PAINTING. 105 
the greatest masters of their time, such as Domenichino, Guido, Albano, 
and Lanfranco, of whom we shall speak directly. Opposed to the school 
of the Caraccis was that of the so-called naturalists, which was founded by 
Michael Angelo Merigi, called, after his birth-place, Caravaggio. He 
was born in 1569, and manifested a talent for painting in early youth; but 
he confined himself to a close and slavish imitation of nature without 
making the least distinction between beauty and ugliness. He went to 
Vienna and studied Giorgione, after which he removed to Rome, where he 
gradually came into notice. He here hit upon the idea, while seeking to 
produce peculiar effects, of painting his studio black and letting the light 
in from above. He consequently saw all objects with sharply defined 
lights and shadows, and, by reason of the darkness of the place, without 
reflexion. His manner in consequence acquired a resemblance to that of 
Rembrandt, although the latter is far more tasteful and transparent: never- 
theless he found very many imitators, and his fame increased from day to 
day. He received commissions for several altar-pieces, which stirred up 
many enemies against him; and being of a very quarrelsome disposition 
and always with a sword at hand, he once killed one of his adversaries, 
upon which he fled to Naples, and from there to Malta, where he executed 
his best works. To this period belongs the beautiful picture of the 
Entombment of Christ (pl. 15, fig. 6), which is now in the Paris Museum. 
But he also got into disputes in Malta; and as he was about to be cast into 
prison, he made his escape to Sicily: from there he intended to go to Naples 
and Rome, but was attacked on the road and so badly wounded that he 
soon after died (in 1609). Caravaggio adhered in all his works so closely 
to nature that he copied even her faults; his drawing is deficient in dignity 
and correctness, indeed in all those advantages which result from a scientific 
education. Content simply tv copy his model, he despised every other 
means of excellence. 
After this brief digression, we return again to the school of the Caraccis, the 
members of which were busily engaged in striving against the disorders intro- 
duced into art by the followers of Caravaggio. The first of these to whom we will 
cail the reader’s attention was Giovanni Lanfranco, who was born in Parma 
in 1580 and received a liberal education; he entered as page into the 
service of Marchese Scotti, who, perceiving his talent for painting, placed 
him under the instruction of Agostino Caracci. He here devoted himself 
chiefly to the study of Correggio’s works, in which Agostino encouraged 
him. Lanfranco followed his master to Rome, and worked with him in the 
Farnese gallery. From this time the Marchese Sannesi took him into his 
service; for him Giovanni painted a great deal, and by him the way to 
great reputation was opened to the artist, for the Marchese brought him 
to the notice of cardinal Montalto and pope Sixtus, from whom he received 
many commissions. lLanfranco gained an enviable reputation by his works. 
His most beautiful production, which he executed wholly in the manner of 
Correggio, is the cupola in the church of St. Andrea della Valle in Rome, 
where Domenichino painted the four corners and the tribune. Lanfranco 
labored four years on this cupola, and the harmony of the whole is admirable, 
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