PAINTING. 107 
to yellow, but without being disagreeable; his coloring in general is deli- 
cious and without offensive prominence. In the folds of his draperies we 
observe great beauty of form, and sometimes they remind us of Diirer; yet 
they often want harmony with the remaining whole and with the nature of 
the material. Notwithstanding the beauty and correctness of his aerial per- 
spective, his linear perspective is often treated in an erroneous manner. 
Nevertheless, Guido, whose portrait from the Florence Museum is given 
pl. 18, fig. 6, is deservedly reckoned among the most distinguished artists. 
He died in 1642. 
Francesco Albano, born in Bologna in 1578, was the third from the 
school of the Caraccis who labored to uphold it against the exertions of the 
naturalists. He was a fellow-pupil of Guido; but although they were 
apparently united by an intimate friendship, a violent jealousy existed 
between them, which at last broke out into open enmity, so that the one 
was constantly laboring to eclipse the other. Albano began his public 
career in Rome, where under Annibale Caracci he executed many of the 
latter’s cartoons in the church of St. James of Spain; but among his most 
celebrated works is the Verospi gallery. Very celebrated also are his four 
Elements, which he first painted in the Villa Borghese, and afterwards had 
to repeat several times, each time introducing new ideas. Although 
Albano’s great paintings are excellent, his easel-pictures are preferred, and 
his representations of Venus, Diana, the Nymphs, and the Cupids are so 
charmingly beautiful, that they gained for him the appellation of “the 
painter of the Graces.” In his second wife Doralice Fioravanti (the first 
died at an early age) and his twelve children he had an ever ready supply 
of the finest models. We find several of them in a picture of the Holy 
Family (pl. 17, fig. 6), and his little Cupids (the Dresden gallery possesses 
one of the most beautiful compositions of this kind) are for the most part 
pictures of his children. Albano also painted very beautiful landscapes, 
and one of them was the occasion of placing the jealousy between him and 
Guido in a very clear light. Albano was commissioned by Cardinal Bar- 
berini to paint a landscape for the king of England, in which Guido was to 
insert the figures for the fable of Bacchus and Ariadne. Albano executed 
his task splendidly, so much so that Guido perceived that his figures must 
remain secondary matters; upon which, losing patience, he seized a large 
brush and obliterated the entire landscape, and then designed instead of it 
a naked rock. Albano’s drawing is always exceedingly correct, and his 
coloring is charming. In invention he was rather a poet than a painter; 
his fancy was inexhaustible, and in his female Loves he has remained 
unequalled. He died in 1660. 
Domenico Zampieri, called Domenichino, was born in 1581, and died in 
1641. He likewise was a pupil of the Caraccis, and Agostino predicted 
for him great success. Zampieri was uncommonly industrious, and his 
acute powers of observation enabled him to note with accuracy the effects 
of the passions on the human countenance and to depict them to the life. 
He lived on terms of the most intimate friendship with Albano: and when 
the latter went to Rome, he soon followed him, and worked there in com- 
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