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44 THE CIVIL ENGINEER AND ARCHITECT’S JOURNAL. [February 1,18C8. Correggio was but poorly paid for his works, and his family was large. Going to Parma to receive fifty crowns, he was paid all in copper money. His joy that he had. got it to carry home to his wife made him disregard its weight, even in the height of summer. A journey of twelve miles, and the fatigue, brought on sickness, of which he died at the age of forty years. We will now glance at the Bolognese School. Although there were many artists of early days who painted in this city, the first on record was one Guido, his period being the middle of the thirteenth century; another a disciple of Cimabue; and among many others, Marco Zoppo, who was in much reputa tion in the middle of the fifteenth century. After the middle of the sixteenth century the art remained stationary, or rather de clined, until it was revived by a Flemish artist born at Ant werp named Dionisus Calvert, who being then a landscape painter, came to Bologna to improve himself. Here, after assisting Fontana and Sebatini in their painting, and making himself acquainted with the works of Raphael, he opened a studio and educated as many as 137 persons in the art. He was a superior artist for the time, a good colourist, and also a lecturer on painting. But the time had now arrived when the Bolognese School should be established so as to render it equal, if not superior, to any other; and the founder of it was Lodovico Caracci, a young man of a slow, inactive intellect, and more fitted for a menial occupation than an artist. Being put under the tuition of Tintoretto, his progress was so slow that his instructor advised him to give up study, and his fellow pupils nicknamed him the Ox. But though dis couraged he did not despair. He aroused himself, copied nature, gathered courage, and resolved to do every thing well, until it became a fixed habit. He also sedulously copied the works of Titian and Tintoretto in Venice, and of Fassignano, Parmigiano, and Correggio at Florence. Having now formed a style of his own he wished to commence a school, but being dubious of his own powers, he sought the assistance of his relations, and enlisting his brother Paolo, and his two cousins named Agostino and Annibal, he commenced his projected design. These two brothers were direct opposites m dispo sition, and were little less than enemies. Agostino was accom plished in letters and science; courting the society of learned men, his manners were refined, his wit ready, and his pursuits elevating. Annibal, on the contrary, could do little more than read and write, was blunt in his manner, taciturn, contemp tuous and satirical, and his temper querulous. As in manners, so in genius, were they opposed. Agostino was timid, cautious, irresolute, wanting in self confidence, but persevering. Anni bal was expeditious, intolerant, impetuous, and always trying the most easy method to accomplish his tasks, and giving as little time as possible to them. Lodovico, in order to cheque the impetuosity of the one, and the tardiness of the other, placed Agostino under the instruction of an easy and rapid painter named Fontana, and retained Annibal under his own care. Separation removed the enmity and converted it into a bond of union and mutual co-operation. Returning accomplished artists to their native place, they struggled long and nobly with their fortunes, for they incurred the envy and scorn of the established and elderly painters and their scholars, and even the townspeople joined in their disparagement. But the fortune of Lodovico and his relations soon under went a gratifying change. Having to paint a chamber in a certain house which had been previously done by an established artist, he far surpassed it, and the tide of opinion then rapidly changed, the old style being pronounced by judges far inferior to the new, and the fame and fortune of the decried artists was then fixed on a firm basis and rose to eminence almost unequalled. Afterwards they opened an academy in their own house, supplying it with models, casts, and prints, as well as living models for the study of anatomy. Their new academy was greatly appreciated, and pupils were drawn from the studios of other painters. Their scholars were likewise in structed in true criticism, and to give due praise or blame to the works of others, but especially praise, and also to criticise their own works; and whoever could not give good reasons for what he had done, was compelled to obliterate his work immediately. Ludovico was more of an instructor than an artist, but fre quently rose to the sublime. Agostino was great in invention and design, and a good colourist Agostino was also an engraver and a scholar in mathematics, philosophy, rhetoric, and music. Annibal had great and peculiar taste, and was the most eminent of the three. He was also a fine landscape painter, and one of the first who separated it from other departments of the art. Agostino and Annibal were engaged to paint the wall and ceiling of the Farnese Gallery at Rome, and which remains a monument to their fame. Annibal devoted ten years of his life to this work, but Agostino, through jealousy, did not con tribute extensively to it. He was fond of painting poetical and mythological subjects, of which there remain many ex amples. The golden age of art in Italy now began to decline, but it was kept alive by three of the members of the Carraci school, named Dominichino, Albano, and Guido, and by two others, Guercheno and Lanpanco, whose works are of a very high class; and many of those of Dominichino and Guido are equal to any of the productions of the Carracci, and are esteemed by some superior. The Communion of St. Jerome is considered to be the finest picture in Rome, next to the Transfiguration by Raphael. He was likewise an excellent landscape painter. Guido Renni the second in merit, was gifted with a refined feeling for beauty, both in form and grouping. His heads were copied from and possessed the beauty of the antique, and his knowledge of form and feature was so great, and with the antique ideal influencing his mind, he could take an extremely vulgar person’s head as a model for one of his Magdalens, and then so render it that not only every defect disappeared, but each feature became graceful, and the whole countenance a wonder. He was a truly sublime artist, and one w'hose works must commend themselves to the uneducated as well as to the experienced eye. His pictures are numerous. We must refer to that most eminent of all landscape pain ters, Claude Lorraine, who was born at Lorraine in 1600, and died in 1682. He was at first apprenticed to a pastry cook, which business he gave up, and then travelled to Rome; he was by chance engaged by Agustine Tasso to grind his colours, and for other domestic occupations. His master in order to make him serviceable to him, taught him some of the rules of perspective, and the method of preparing his colours. In the early part of his life he showed no symptoms of that genius which displayed itself hereafter, and he could not at first be taught to comprehend even the rudiments of the art; but when he had a tolerable conception of them, his mind began proportionably to expand, his ideas enlarged, his imagination became lively, and he applied himself to his studies with wonderful earnestness. He incessantly studied nature by continuing in the open country from sun-rise till dark, and viewed and painted the same objects under different aspects, and at different hours of the day ; noticing the effects of dews, vapours, and sunlight, with all the intensity of mind, not of an enthusiast, but of a philosopher. He possessed a perfect knowledge of perspective, and his delineation of water, both quiescent and in motion is perhaps inimitable. He frequently gave an astonishing effect to his trees by glazing. Another great landscape painter, but of quite a different style, was Salvator Rosa, who painted about the same time as Claude. His landscapes were generally wild and romantic, and described nature under strong tempestuous effects; his figures were frequently those of soldiers, banditti, or of any other kind adapted to scenery of a rocky, desolate, or dangerous description. We have now brought this history of the art to the early part of the 17th century, tracing it from its infancy to its greatest height. Reference has been made, but to a very small portion, of the Italian painters, the remarks being con fined principally to the leading masters of the several schools. No reference has been made to the works of the German, Flemish, Dutch, French, or English schools. The chief object by this brief sketch has been to draw the attention of those who have not yet considered it, to Painting as a Fine Art, in order that they may allow it a place in their studies, and to invite them to a careful examination of the magnificent works of the ancient masters, which compose our National Collection; and though their number is not so great as in several of the continental galleries, are as a whole equal to any, and as pro bably superior to most. It is to be regretted, that th e