Domenichino.—In contrast with the mild Guido Reni stands out the stronger and more masculine Domenico Zampieri—called Domenichino (138 r–r6.11)—who was the greatest master of the school. His genius was unequal and erratic, but the painter of the Communion of St. Jerome, esteemed one of the greatest pictures in the world, must command our admiration. He often freed himself from the tendency to immense canvases which had invaded the school, and painted figures in half length, such as his Sibyls and his SI. John (Jig. 8). The Evangelist is a youthful figure with long curling hair and flowing drapery, who turns as if listening to the inspiration of his symbol, the eagle, which hovers above him. In his left hand lie holds a half-unrolled scroll, and beside him is placed another symbol, the cup with the viper, typifying his escape from poison.
Realistic School.—A contemporary and rival of the Eclectic School of Bologna, and opposed to it in teaching and method, was the Realistic School, which is usually termed the Naturalistic; but naturalism is in reality characteristic of all the painting of the period, which had lost all religions and ideal life. Even the term " Realistic" is not exactly applicable, for nothing could be less real than the extravagant style of its votaries da Cart7:77STIO (1569-1609) is 11s 1110S1 noted representa tive, and his violent rivalry with the Bolognese school is too well known to need more than passing mention. He may be called a typical represen
tative of the Neapolitan school, and we find in his works the same sombre and fiery character as in his actions. He delighted in scenes of wild passion and in strange and terrible conceptions, and we seek in vain in him for repose or grace.
tor Rosa (1615-1673) is a later and illustrious representative of this school, who, leaving his native town in Southern Italy, came to Rome and achieved renown both in landscape and in battle-pieces. The same striving for striking effects and violent action which we have remarked in Caravaggio is evident in this master. His landscapes are characterized by gloomy forests, dark chasms, and overhanging rocks. In spirited battle-pieces lie often excels. his Conspiracy of cariwne (pl. 33, fig. 9) shows a less familiar side of his talent; for his pictures in which figures play a principal part are uncommon—excepting, of course, his battle-pieces.