PAINTERS AND ENGRAVERS.
Ulisse Aldrovandi.
Tiziano Yecelli. 15S7.
Eve giWng the Apple to Adam. loSl.
The Virgin and Infant Jesus.
The Eepose in Egypt.
The Virgin iu the Clouds, gi-ing the Scapular? to a
Saint.
The Virgin seated on a step, with St. Joseph, the Infant
Jesus, St. John, and an Angel ; scarce.
The Good Samaritan ; proofs before the letter are very
rare. The impressions with the name of Bertelli are
retouched.
The Crucifliion, with two Females, one representing
Christianity, the other Judaism.
The Resurrection.
The Confraternity of the Sacred Name of God. (The
Pope and the Senate of Venice kueelmg before the
Virgin.) 1532.
St. Francis of Assisi receiving the Stigmata ; Agos. Car. 1-586.
The Cord of St. Francis. (St. Francis distributing cords
to a number of persons of different orders ) 1586.
St. Jerome kneeling at the entrance of a cave. There
are impressions of this plate, which are very scarce,
in which it is only three parts finished, the rest being
slightly sketched with a single stroke. The plate
was afterwards finished by his pupil Villamena.
Seventeen plates of free subjects, called in Italy ' Le Las-
civie dei Carracci.'
Two other amorous subjects. A Landscape with naked figures. A Landscape with the same, and in the distance a Dance. Cupid conquering Pan ; Omnia vincit amor. 1599. Perseus combating the Monster. Frontispiece for the work called Cremona fideliasima This book, which is very scarce, coutainB thirty-five portraits, engraved by Aaostuw Carracct.
SrBJECTS AFTER VAEIOrS MASTERS. A Child blowing Bubbles; after Goltzms ; very scarce. Jacob watering the Flocks of Bachel ; after D. Calvaerl. 1581. Judith; half-length; after Lorenzo Sabbatini. The young Tobit conducted by the Angel ; improperly marked Raffaelle d'Urbino ; it is after Eajfaelle da Reqgio. The Presentation in the Temple ; after Orazio Sammac- chirii. The Virgin and Infant Christ giving the Keys to St. Peter ; after the same. The Adoration of the Magi ; after B. Feruzzi. 1579. The Virgin and Infant, with the Magdalen, St. Jerome, and an Angel ; after Correggio. 1586. Toe Ecce Homo, with the Virgin and other figures ; after the same. 1587. The Adoration of the Magi ; after Marco del Mora. The great Crucifixiou ; after Tintoretto ; in three sheets. The mocking of Christ ; after T. Strada. The dead Christ, supported by an Angel ; half-length ; after the same. The Pieta ; after the sculpture of Michelangelo Buon- arroti. The Nativity of the Virgin ; after Andrea dil Sarto. The Virgin Mary crowned by the Trinity; after A. Mostaert. The Holy Family ; after Barocci. The Holy Family, with St. John ; after Raphael. The Holy Family, with St. Michael ; after L. Sabbatini. The Virgin with the Crescent, and the Infant Jesus giving the Benediction ; after the saine. The Holy Family, with St. Anthony and St. Catharine ; after Paolo Veronese. The Virgin taking under her protection two Monks ; after the same. The Marriage of St. Catharine ; after the same. The Martyrdom of St. Justina; after the same; in two sheets. The Trinity ; after Titian. The Virgin and Infant Jesus, with several Saints ; after Giuho Campi. St. Paul resuscitating Eutychus ; after Antonio Campi. The Holy Family reposing in a Landscape; after B. Basseri. St. Sebastian ; after Francesco Raibolini. The Virgin suckling the Infant Jesus; after J. Ligozzt. St. Jerome ; half-leugth; after Vanni. St. Jerome, with the Lion, regarding the Virgin in the Clouds; after Tintoretto. 159S. The Temptation of St. Anthony. 1582. As this print is without a name, it has been sometimes attributed to Cornelis Cort. Mercury and the Graces ; after Tintoretto. Wisdom, accompanied by Peace, driving away the God of TVar ; after the same. -Eueas carrying his Father Anchises ; after Barocci.
CARRACCI, Annibale, was born at Bologna in 1560. His father, who was a tailor, at first brought him up to his own trade, but the boy's natural abili- ties and the advice of Lodovico induced Antonio Carracci to let his son study in the atelier of his uncle. Thus Lodovico was Annibale's first and only instructor in art. In 1580, Annibale left Bologna and went to Parma, where he studied the works of Correggio and Parmigiano. He was joined at Parma by his brother Agostino, who after a short time left Annibale to go to Venice, where they again met and lived together for some time. After an ab- sence of about seven j-ears he returned to Bologna, where in 1589 the Carracci opened their academy. Ht assisted Lodovico in his paintings in the Magnani, Fari, and Zampieri palaces. About 1600, Annibale was invited to Rome by Cardinal Odoardo Famese to decorate the Farnese Palace. He was assisted by his brother Agostino, by Domenichino, and by Lanfranco. The Famese Palace occupied fibout four years of the prime of Annibale's life. For this immense work (in which Poussin declares that he surpassed not only himself, but every painter who preceded him, and which is generally admitted to be his most important work) he received but five hundred crowns. These frescoes display the greatest technical excellence in drawing, both of drapery and the nude, in modelling and in colour. But it is to be regretted that Annibale, who was averse to literary studies, and consequently ignorant of history and fable, was obliged to have recourse to the acquirements of others, and the natural result was that he could not feel the poetry of his subject so sensibly, or correctly, as if it had emanated from his own mind. Annibale was in complete possession of his art, when the subject did not go beyond the limit of his comprehension.
After a visit to Naples, Annibale Carracci died at Rome in 1609, and was buried near Raphael in the Pantheon.
The most celebrated easel picture by Annibale was formerly in the Orleans Gallery, at the sale of which it fetched 4000 guineas, the highest price reached by any picture in that famous collection. It is now at Castle Howard. It represents the Saviour taken down from the Cross, extended in the lap of the Virgin, who is fainting, Mary Magdalene deploring the death of her Divine Master, whilst Mary (the wife of Cleophas), and another of the holy women, are succouring the mother of Christ. Of the beauties of this admirable production, any description that could here be attempted would be quite inadequate; it must be seen to be felt. The awful manner in which this solemn subject is represented, fills the mind of the beholder with the most affecting emotions. It has been very finely engraved by Roullet.
Annibale's excellence as a painter of landscape ought not to be left unnoticed ; he did not confine himself to the backgrounds of his historical subjects, but painted several pictures in which the
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