w society, and eaten up with jealousy. They called him the
_ragazzaccio_, or 'lout of a boy,' when he began to make his mark at
Bologna. Agostino presented a strong contrast to his brother, being an
accomplished musician, an excellent dancer, a fair poet, fit to converse
with noblemen, and possessed of very considerable culture. Lodovico, the
eldest of the cousins, acted as mentor and instructor to the others. He
pacified their quarrels, when Annibale's jealousy burst out; set them
upon the right methods of study, and passed judgment on their paintings.

[Footnote 218: I have mainly used the encyclopedic work entitled
_Felsina Pittrice_ (Bologna, 1841, 2 vols.) for my study of the
Eclectics. This is based upon the voluminous writings of the Count C.C.
Malvasia, who, having been born in 1616, and having enjoyed personal
intercourse with the later survivors of the Bolognese Academy, was able
to bequeath a vast mass of anecdotical and other material to posterity.
The collection contains critical annotations and additions by the hand
of Zanotti and later art students, together with many illustrative
documents of the highest value. Reading this miscellaneous repertory, we
are forced to regret that the same amount of characteristic and
authentic information has not been preserved about one of the greater
schools of Italy--the Venetian, for example.]

[Footnote 219: He acquired a somewhat infamous celebrity by his obscene
engravings in the style of Giulio Romano.]

Like Lodovico, the brothers served their first apprenticeship in art at
Parma and Venice. Annibale's letters from the former place show how
Correggio subdued him, and the large copies he there made still preserve
for us some shadows of Correggio's time-ruined frescoes. At Venice he
executed a copy of Titian's Peter Martyr. This picture, the most
dramatic of Titian's works, and the most elaborate in its landscape, was
destined to exercise a decisive influence over the Eclectic school. From
the Caracci to Domenichino we are able to trace the dominant tone and
composition of that masterpiece. No less decisive, as I have already
observed, was the influence of Correggio's peculiar style in the choice
of type, the light and shade, and the foreshortenings of the Bolognese
painters. In some degree, the manner of Paolo Veronese may also be
discerned. The Caracci avoided Tintoretto, and at the beginning of
their career they derived but little from Raphael or Michelangelo.
T