as they entered a large hall opening from the corridor in which they had been standing. "Guido Reni and Domenichino merit that honor, I think. Domenichino died young, but painted some excellent pictures, notably the St. Jerome.

The banquet was far less substantial of course, but it had a note as of immemorial manners that couldn't fail to suggest romantic analogies to a pilgrim from the land of no cooks. There was a feast of reason close at hand, however, and I was careful to visit the famous frescoes of Domenichino in the adjoining church.

Heir to the technical achievements of his predecessors, he is able to give his transcendent idea its supremely adequate expression. Content is perfectly matched by form. On this summit stand Michelangelo, Raphael, Leonardo. Then follow the Carracci, Domenichino, Guercino, Guido Reni, Carlo Dolci, men who mistake the master's manner for his meaning. The idea, the vital principle, has spent itself.

He made free use of the compositions of even contemporary artists, while he individualized these compositions. His good and bad qualities are those of his school, already quoted, and perhaps it is in keeping with these qualities that the excellence of Domenichino's works lies in subordinate parts and subordinate characters. There are examples of Domenichino in the National Gallery.

A person, who seemed to be at his devotions, withdrew the veil for us, and we saw a Martyrdom of St. Sebastian, by Domenichino, originally, I believe, painted in fresco in St. Peter's, but since transferred to canvas, and removed hither. Its place at St. Peter's is supplied by a mosaic copy.

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