ging of St. Andrew_, and the latter _St. Andrew
led away to the Gibbet_. Lanzi says it is commonly reported that an aged
woman, accompanied by a little boy, was seen long wistfully engaged in
viewing Domenichino's picture, showing it part by part to the boy, and
next, turning to that of Guido, painted directly opposite, she gave it a
cursory glance and passed on. Some assert that Annibale Caracci took
occasion, from this circumstance, to give his preference to the former
picture. It is also related that while Domenichino was painting one of
the executioners, he actually threw himself into a passion, using high
threatening words and actions, and that Annibale, surprising him at that
moment, embraced him, exclaiming, "To-day, my Domenichino, thou art
teaching me"--so novel, and at the same time so natural did it appear to
him, that the artist, like the orator, should feel within himself all
that he would represent to others.

THE COMMUNION OF ST. JEROME.

The chef-d'oeuvre of Domenichino is the dying St. Jerome receiving the
last rites of his church, commonly called the Communion of St. Jerome,
painted for the principal altar of St. Girolamo della Carita. This work
has immortalized his name, and is universally allowed to be the finest
picture Rome can boast after the Transfiguration of Raffaelle. It was
taken to Paris by Napoleon, restored in 1815 by the Allies, and has
since been copied in mosaic, to preserve so grand a work, the original
having suffered greatly from the effects of time. Lanzi says, "One great
attraction in the church paintings of Domenichino, consists in the glory
of the angels, exquisitely beautiful in feature, full of lively action,
and so introduced as to perform the most gracious offices in the piece,
as the crowning of martyrs, the bearing of palms, the scattering of
roses, weaving the mazy dance, and making sweet melodies."

DOMENICHINO'S ENEMIES AT ROME.

The reputation which Domenichino had justly acquired at Rome had excited
the jealousy of some of his cotemporaries, and the applause bestowed
upon his Communion of St. Jerome, only served to increase it. The Cav.
Lanfranco in particular, one of his most inveterate enemies, asserted
that the Communion of St. Jerome was little more than a copy of the same
subject by Agostino Caracci, at the Certosa at Bologna, and he employed
Perrier, one of his pupils, to make an etching from the picture by
Agostino. But this stratagem, instead of confirmi