PAIN 
Snaking-the lines which formed the angles of the contour 
arched and undulated. But, in the lights and {hades, he 
placed always between the two extremes a fpace which 
ferved to unite them, and to form a paftage from the one 
to the other. The delicacy of his organs made him per¬ 
ceive, better than any other artift, what relief was necef- 
fary to the eye, after a violent exertion ; and he was there¬ 
fore careful to follow a bold and prevailing colour with a 
demi-tint, and to conduct the eye of the fpe&ator, by an 
invifible gradation, to its ordinary ftateof tenfion. In 
the fame manner (fays Mengs) does agreeable and melt¬ 
ing mulic draw one fo gently out of deep, that the awak¬ 
ing refembles enchantment more than the dillurbing of 
repofe. A delicate tafte in colours, a perfect knowledge 
of the chiaro-fcuro, the art of uniting light to light, and 
{hade to (hade, together with that of detaching the ob¬ 
jects from the ground, inimitable, grave, and perfeft, 
harmony, were the qualities which diftinguifhed Corregio 
from all the painters, and placed him near the head of his 
profeflion. 
About the end of the fixteenth century, the Caracci, 
Louis, Auguftin, and Hannibal, formed what is called 
the Second Lombard School, which is frequently diftin¬ 
guifhed by the name of the School of Bologna. 
Louis was the mailer of the other two. He had ftudied 
the works of Titian and Paul Veronefe at Venice, thofeof 
Andrea del Sarte at Florence, thofe of Corregio at Parma, 
and thofe of Julio Romano at Mantua; but he chiefly 
endeavoured to imitate the manner of Corregio. Hanni¬ 
bal fluctuated between Corregio and Titian. Auguftin, 
their rival in painting, had his mind cultivated by learn¬ 
ing, and devoted part of his time to poetry and mufic, to 
dancing, and to other manly exercifes. Thefe three 
painters often employed their talents on the fame pieces 
and it was admirable that their united labours feerned 
to be animated with the fame fpirit. 
They eftablifhed an academy at Bologna, which their 
zeal for the advancement of their art made them call 
1 ' Academia deg li Defideroji; but it was afterwards called 
the Academy of the Caracci, becaufe the reputation which 
thefe artifts acquired permitted not a more illuftrious 
name to be given to an eftablifhment of which they were 
the founders. In this fchool were taught the art of con- 
ftrufting models, perfpe&ive, and anatomy ; lefl'ons were 
given on the beautiful proportions of nature, on the beft 
manner of ufing colours, and on the principles of light 
and lhade. They held frequent conferences, in which 
not only artifts, but men of general knowledge, were 
permitted to elucidate points relative to the art of paint¬ 
ing: but they were feparated upon Hannibal’s going to 
Rome to adorn the gallery of the cardinal Farnefe. 
The works of the Caracci are often, from the refem- 
blanceof their manner, confounded together; efpecially 
thofe which were finilhed previous to the refidence of 
Hannibal at Rome. Meanwhile each of them has a de¬ 
cided charafler, diftinCt from the other two. Louis had 
lefs fire, but more of gracefulnefs and grandeur; Auguf¬ 
tin had more fpirit in his conception, and more plea- 
fantnefs in his execution; Hannibal is charaCierifed by 
boldnefs, by a defign more profound, by an exprefiion 
more lucky, and by an execution more folid. 
Sir Jofliua Reynolds, who faw the works of Louis at 
Bologna, holds him out, in his difcourfes, as the beft mo¬ 
del for what is called fyle in painting; which is the fa¬ 
culty of difpofing colours in fuch a manner as to exprefs 
our fentiments and ideas. “ Ludovico Caracci,” fays he, 
“ (I mean in his beft w'orks,) appears to me to approach 
the neareft to perfection. His unaffected breadth of light 
and lhadow, the limplicity of colouring, which, holding 
its proper rank, does not draw afide the lead part of the 
attention from the fubjeCt, and the folemn effeCt of that 
twilight whichfeemsdiffufedover his pictures, appearto 
me to correfpond with grave and dignified fubjeCts bet¬ 
ter than the more artificial brilliancy of funfliine which 
enlightens the pictures of Titian.” 
