24(5 
the colour of the borly which reflects them, 
and 011 these principles founded his system 
of colouring. 
A delicate taste in colours, a perfect know- 
ledge of chiaro-scuro, the art of uniting light 
to ligiit and shade to shade, together with 
that of detaching all objects from their 
ground, and an inimitable harmony of design, 
placed Correggio in the class of the greatest 
masters whom Italy has known. 
From these great masters descended the 
schools of Florence, Rome, Venice, and 
Lombardy, fn wlrch the most distinguished 
painters were Fra Bartolomeo di San Marco, 
Andrea del Sarto, Giulio Romano, Vasari, 
Polydoro,' Michael Angelo da- Caravaggio, 
Tintoretto, Paolo Veronese, the Bassans, 
Pordenone, Parmigiano, and lastly, the 
Carraccis, 'who combining the merits of the 
various schools, became themselves the head 
of a school cailed the Bolognese school, from 
the place of their birth. 
Ludovico Carracci was the master of the 
other two, Annibale and Agostino. He had 
studied the works of Titian and Paolo Vero- 
nese at Venice, those of Andrea del Sarto at 
Florence, those of Correggio at Parma, and 
those of Giulio Romano at Mantua; but he 
chiefly endeavoured to imitate the manner 
©ft -orreggio. 
Annibale studied equally Correggio and 
Titian, but he is principally esteemed for his 
knowledge of design. Agostino possessed a 
mind greatly cultivated by learning, and lie 
devoted part of his time to poetry and music. 
These three painters often united their skill 
Sn the performance of the same picture, and 
their works are often confounded together, 
although the style of each is strongly differ- 
ent from the other two. Ludovico had less 
tire, but more gracefulness and grandeur; 
Agostino’s conceptions were more spirited ; 
and Annibale is characterized by boldness, by 
a more profound design, and a more power- 
ful readiness of execution. “ Ludovico,” 
»ivs sir Joshua Reynolds, “ appears, in his 
best works, to approach the nearest to per- 
fection. His unaffected breadth of light and 
shadow, the simplicity of colouring, and the 
solemn effect of that twilight which is diffused 
over his pictures, appear to correspond 
with grave and dignified subjects better than 
the more artificial brilliancy of sunshine, 
which enlightens the pictures of Titian. 
The Carraccis established an academy at 
Bologna, which their zeal for the arts in- 
duced them at first to cal 1’ Academia dee 
Desiderosi, but it was soon called by the 
name of the founders, because none more 
honourable could be given to it. In the 
schools of this academy were taught the art 
of modelling, perspective, and anatomy ; 
lessons were given on the beauty of the pro- 
port ms of nature, on the best manner of 
applying colours, and on the principles of 
light and shade. They heid frequent meet- 
ings, to which men of general learning were 
admitted ; but these meetings ceased on the 
departure of Annibale, when he went to 
Home to paint the gallery of the cardinal 
Farnese. 
The most eminent succeeding painters of 
the Bolo'gnese school, were Guido, Lanfran- 
co, Aibano, and Guercino. Guido is dis- 
tinguished by the gracefulness of his style, 
and Guercino by boldness of colour and effect. 
4n the Roman school, Pietro da Cortona 
PAINTING. 
succeeded to those great imitators of their 
predecessors and nature ; and finding it dif- 
ficult to rival them in that kind of painting, 
he applied himself principally to composition, 
and the arrangement of numerous groups. 
His contemporary and rival was Andrea 
Sacchi, followed by Carlo Maratti, who 
flourished at Rome about the middle of the 
17th century, and aiming at extraordinary 
perfection, diligently studied the works of 
the greatest painters, and particularly Ruf- 
faele and the school of the Carracci. He is 
the last eminent painter of the Roman 
school. His best disciple was Francesco 
I m peri ale, after whom Pompeo Battoni is 
the only one with whose works we are ac- 
quainted. 
At Naples, in the early. part of the 17th 
century, Guiseppe Ribera, called Spagno- 
letto, painted in the style of Caravaggio, 
and surpassed him in invention, design, 
and choice of subject. Luca Giordano 
was his disciple, who afterwards studied 
under Pietro da Cortona at Rome, and re- 
turning to Naples, became the founder of 
the Neapolitan school. Of this school So- 
limeni and Sebastian Conca are the principal 
ornaments. 
During the fourteenth and fifteenth cen- 
turies, painting began to appear anew in Ger- 
many, France, Holland, and Flanders. 
