NIBAL, the most favourable dispositions for painting.They were the sons of a taylor, who, delighted with the penetration of the former, destined him for the study of the Belles Lettres. Agostino, whose mind was as fickle as vivacious, devoted himself alternately, or rather, at the same moment, to poetry, music, dancing, and the mathematics; but a very prominent inclination led him particularly towards engraving and painting. The great attention of Lodovico, and the view of the chef d'œevres of Parma and Venice, where he resided, in the end determined his taste for these two arts.

Annibal, born in the year 1560, was two years younger than his brother. This great man, who, by eclipsing the reputation of Lodovico and Agostino, became the first painter of his age, actually followed his father's profession. He at first betrayed no desire of advancement, although he felt within himself certain sensations that excited him to aspire to something above his present condition. This being perceived by his father, he placed him with a goldsmith, and in order to render him ́skilful in his trade, desired Lodovico to give him a few lessons in drawing. This fortunate circumstance decided his fate, for no sooner had he taken the pencil in his hand, than his cousin foresaw his future celebrity. Lodovico, who was only ambitious of glory in his art, and who entertained no fears of making a rival, was so delighted with the talent that he discovered in his relation, that he took him into his house, supplied all his wants, and, by his lessons and example, placed him very shortly in a condition of assisting him in his occupations. Not satisfied with these services, he furnished him with the means of travelling; but he had a double motive in removing Annibal from Bologna, where Agostino had

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lately arrived. These two brothers, though strongly attached to each other, were never able to live in harmony together;-their minds, naturally irritable, took fire upon the smallest pretext, which Lodovico found. much difficulty in pacifying, notwithstanding his prudence, and the ascendancy he had over them. Annibal then quitted Bologna, and from that moment he may be said to have placed himself at the head of the Caracci, and of their school. The pictures of Correggio revealed to him, at first, all those secrets which Lodovico was not able to penetrate, and he beheld what it was necessary for him to perform in order to attain perfection. At Venice, where he formed an intimacy with Paul Veronese, and Tintoretto, he found fresh opportunities of improving himself, and we may readily believe that he suffered none to escape, having, as he used to say, made painting his only mistress. Unfortunately, he was not capable of proceeding to Rome, where the sight of Raphael's works, and of the antique statues, would, doubtless, have given more. correctness to his drawing, although that he ultimately attained.

Loaded with the fruit of his meditations, he returned to Bologna, to be near his cousin and his brother. The mind of Lodovico was too generous not to acknowledge the superiority which his former disciple had acquired, and, in his turn, he took lessons of his relation Annibal. Agostino, on the contrary, unwilling to sink in reputation, devoted himself entirely to engraving for a considerable time. Annibal and Lodovico produced, after their new manner, productions eminent for good taste, vigorous design, and admirable composition; and no less remarkable for dignity than for truth. This induced the Bolognese painters to decry their best works; and Lodovico mistrusted his judgment. Annibal, however, certain of

his powers, persisted in his ideas, and dissipated all his cousin's apprehensions. They were, at first, compelled to dispose of their pictures gratuitously, but the amateurs, in the end, began to appreciate all their beauties; and ignorance and envy were completely silenced. It was then that the celebrated academy of the Caracci was established, and formed the glory of Bologna. The name of its founders, particularly that of Annibal, attracted a considerable number of young artists, thirsting for information and success. Lodovico directed the whole by his wisdom and advice; Agostino taught perspective, and directed his attention to other branches of the art; while Annibal furnished examples, and communicated to his pupils the fruit of his profound reflexions. In this manner painting was preserved from the ruin with which it was threatened. In a few years, this school produced several admirable painters, such as Domenichino, Guido, Albano, Guercino, Lanfranco, Spada, &c. The glory of having brought forward such scholars was sufficient to excite jealousy, and it was discovered that Francisco Caracci, the younger brother of Annibal and Agostino, attempted to overthrow the establishment; but, happily, he failed in his object, and died at an early age, before he had established his reputation.

Annibal, however, notwithstanding his various occupations at Bologna, retained a strong desire to visit Rome, where, he flattered himself, there was much to acquire; to accomplish which a fortunate occasion presented itself. The Cardinal Farnese was desirous of painting the gallery of his palace at Rome, and the Duke of Parma, his brother, persuaded Annibal to take upon himself the execution of this extensive work. He set out with a certain number of skilful pupils, and undertook this laborious task without due regard to the price

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that might be set upon his labours. To supply the necessary poetical information, he had recourse to Agucchi, a man of considerable learning, and his intimate friend; but literary acquirements, and the services of his scholars, were subordinate to the science and genius of Annibal. Upon this magnificent gallery he was employed more than eight years, which produced this remark of Poussin, that "Annibal is the only painter that has existed since Raphael:-in this work he not only surpassed all preceding painters, but even surpassed himself." Annibal, with that modesty often attendant on real talents, was still desirous of the counsel of Lodovico, who, to prevent his abandoning his great undertaking, was compelled to go from Bologna to Rome. After encouraging him by his applause, to proceed in his stupendous work, Lodovico returned to his native country, where he long lived, beloved and admired until his death, which happened in 1619, leaving behind him an almost equal degree of reputation with his brother Annibal. Agostino went also to Rome to see his brother (for, from some perverseness in their natures, they could neither live amicably together, nor long apart), and assisted him materially in his performance, until Taccone, a pupil of Annibal, who was in his confidence, fomented between them fresh causes of disagreement, so as to render it necessary for the Cardinal Farnese to effect their separation. He sent Agostino to Parma, but grief at this removal, had taken such possession of his mind, which not even his numerous avocations were capable of solacing, that, joined to other afflictions, it threw him into a state of melancholy, which occasioned his death in the year 1602. Had he devoted himself to painting with greater application, he might have surpassed his brother Annibal, who, it is surmized, was jealous of his powers. Be that as it may, Annibal truly regretted the loss of Agostino, erected a rich mau

soleum to his memory, and undertook the education of his natural son. This youth, who was named Antonio, and distinguished by the appellation of Il Gobbo; underthe tuition of his uncle, manifested a lively and promising genius, and gave such evident tokens of an enlarged capacity, that the shortness of his life has been exceedingly regretted.

Annibal having finished his vast enterprize with infinite success, experienced the most flagrant injustice in the recompence of his labours. He was offered a salaryso pitiful and inadequate for such an assemblage of chef d'œuvres, that, notwithstanding his disinterestedness, which was extreme, he conceived the most lively indignation. He made no complaint, but his affliction at such illiberality was not the less rooted and violent. Renouncing, as it were, an art which appeared to subject those to contempt who exercised it, he no longer took up his pencil but with repugnance, and many a time was urged to break it through mortification. The journey to Naples, which he undertook, could not allay the progress of dejection that overwhelmed his mind, and which increased upon his return to Rome To dissipate his chagrin, he plunged himself into certain imprudencies -a fatal malady was the result-and he fell a victim to the ignorance of his physicians, in 1609, in his forty-ninth year. Experiencing, unhappily for the arts, the fate of Raphael. He desired to be buried near his remains, not, as he said, that he conceived himself, by his talents, worthy of such a sepulture, but solely on account of the high veneration in which he held that distinguished ornament of his profession. At his funeral, persons of the highest quality in Rome assisted, and his pupils testified the deepest regret. Thus died Annibal Caracci, who, to very brilliant talents, united great goodness of heart.