d
who, during the time their academy existed, worked together, combining
their separate powers.[A] The learning and the philosophy of Agostino
assisted the invention of the master genius, Annibal; but Annibal was
jealous of the more literary and poetical character of Agostino, and, by
his sarcastic humour, frequently mortified his learned brother. Alike
great artists, when once employed on the same work, Agostino was thought
to have excelled his brother. Annibal, sullen and scornful, immediately
broke with him; and their patron, Cardinal Farnese, was compelled to
separate the brothers. Their fate is striking: Agostino, divided from his
brother Annibal, sunk into dejection and melancholy, and perished by a
premature death, while Annibal closed his days not long after in a state
of distraction. The brothers of Nature and Art could not live together,
and could not live separate.

[Footnote A: See an article on the Carracci in "Curiosities of
Literature." vol. ii.]

The history of artists abounds with instances of jealousy, perhaps more
than that of any other class of men of genius. HUDSON, the master of
REYNOLDS, could not endure the sight of his rising pupil, and would not
suffer him to conclude the term of his apprenticeship; while even the mild
and elegant Reynolds himself became so jealous of WILSON, that he took
every opportunity of depreciating his singular excellence. Stung by the
madness of jealousy, BARRY one day addressing Sir Joshua on his lectures,
burst out, "Such poor flimsy stuff as your discourses!" clenching his fist
in the agony of the convulsion. After the death of the great artist, BARRY
bestowed on him the most ardent eulogium, and deeply grieved over the
past. But the race of genius born too "near the sun" have found their
increased sensibility flame into crimes of a deeper dye--crimes attesting
the treachery and the violence of the professors of an art which, it
appears, in softening the souls of others, does not necessarily mollify
those of the artists themselves. The dreadful story of ANDREA DEL CASTAGNO
seems not doubtful. Having been taught the discovery of painting in oil by
Domenico Venetiano, yet, still envious of the merit of the generous friend
who had confided that great secret to him, Andrea with his own hand
secretly assassinated him, that he might remain without a rival. The
horror of his crime only appeared in his confession on his death-bed.
DOMENICHINO seems to have been poisoned for