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The greatest excellence of this art was of short duration; it declined as did the literature, and indeed, the sacred and political institutions of Italy in the seventeenth century. It should not, however, be forgotten, that the best works of Guercino, the later pictures of Annibale Carracci, and the important works of Domenichino and Salvator Rosa belong to this period.
I must break off, not to forget myself. These pictures were the principal; but a Hemling, a magnificent Annibal Carracci, a little picture of Christ among the soldiers, a Venus, perhaps by Titian, would have been well worth mentioning, and there was not a piece in this cabinet which would not have made any lover of the arts a happy man.
"About a century subsequent to their flight from Rome they were re-animated, and formed the second school of art in Italy at the city of Bologna under the Carracci, at the head of which was Ludovico.
In the falling away of the schools of Italy, and especially of the followers of Michael Angelo and Raphael, into mannerism and exaggeration, fitly expressed in delineation of heathen gods and goddesses, there arose a cluster of painters in the North of Italy who had considerable influence on art. The Carracci included a group of painters, the founders of the later Bolognese School.
He died at Bologna, and was buried with much pomp in the church of San Dominico, 1642. Of Guido we hear that he had three styles: the first, after the vigorous manner of Michael Angelo; the second, in the prevailing ornamental taste of the Rome of his day and the Carracci. This is considered Guido's best style, and is distinguished by its subtle management of light and shade.
The same reason, in conjunction with the decline of Italian art, may account for the great number of the Carracci school and followers. Annibale Carracci was one of the first who practised landscape painting and genre pictures, such as 'The Greedy Eater, as separate branches of art. Two of Annibale's landscapes are in the National Gallery.
I shall close my long list of the great Italian painters of the past with one who was quite apart from and opposed to the Carracci school, and whose triumphs and failures were essentially his own. Salvator Rosa, born in 1615 near Naples, was the son of an architect. In opposition to his father Salvator Rosa became a painter.
I believe this was not only because Annibale Carracci in the 'Three Marys' does attain to a most piteous mournfulness of sentiment, but because such work as that of the Carracci finds readiest acceptance from a general public, which delights in striking, superficial effects.
Sumner told them that though not of very great importance when compared with many which they had visited, it yet is very interesting on account of its collection of the works of the most noted seventeenth-century Italian painters; especially those belonging to the Bolognese-eclectic school, which was founded by the Carracci.
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.
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