fifty years of age. This however is
not the only anachronism that Hoffmann is guilty of.]

[Footnote 2.2: The well-known painter Guido, born in 1575 and died in
1642. He early excited the envy of Annibale Caracci.]

[Footnote 2.3: Mattia Preti, known as _Il Cavaliere Calabrese_, from
his having been born in Calabria. He was a painter of the Neapolitan
school and a pupil of Lanfranco, and lived during the greater part of
the seventeenth century. Owing to his many disputes and quarrels he was
more than once compelled to flee for his life.]

[Footnote 2.4: The Accademia di San Luca, a school of art, founded at
Rome about 1595, Federigo Zuccaro being its first director.]

[Footnote 2.5: Alessandro Tiarini (1577-1668) of Bologna, was a pupil
of the Caracci.]

[Footnote 2.6: Giovanni Francesco Gessi (1588-1649), sometimes called
"The second Guido," was a pupil of Guido.]

[Footnote 2.7: Sementi or Semenza (1580-1638), also a pupil of Guido.]

[Footnote 2.8: Giovanni Lanfranco (1581-1647), studied first under
Agostino Caracci. He was the first to encourage the early genius of
Salvator Rosa.]

[Footnote 2.9: Zampieri Domenichino (1581-1641) was a pupil of the
Caracci. The work here referred to is a series of frescoes, which he
did not live to quite finish, representing the events of the life of
St. Januarius, in the chapel of the Tesoro of the cathedral at Naples,
which he began in 1630.

The malicious spite which the text attributes to the rivals of
Domenichino is not at all exaggerated. There did really exist a
so-called "Cabal of Naples," consisting chiefly of the painters
Corenzio, Ribera, and Caracciolo, who leagued together to shut out all
competition from other artists; and their persecution of the Bolognese
Domenichino is well known. Often on returning to his work in the
morning he found that some one had obliterated what he had done on the
previous day.

Not only have we a faithful picture of the Italian artist's life in the
middle of the seventeenth century depicted in this tale, but the actual
facts of the lives of Salvator Rosa, of Preti, of the Caracci, as well
as the existence of Falcone's _Compagnia della Morte_, furnish ample
materials and illustrations of the wild lives they did lead, of their
jealousies and heartburnings, of their quarrelsomeness and
revengefulness. They seem to have been ready on all occasions to
exchange the brush for the sword. They were filled to overflowing with
restless ener