German}/. The names of Albert Durer, 
Kranach, Holbein, and Amberger, stood high 
at Nuremberg, Augsburg. Basil, and Wei- 
mar, in the beginning of the lfiuh century, 
but the capita! of Vienna afforded no en- 
couragement to painting till the reign of 
Rodolph the Second. The succeeding mo- 
narchs, principally from Ferdinand the 
Third to Leopold the First, were great pro- 
moters of the arts; but the perpetual 
wars in which they were involved, pre- 
vented the progress of refinement ; and 
it was not till the total repulse of the Turks 
from the Austrian frontiers, under the last 
of these princes, that painting began to flou- 
rish at Vienna. The artists of the German 
school are numerous, but few of them have 
risen to eminence. Of those few, Albert 
Durer is the first in the order of time, and 
Mengs the latest. 
Albert was born in 1471, and excelled in 
painting and engraving. His pictures were 
finished with great exactness, but his manner 
was dry and hard. His principal works 
Were. painted at Prague in the palace of the 
emperor Maximilian, by whom, as well as 
by Charles the Fifth, he was held in great 
esteem. " Raffaele is said to have hung the 
prints of Albert Durer in his own apart- 
ment. 
Holbein was nearly contemporary with 
Durer. He is known by a multitude of ac- 
curate portraits, and was likewise eminent 
for richness of invention, which he displayed 
in numerous designs for gravers, sculptors, 
and jewellers. His Dance of Death, painted 
in the town-hall of Basle, is universally ce- 
lebrated. He is remarkable for having, like 
Turpilius, the Roman, performed all his 
works with his left hand. 
Kneiler, born at Lubeck, in the duchy of 
Holstein, received his first instructions from 
Rembrandt. He painted chiefly portraits, 
which were highly celebrated in England 
during the reigns of Charles the Second, 
James the Second, William the Third, Anne, 
and George the First. 
Antonio Raff'ael Mengs, one of the most 
scientific painters ot any country, was edu- 
cated in Germany ; but painted chiefly at 
Rome, and at Madrid ; to which latter capi- 
tal he was invited by Charles the 'Third, 
ile practised his art with an extreme dili- 
gence, which has deservedly rendered him 
eminent. His works possess many beauties 
of composition, and mechanical execution. 
His writings are too frequently metaphysi- 
cal, but contain many excellent disquisitions 
on painting, calculated to inspire the artist- 
with exalted ideas ot his profession. 
^ Holland and Flanders. 'Die Dutch and 
Flemish schools are nearly as much distin- 
guished bv the number, as by the excellence 
of their artists. 
Tn the former school, the precedence of 
fame in point of date, is given to Lucas van 
Ley den, born in 1494. Fie was a laborious 
competitor of Albert Durer, and resembles 
him in manner and style. 
Polemberg, Ostade, Gerard Dow, Mieris 
Wouvermans, Cuyp, Berghem, Vandenverf 
Van Fluysum, Sciialchen, Brower, Hems- 
kirk, are amongst the eminent painters 
of the Dutch school ; but they are all 
greatly surpassed by the truly astonishing 
genius of Rembrandt, many of whose works 
seem even to surpass nature in force and 
eifect. His etchings also are highly and 
deservedly valued, it is not, however, to 
be omitted, that the singular merit of' his 
original conceptions and compositions is 
counterbalanced by the grossness of his 
forms. 
The honour of founding the Flemish 
school is attributed to John of Bruges ; and 
die names of his successors are too inanv to 
admit of detail. Their works are to^ be 
found in every cabinet. The most illustri- 
ous masters of this school are Rubens and 
Vandyck. 
To John of Bruges, better known by the 
name of John van Eyk, was for a long tim® 
attributed the invention of oil-painting ; out 
he had only the honou of transmitting that 
m thod to Italy, where a picture painted 
bv him, and sent to Alohonso, king of 
Naples, first divulged the discovery. Frans 
Floris is celebrated as the Raffaele' of Fland- 
ers. De Vos, Segre, Diepe m blech, Teniers, 
Joidaens, stand prominent in the catalogue 
of merit in the same school. 
Rubens possessed a mod fertile and exr 
tensive genius, and produced an immense 
number of works. This extraordinary paint- 
er distinguished himself equally in histo icul, 
portrait, and landscape painting ; in animals, 
fruits, and flowers. Fie both invented and 
executed with the utmost 'facility. His 
drawing, although overcharged, is not with- 
out considerable merit. He had great know- 
ledge of anatomy ; but he was hurried away 
by the ardour of execution, and too often 
sacrificed form and correctness to splendour, 
and the magic charms of colour. lie ex- 
celled in colouring, and chiaro-scuro. He 
studied principally in Lombardy, after the 
works of Titian, Paolo Veronese, and Tinto- 
ret, from whose excellences he formed rules 
for his own practice, from which he seldom 
deviated. 
He was not only an eminent painter, bwfe 
