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HISTORICAL AND CRITICAL NOTICE

magistrate, Annibale, who had accompanied his father, drew such a perfect resemblance of the robbers, that they were soon recognised and arrested. The money they had taken was recovered, and thus the early talents of the son secured the father's fortune.

The study of painting was all that occupied the attention of Annibale, and such was his extreme ignorance upon other subjects, that he continually needed advice. Agostino, his brother, on the contrary, had an active mind, and besides the Arts, he cultivated Poetry and the Mathematics. Annibale, of a jealous and presumptuous disposition, undervalued the attainments of his brother, and, though he esteemed him, received his advice but with impatience; thus they were frequently at variance, though fraternal affection would again unite them. Annibale visited Parma and Venice, where he copied from Correggio and saw Tintoretto and Paul Veronese paint.These studies enabled him to perfect his style, so that on his return home, he, in his turn, gave instructions to his master Lodovico Caracci, whilst Agostino devoted himself to engraving, fearing to find himself inferior to his brother. At this time was founded that famous Academy which Ludovico directed wholly by his knowledge and advice; Agostino taught there perspective, and read historical lectures, whilst Annibale gave constant proofs of his profound genius, by the variety and beauty of his compositions, as well as by his correctness in designing, Agostino speaking of the Laocoon, eulogised, in an eloquent discourse, the beauties of that masterpiece of Antiquity; Annibale, approaching the wall, drew it, in such perfection that all the spectators were struck with admiration; and then, in order to criticise his brother, who wrote verses, he added, that poets painted with words, but painters with a pencil.

The simplicity Annibal affected in his dress contrasted wit his brother's fine appearance, who only frequented pe

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sons distinguished by their birth. Wishing therefore to ridicule him, Annibale gave his brother a picture of their father and mother, the one threading a needle, and the other cutting linen. It may readily be imagined, with tastes and habits so opposite, that it was with difficulty they could live together.

Annibale quitted Bologna for Rome, in 1600, in order to paint the gallery of the Farnese palace; he again met Agostino, but he did not feel the infinite value of that brother's erudition till fresh jealousies had again separated them. He then had recource to the knowledge and friendship of the prelate Agucchi; but notwithstanding this he would often destroy pieces he had finished, and would have abandoned this great work, had not his cousin Lodovico come and encouraged him by his advice. Eight years were employed in decorating that magnificent gallery, at the sight of which, Poussin exclaimed: Annibale is the only painter that has lived since Raphael: in this work he has surpassed all the painters who have preceded him; he has even surpassed himself! »>Who would imagine that a work of this nature was scarcely paid, or that the artist only received ten scudi per month (about 40 shillings), and that they remitted him five hundred when the work was completed? His disinterestedness could not prevent his considering this remuneration as an insult; and it is even said, that the vexation it occasioned destroyed him. He became disgusted with his profession, and endeavoured to dissipate the gloomy state of his mind by a journey to Naples, but his melancholy still increased. He returned to Rome in 1609, there, seeking to banish the bitterness of thought, he committed some imprudencies, and died in his forty-ninth year, requesting to be interred in the rotunda, by the side of Raphael; not, as he said, because he considered himself worthy of such a sepulchre, but to gratify his love for that great artist. His pu

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HISTORICAL AND CRITICal notice of, etc.

pils buried him magnificently, and his funeral was attended by the first persons in Rome.

Eminent for the grandeur of his style, and the force and facility of his pencilling, and frequently even by the truth of his colouring, Annibale Caracci also distinguished himself by his great compositions, in which his genius may be admired: in his other pictures, he has often shown, that, if his soul was sufficiently elevated to arrive at the beautiful, it was not enough so, to reach the sublime.

The number of designs he has left, exhibit a wonderful facility: they are generally traced with a pen, and slightly washed with bistre. He likewise etched eighteen pieces, but they do not all possess equal merit in the execution.

The principal engravers who have worked from his designs, are Gerard Audran, Bloemaert, Farjat, Baudet, Roullet, Rousselet, Hainzelman, Château, Desplaces, Cesio, Aqnilla, Mitelli et Guillain.

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