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Though it is certain, Kugler admits, that no other school of painting in Rembrandt's time neither that of Rubens, nor that of the Carracci, nor the French nor Spanish schools rendered the spiritual import of Biblical subjects with the purity and depth exhibited by the great Dutch master.
"To assist you in this nice discrimination, consult the prints and works of Michael Angelo, Raphael, and Hannibal Carracci. In them you will find the strongest and purest evidence of style and character, yet all differing from each other, and all equally brought out of nature.
In our National Gallery there are nine specimens of Guido's works, including one of his best 'Ecce Homos, which belonged to the collection of Samuel Rogers. Domenico Zampieri, commonly called Domenichino, was another Bolognese painter, and another eminent scholar of the Carracci. He was born in 1581, and, after studying under a Flemish painter, passed into the school of the Carracci.
The Ecce Homo, bequeathed by Samuel Rogers to the National Gallery, is an excellent example of his ability to charm the sentimentalist, and if ever there should be a popular revival of taste in the direction of the now neglected school of the Carracci, he will possibly resume all the honour formerly paid to him.
The composition of the piece would be thus accounted for; but I cannot pretend that Mr. Tadema reminds one of either Poussin or Annibale Carracci. However, rumour whispers that a high price has been paid for this curious performance. To my thinking the friends of Heliogabalus are a little flat and leathery in the handling of the flesh.
As an example of the motives and objects supplied by the school, I must borrow some lines from a sonnet of the period written by Agostino Carracci: 'Let him, who a good painter would be, Acquire the drawing of Rome, Venetian action, and Venetian shadow, And the dignified colouring of Lombardy, The terrible manner of Michael Angelo, Titian's truth and nature, The sovereign purity of Correggio's style, And the true symmetry of Raphael;
The original aims of the Eclectics are well summed up in a sonnet by Agostino Carracci, which has been translated as follows: "Let him who wishes to be a good painter acquire the design of Rome, Venetian action and Venetian management of shade, the dignified color of Lombardy that is of Leonardo da Vinci the terrible manner of Michael Angelo, Titian's truth and nature, the sovereign purity of Correggio's style and the just symmetry of a Raphael, the decorum and well-grounded study of Tibaldi, the invention of the learned Primaticcio, and a little of Parmigianino's grace; but without so much study and weary labor let him apply himself to imitate the works which our Niccolò dell Abbate left us here."
He was eight years absent, entering the service of the ducal sovereign of Mantua, being sent by him on a diplomatic mission to Madrid to Philip III, of Spain, visiting on his own account Rome, where he found the Carracci and Guido at the height of their fame, Venice and Genoa, 'leaving portraits where he went.
He therefore obtained the assistance of his two nephews, AGOSTINO and ANNIBALE CARRACCI, sons of a tailor, and in concert with them opened an academy at Bologna in 1589. This he furnished with casts, drawings, and engravings, and provided living models and gave instruction in perspective, anatomy, etc.
Annibale was the most original while the least learned of the Carracci; yet, even of Annibale, it could be said that he lacked enthusiasm in his subjects. His best productions are his mythological subjects in the Farnese Palace. At Manchester it attracted the greatest attention and admiration.
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