ave enabled him to live in the splendour which he coveted, on
account of his addiction to gambling and his grossly extravagant habits,
he was constantly in debt, and driven to tax his genius to the utmost,
and to sell its fruits for what they would bring, irrespective of what
he owed to himself, his art, and to the giver of all good gifts. He died
at Bologna, and was buried with much pomp in the church of San Dominico,
1642.

Of Guido we hear that he had three styles: the first, after the vigorous
manner of Michael Angelo; the second, in the prevailing ornamental taste
of the Rome of his day and the Carracci. This is considered Guido's best
style, and is distinguished by its subtle management of light and shade.
His third, which is called his 'silvery style,' from its greys,
degenerated into insipidity, with little wonder, seeing that at this
stage he sold his time at so much per hour to picture-dealers, who stood
over him, watch in hand, to see that he fulfilled his bargain, and
carried away the saints he manufactured wet from the easel. Such
manufactory took him only three hours, sometimes less. His charges had
risen from five guineas for a head, and twenty guineas for a whole
figure, to twenty times that amount. He painted few portraits, but many
'fancy' heads of saints. Nearly three hundred pictures by Guido are
believed to be in existence. Guido's individual distinction was his
refined sense of beauty, but it was over-ruled by 'cold calculation,'
and developed into a mere abstract conception of 'empty grace' without
heart or soul.

His finest work is the large painting of 'Phoebus and Aurora' in a
pavilion of the Rospigliosi Palace at Rome. In our National Gallery
there are nine specimens of Guido's works, including one of his best
'Ecce Homos,' which belonged to the collection of Samuel Rogers.

Domenico Zampieri, commonly called Domenichino, was another Bolognese
painter, and another eminent scholar of the Carracci. He was born in
1581, and, after studying under a Flemish painter, passed into the
school of the Carracci. While yet a very young man, Domenichino was
invited to Rome, where he soon earned a high reputation, competing
successfully with his former fellow-scholar, Guido. Domenichino's
'Flagellation of St Andrew,' and 'Communion of St Jerome,' in payment of
which he only received about five guineas; his 'Martyrdom of St
Sebastian,' and his 'Four Evangelists,' which are among his
masterpieces, were all