re than half of his pay. Annibale's health
had already given way, and after a long illness he died, when forty-nine
years of age, at Rome, 1609, and was buried near Raphael in the
Pantheon.

The merit of the Carracci lay in their power of execution, and in a
certain 'bold naturalism, or rather animalism,' which they added to
their able imitations, for their pictures are not so much their own, as
'After Titian,' 'After Correggio,' etc. In this intent regard to style,
and this perfecting of means to an end, thought and in a manner
neglected. Yet to the Carracci, and their school, is owing a certain
studied air of solemnity and sadness in 'Ecce Homos,' and 'Pietas,'
which, in proportion to its art, has a powerful effect on many
beholders, who prefer conventionality to freedom; or rather, who fail to
distinguish conventionality in its traces. Annibale was the most
original while the least learned of the Carracci; yet, even of Annibale,
it could be said that he lacked enthusiasm in his subjects. His best
productions are his mythological subjects in the Farnese Palace. A
celebrated picture of his, that of the 'Three Marys' (a dead Christ, the
Madonna, and the two other Marys), is at Castle Howard, and has been
exhibited at Manchester, and I think also at Leeds. At Manchester it
attracted the greatest attention and admiration. I believe this was not
only because Annibale Carracci in the 'Three Marys' does attain to a
most piteous mournfulness of sentiment, but because such work as that of
the Carracci finds readiest acceptance from a general public, which
delights in striking, superficial effects. The same reason, in
conjunction with the decline of Italian art, may account for the great
number of the Carracci school and followers.

Annibale Carracci was one of the first who practised landscape painting
and genre pictures, such as 'The Greedy Eater,' as separate branches of
art. Two of Annibale's landscapes are in the National Gallery.

Guido Reni, commonly called 'Guido,' was born at Bologna, 1575. His
father was a musician, and Guido was intended for the same calling, but
finally became a painter and student in the school of the Carracci. He
followed Annibale Carracci to Rome, and dwelt there for twenty years. He
obtained great repute and favour, but taking offence at some supposed
injustice, he left Rome, and settled at last in Bologna, where he
established a large school. Though he made great sums of money, which
might h