when he designed the passionate
Genii of the Sistine frescoes. Such flights were far beyond the grasp of
the Eclectics. Seeking after the 'grand style,' they fell, as I shall
show in the sequel of this chapter, into commonplace vacuity, which
makes them now insipid.[222]
[Footnote 221: See Malvasia, _op. cit._ vol. i. p. 277; vol. ii. p. 57.
The odd thing is that Malvasia tells these stories of the
Lodovico-Aphrodite and the color-grinder-Magdalen with applause, as
though they proved the mastery of Annibale Caracci and Guido.]
[Footnote 222: The later Eclectics--Spada, Domenichino, Guercino--were
to some extent saved by the influences they derived from Caravaggio and
the Naturalisti. But they had not the tact to see where the finer point
of naturalistic art lies for a delicately minded painter. They added its
brutality, as employed by Caravaggio, to the insipidities of the
Caracci, and produced such horrors as Domenichino's Martyrdom of S.
Agnes.]
There was at this time a native of Antwerp named Dionysius Calvaert, a
coarse fellow of violent manners, who kept open school in Bologna. The
best of the Caracci's pupils--Guido Reni, Domenichino and
Albani--emigrated to their academy from this man's workshop. Something,
as it seems to me, peculiar in the method of handling oil paint, which
all three have in common, may perhaps be ascribed to early training
under their Flemish master. His brutality drove them out of doors; and,
having sought the protection of Lodovico Caracci, they successively made
such progress in the methods of painting as rendered them the most
distinguished representatives of the Bolognese Revival. All three were
men of immaculate manners. Guido Reni, beautiful as a Sibyl in youth,
with blonde hair, blue eyes, and fair complexion, was, to the end of his
illustrious career, reputed a virgin. Albani, who translated into
delicate oil-painting the sensuousness of the _Adone_, studied the forms
of Nymphs and Venuses from his lovely wife, and the limbs of Amorini
from
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John Addington Symonds (October 5, 1840 - April 19, 1893) was an English poet and literary critic. He was an early advocate of the validity of male love which included for him pederastic as well as egalitarian relationships, and which he would refer to as lamour de limpossible.