so inimitably clear and transparent that, instead of concealing, it heightens the delicacy and softness of the flesh.

"Harmony was the sovereign mistress of Corregio." Of the principle of chiaro obscuro, as applied to the whole work, and not to particular and detached spots, he was undoubtedly the inventor. We shall be better understood if we explain this by contrasting his style with Tintoretto's. He divided his canvas into separate masses of splendor and darkness, and joined the fiercest extremes. Corregio, though he often employed an opposition as strong, studied what is with great propriety denomi nated repose. He occupied the space between these two extremes by softening tints and demi-tints, and formed, if we may be allowed the expression, a sort of passage for the eye. The vision was thus led along by gentle gradations from brilliancy to darkness, without encountering the fierce blaze of Tintoretto. Corregio thus gave to his forms a harmony and grace so unrival led, that those qualities have since been denominated Corregiesque in honor of their inventor. His most celebrated piece, The Nativity, is distinguished for one happy thought, which, perhaps, has never been exceeded. The light appears to emanate from the body of our Infant, and illuminates the face of the smiling mother and the surrounding shepherds. Whether it is considered as allegorical, or as a natural expression of divinity, it must be allowed to be one of those happy hints occasionally suggested by genius, and which no subsequent meditation is capable of improving. In the same picture the nurse is represented as veiling her eyes with her hand, as if unable to bear the divine effulgence. This fortunate conceit, is said to have enraptured Julio Romano. Corregio died in the year 1534, in consequence, as it is asserted of overheating himself in carrying home a sack of half-pence, which he had received for one of his most esteemed productions. He is considered as the founder of the first Lombard school, which, after his death, underwent a sudden and important revolution. His immediate successors were the Caracci, the most distinguished family in the history of the arts.

LIFE OF LUDOICO CARACCI.

LUDOICO CARACCI, was born in the year 1555. His father was a butcher; but observing the taste of his son for the fine arts, contrived the means of affording him an education suitable to his ambition. While this young student was on his travels, he studied the works of Julio Romano, Parmigiano, Corregio, and the painters of Venice. From the different styles of these great masters, he endeavoured to perfect what he had previously acquired in the school of Fontana. Returning to Bologna, the place of his nativity, he took under his patronage his two cousins, Augustine and Hannibal Caracci, and imparted to them the rudiments of his art. Delighted with their proficiency, he does not appear to have entertained a suspicion of any competition from either. He allowed to Hannibal a room in his own house, encouraged him both by precept and example, supplied all his wants, and furnished him with the means of travelling for still further improvement.

The two brothers, whose lives were spent in alternate quarrels and reconciliations, the benevolent Ludoico, attempted to pacify, and often with effect.

On the return of Hannibal from his travels, Ludoico saw and felt his superiority, and with an amiable condescension submitted to receive lessons from his former pupil. They shortly after painted in concert, and their performances were at first much decried by the Bolognese artists. Ludoico, always diffident and mistrustful of his own talents, was ready to resign his judgment; but the sturdier intrepidity of Hannibal prevailed. They disposed at first gratuitously of their pictures, until they caught at last the admiration of connoisseurs, and from that moment the cavils of invidious criticism were silent. When Hannibal was employed in his great work, the decoration of the Farnesian gallery, he was anxious to avail himself of the councils of Ludoico, who, for that purpose, repaired from Bologna to Rome. He assisted him by his advice, encouraged him to proceed, and finally returned to Rome, where he lived beloved and admired, until his death, which happened in the year 1619.

On religious subjects his pencil was eminently happy. The heads of his Madonnas are endowed with wonderful grace, and have a beautiful simplicity that warms and fascinates every heart. On all grave subjects he surrounded his figures with a sober and meditating twilight, more calculated, than the splendid sunshine of Titian, to impress the mind of the spectator with correspon dent solemnity and awe.

His works have now faded by the touches of time almost to evanescence; but still enough remains to admire and regret. In the church at Bologna, dedicated to Madonna di Galiera, there is a painting in fresco from the hand of this artist entitled an Ecce Homo. Pilate is seen in the attitude of washing his hands; while amidst the rage and malice of the Jews, their suspicious apprehensions of a supernatural personage, is powerfully expressed, and nobly contrasted with the mild, patient, saint-like aspect of the victim. In the church of St. Leonardo, the grand altar piece is from the hand of this master; the subject is the martyrdom of St. Ursula and Leonardo; it consists of a group of figures in excellent attitudes, and the draperies are cast with peculiar grace and beauty. There is likewise to be seen in the same city his head of St. John: the countenance seems to breathe inspiration, and is heightened by the happy union of strength and sweetness which the coloring exhibits. Many other much admired pieces by the same hand are to be found at Bologna, and amongst the rest a transfiguration, and the conversion of St. Paul.

LIFE OF AUGUSTINO CARACCI.

AUGUSTINO CARACCI, was the son of a tailor, and the brother of Hannibal; he was born at Bologna, in the year 1588. While, in company with his brother he was receiving instruction from Ludoico, he gave many proofs of a temper naturally warm, capricious and lively.

Fluctuating and unsettled, he devoted himself to a variety of inhospitable and uncongenial studies,-poetry, music, dancing, mathematics, engraving and painting, all occupied his attention by turns, and were, with the same alacrity, pursued and abandon