ere large numbers of people were
gathered, thus affording him an opportunity to study their varying
expressions. He also tried to feel in himself the emotions of the person
he was painting. For instance, it is said that when he was painting the
"Scourging of St. Andrew," he threw himself into a passion, and used
threatening gestures and high words. In the midst of this his master,
Annibale Caracci, surprised him, and was so impressed with his method that
he threw his arms about his pupil's neck, exclaiming, "To-day, my
Domenichino, thou art teaching me!"

The most celebrated work by Domenichino is the "Communion of St. Jerome,"
in the Vatican. It is universally considered the second picture in Rome,
the "Transfiguration," by Raphael, being the only one that is placed
before it. The scene it represents is just before the death of the saint,
when he was borne into the chapel to receive the sacrament of the
communion for the last time (Fig. 50).

[Illustration: FIG. 50.--COMMUNION OF ST. JEROME.]

Domenichino was made very unhappy in Rome, on account of the jealousy of
other artists, and he returned to Bologna. However, his fame had reached
the court at Naples, and the viceroy of that city invited the artist to
decorate the Chapel of St. Januarius. There was in Naples at that time an
association of artists who had determined that no strange artist should be
allowed to do work of any account in their city. As soon as Domenichino
began his work, therefore, he received letters threatening his life. His
colors were spoiled by having ruinous chemicals mixed with them, his
sketches were stolen from his studio, and all sorts of insults and
indignities were heaped upon him.

After a time, the painter was so disheartened that he fled to Rome; but
the viceroy sent for him and took every precaution possible to protect him
and enable him to work in peace. But just as all seemed to be going well
he sickened and died, and it has always been said that he was poisoned. Be
this as it may, there is no doubt that the fear, vexation, and anxiety of
his life caused his death, and on this account his tormentors were his
murderers.

The works of Domenichino are not numerous, and are not seen in as many
galleries as are those of some Italian painters; but there are a
considerable number scattered over Europe and very beautiful ones in
several galleries in Rome.

The next painter of importance in the Eclectic school was GUIDO RENI
(1575-164