TING. 227 
Hannibal is efteemed by the beft judges as a model for 
beauty and defign. Thofe who blame him for becoming 
lefs a colourift at Rome than he was at Bologna, ought to 
recolleCt that it is his performances at Rome which have 
chiefly fecuyed his'reputation. Severe critics have main¬ 
tained that his defign is too little varied in his figures ; 
that he excels only in male beauty ; that, in imitating an¬ 
cient ftatues, he excites fome refemblance, but without 
arriving, at the fublimity of ideas and of ftyle which cha¬ 
racterize the ancients; or, in other words, that he fuc- 
cefsfully imitated the exterior of their manner, but that 
he was incapable of reaching the interior and profound 
reafonings which determined thofe admirable artifts. 
The fuccefs of the Caracci, and the reputation which 
they acquired, have been pernicious to the art. Their 
fuccefiors, deluded by thefe confiderations, have made 
them the objeCt of their imitation, without afcending to 
the fources from which they derived their knowledge, but 
which they never could equal. Thus, amid the various 
works of Guido Rerii, Domenichino, Lanfranco, Alba- 
no, and Guercino, may be feen the imperfection of the 
plan adopted by their mafter. Each, following the dic¬ 
tates of his inclination, differed from his fellow-ftudent 
in the objeCts of imitation, as well as in manner; and yet 
the fchool attached fome in meafure to all, inafmuch as the 
art, in preference to nature, was the main objeCt ofattention 
with them generally. In fome few inftances, indeed, the 
reverfe took place ;_ and Domenichino, in his pictures of 
the Communion of St. Jerome, and the Cure of the Demo¬ 
niac, rivalled, in feeling and exprefiion, the fame of Ra¬ 
phael; qualities which had languilhed, and been neg¬ 
lected, after the death of that renowned artift. 
After this period, the art continued to decline in Italy. 
The great talents of Pietro da Cortona, and Luca Gior¬ 
dano, were abufed by the too great facility with which 
they fatisfied the perverted minds of their employers. 
Nicholas Pouftin alone endeavoured to Item the torrent 
of corruption in tafte, which now flowed over the claffic 
ground of former ages; but, though he reverted to the 
pure fource of Grecian art for his models, yet, in fevere 
criticifm, he is juftly faid “ rather to have copied its re- 
liques than adopted its fpirit.” He indeed is by fome 
denied to the Italian fchool; but, as the chief part of his 
life was fpent in that country, and all the valuable infor¬ 
mation he poflefled derived from his refidence there, we 
have attached him to the hiftory of its art; and with him 
clofes all record concerning it, worthy of particular dif- 
tinftion. 
German School. —To Germany the art travelled from 
Italy: at what period is not exaCtly to be afcertained; 
but it is not improbable that it was foon after the time of 
Giotto. It was not, however, till towards the end of the 
fifteenth century, that its progrefs there claims our at¬ 
tention. At that time Albert Durer relieved it from lit¬ 
tle better than obfcurity, by his ingenuity, his fertile in¬ 
vention, and his fkilful attention to minute imitation of 
individual forms. He carefully ftudied the human figure, 
but wafted his time in fanciful fchemes for regulating 
proportion ; and never attained the art of feleCtion, or a 
Ration in the rank of exalted artifts. Yet, fometimes his 
compofitions are well worthy to have been treated in the 
greateft ftyle in defign, and the colour with which he ex¬ 
ecuted them often rivals the beft among the Venetians. 
The bane of the ftyle, if it may be called fo, is meagre- 
nefs and poverty of forms, mean exprefiion, and capri¬ 
cious, and often vulgar, invention. Lucas Van Leyden 
■was the beft of thofe who attempted to rival the name of 
Albert Durer, unlefs we except Holbein ; who, though 
he never equalled him in compofition, infinitely furpafled 
him in portrajture. The tafte of the Germans totally 
changed after they poflefled the knowledge of the works 
of Michael Angelo ; when, with the conftant efteCt of 
the fud.den tranfition of extremes, the newly-imbibed 
principles burft all reafonable bound, and were employed 
only to be abufed. Unable to penetrate the depth of its 
myfteries. 
