104 THE FINE ARTS. 
the latter in jig. 18, which will afford an idea of the manner of these two 
masters. About this time Annibale began one of his most celebrated paint- 
ings, viz. St. Rogue distributing Alms, which is now in Dresden, and also 
the beautiful picture of Mary, the Magdalen, and St. Francis of Assisi by 
the body of Chrost, of which a sketch is given in jig.7. Another picture, 
which adorns the Paris Museum, and is copied in pl. 16, jig. 7, represents 
the Madonna with the child Jesus asleep and John the Baptist ; it is known 
by the name of “ Stdence,” and is of somewhat later date than the preceding. 
Agostino and Annibale next undertook for Cardinal Odoardo Farnese to 
decorate with paintings the Farnese gallery in Rome. But artistic rivalry 
between the two brothers, who otherwise were tenderly attached to each 
other, soon had the effect of disturbing the progress of the work, and 
Agostino quitted Rome, relinquishing to his brother the honor of completing 
this great work. In his native country new works awaited him but also 
new attacks, in consequence of which he fell into a state of dejection and 
died in the 43d year of his age. 
Annibale was occupied eight years in the work of the Farnese gallery: 
Ludovico also came for a short time to Rome, and one of the naked figures 
in the medallion of the fable of the Syrinx is painted by his hand. The 
contemptible recompense which Annibale received on the completion of the 
work, only 500 scudi instead of 10,000, made him resolve to paint no more; 
and although he was persuaded to begin in conjunction with Albani a work 
in the church of St. James of Spain in Rome, the melancholy which had 
seized him undermined his health and he expired in Rome in the 49th 
year of his age. 
Ludovico, after his ‘return from Rome, had undertaken along with all his 
pupils a great work, namely to decorate with paintings the portico of San 
Michele in Bosco, and the subjects were the history of St. Benedict and the 
legends of St. Cecilia. Many of the largest and finest pictures are by 
Ludovico himself, and all of them are characterized by an inexhaustible 
beauty and sublimity; in all of them too we cannot but admire the accurate 
study of the greatest masters which they manifest and the skill shown in 
adopting their several manners for those subjects to which they are best 
- suited. The last work of Ludovico was the great vaulted ceiling in the 
cathedral of Bologna, where he painted the Annunciation, giving to the 
fizures of Mary and the Angel a colossal size. Unhappily he committed 
an error in this picture, which proved the cause of his death. The angel in 
the act of approaching the Madonna wears a light garment through which 
the movement of the body is seen. But if we follow out the folds of the 
drapery, we find that the left foot is where the right ought to be, and vice 
versa. Ludovico did not notice this fault until the scaffolding was taken 
down and it was too late to correct it; the grief and mortification which he 
experienced in consequence undermined his health and he died. The 
error was corrected by Prof. Fancelli in 1830. There were also three other 
painters of the Caracci family, Paolo, Francesco, and Antonio; but none of 
them became very celebrated. 
The pupils of the Caraccis are innumerable. We find among them 
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