PAINTING. 85 
‘taining to painting, as geometry, perspective, anatomy, &c. On the part 
where perspective, anatomy, and geometry are taught, stand the words, 
“ Tanto che baste” (As much as suffices); on the other side we perceive 
the most beautiful antiques, with the inscription, ‘ Von maz abastanza” 
(never enough); and in the clouds appear the Graces, with the inscription, 
“Senza di noi, ogni fatica é vana” (Without us all labor is in vain). 
That he himself practised these doctrines is evident from his pictures, of 
one of which, the Distribution of the Holy Rosaries, we have given a 
sketch (pl. 16, fig. 5). Richardson calls Maratti the last painter of the 
Roman school; he died in 1713. 
With the advent of the Bolognese school or school of the Caracci, true 
taste again obtained a firm footing in Rome; but even these Bolognese and 
Lombards formed schools differing to a certain extent from each other. 
Domenichino studied Raphael and the antique; Guido Reni created for himself 
an original style of apparent facility opposed to that of Caravaggio; Barbieri 
combined the two; Albano worshipped the Graces chiefly ; and Lanfranco 
formed a mixture of Caracci and Correggio. The most eminent artists of 
Rome at that time were Caninia pupil of Domenichino, Cerrini, Scaramuccio, 
Michelini, Sacchi, and Giambattista Salvi (il Sassoferrato), who was born 
in 1605, studied under Domenichino, Guido, and Albano, and who approxi- 
mated to the last mentioned especially in the great pains which he bestowed 
on his execution. He painted only small objects; but his small heads and 
half figures are equally worthy of esteem for their delicacy of execution and 
their lovely and noble expressién, with the works of Carlo Dolci. We give 
by way of specimen a sketch of a Praying Madonna by Sassoferrato ( pl. 
15, jig. 9). 
There is a master whom we must mention here although he did not take 
pattern much by Raphael, the great exemplar of the Roman school, and 
that is Pietro Berettini, usually called da Cortona. He came to Rome at a 
very early age, and formed for himself a style still more facile and more 
calculated to please the multitude than that of Lanfranco. He painted a 
great deal in Rome and in Florence, especially in the Pitti Palace, from 
which we have copied the representations of the Muses Polyhymnia and 
Erato (pl. 16, fig. 9), and Euterpe and Urania (fig. 10), painted by this 
master. We shall return to him again. 
In order to furnish a complete view of the history of art in this age it is 
necessary to say something of Giovanni Lorenzo Bernini, of whom we 
have already spoken repeatedly under Architecture, and in the section 
on Sculpture, as he was both a painter, a sculptor, and an architect. In 
Bernini’s works there is a straining after the effects of chiaroscuro, 
to which truth and beauty of form are sacrificed; and in consequence 
of the great marks of favor that were bestowed upon him and the power 
that he acquired, most of the painters living at that time were obliged to 
adopt his manner if they wished to be employed at all. Among the chief 
principles laid down by the followers of Bernini were the following: exten- 
Sive studies are of no avail; to successfully imitate nature and please the 
eye is always sufficient; and he who is a master of coloring possesses 
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