Guieeppe Cesari d' Arpino succeeded Federigo Zuccaro in public esti mation at Rome; but though without a rival in that city until the appearance of Michel Angelo Anierighi, 11 Caravaggio, he cannot be mid to belong to the Roman school. The heavy and vulgar nature of Caravaggio. style was in direct opposition to the ideal mannerism of Oman's. They both had their partisans, who were termed respectively naturaliati and idealiati; the latter prevailed. Annibale Canted else endeavoured in vain to reform taste in Rome : the works of this great master in the Palazzo Farnese bad little or no effect upon the style of the Roman painters of the period, and Cesari left a numerous school of imitator*. But these noble works, certainly inferior only to those of Michel Angelo and Itaffaelle in Remo, eventually had their effect, and painting was again restored to something approaching its former splen dour; and what the painters of Bologna had borrowed from the Romans in the pontificate of Clement VII., the pupils of the Carucci returned with Interest in that of Urban VIII.
A better style was adopted by Federigo Baroccio of Urbino, which might boast of a nearer approach to the correctness of form of the great founder of the Roman school ; but his colouring was generally artificial, and very different from that of Randle. Its tone is unpleasant, a cold violet hue prevails throughout, and there is a striking deficiency of yellow in his carnations, which in the lights are pbk, in the shadows gray. Baroccio had several imitators, but his influence upon the general character of Roman art was inconsiderable. The Eclectic school of Bologna seems to have had the principal share in reforming the art in Rome. During the pontificates of Paul V., Gregory X N'., and Urban VIII., ',the celebrated pupils of the Carucci, Dontenichino, Guido, Guereino, and Lanfranco, were much employed by those pontiff.; and the example of these great masters, but more especially of Domenichino, produced many good painters, of whom we may mention the following :—Antonio Ricci (called Barbalunga), Cantased, Giovanni Carbone, Francesco Cozza, Pietro del Po, Canini, Giambatiata Paaseri. and Luigi Saemmueeia, and there were many others of considerable merit. The school of the Carted seems to have had a more immediate influence upon portraitepainting, truth or fidelity of representation being indispensably requisite to constitute excellence in ortraiture. The °seesaw° mannerism of the painters of the period so generally incapacitated them for executing anything excellent In that department, that it began to be nearly a distinct pro fession, and the following masters distinguished themselves as excellent portrait-painters, though they did not confine themselves quite exclu sively to portraits : —Antonio di 3ionti, Pietro Fachetti, Antonio Scalrati, Grammatica, Ottavio Leoni, and Baldassare Alloisi, called fialanino.
urn the hnitators of Domedebino followed the bold style of Lan mom, whose most ruccesaftil scholar was Giacinto Brandi; and contemporary with Lsnfranco flourished Albano in Rome. Pier
Francesco Mole wads an imitator of his style.
From the studio of Albano cune Andrea Sacchi, a painter who drew well and coloured admirably, who never bestowed labour upon a trifle, and who was better versed to the theory of art than any of ids contem poraries or Immediate predecease/a. There is a grandeur about his style, and a truth and breadth In his execution, which distinguish him am one of the noblest disciples of the Roman school, second only to Giulio Romano in invention, and in all other respects inferior to its gnat founder alone. was his model of perfection ; but he was no servile imitator : he could appreciate also the beauties of Titian and of Correggio; and ho had recourse to the same sources through which his Freat model attained to excellence—nature and the antique, but he availed himself only so far of the antique as it served to regulate his study of nature.
No inconsiderable ornament also of the arts of Rome of We period was Nicholas Pousain, for though a Frenchman by birth, he was essen tially it Roman painter. lie formed his style from Ilafrwlle and the antique. lie attended also the academies of Domenieltino and of Sacchi, being a great admirer of the works of those masters. His style was however very peculiar, and had no influence upon the arts in Rome ; his works have too much the appearance of painted baasi rilievi.
Pietro Berrettini, called also Pietro da Cortona, set himself up as the rival of Sacchi in Rome ; and if the number of imitators is a criterion of the degree of excellence, Pietro chit Cortona was certainly superior to Sacchi. The art of Sacchi was not so easily imitated. The style of Cortona was rich and attractive, but superficial and incorrect, and he takes the lead in that class of painters termed machinists by the Italians.
The scholars of these two masters formed two rival factions of art, which divided Rome : that of Sacchi was headed by Carlo literati, supported by Ludovico Corsi; that of Cortona by Ciro Ferri, supported by Itomanelli. Bernini, who, during the pontificates of Urban VIII. and Innocent X., in matters of art was all-powerful in Rome, opposed. as was to le expected, that party which was conspicuous for good taste ; and for a time the machinists prevailed. But the school of Cortona was predominant only in fresco, for in oil Maratta wag unrivalled. In 1689, however, Ciro died, and Marotta stood alone ; and upon the accession of Innocent XII., in 1691, he was appointed inspector of the stanza of the Vatican, and in 1702, by the orders of Clement XI., he restored the works of Raffaelle in those apartments, which had considerably suffered through time and neglect. lie had restored previously the frescoes of Annibale Carucci In the Palazzo Farnese. He died in 1713. Hia style was generally considerably less vigorous than that of and both his colouring and his compo sition were occasionally artificial ; his drawing was also sometimes incorrect; and his taste was upon the whole very inferior to his master's, though his style has been termed more graceful.