ITALY. Toward the end of the sixteenth cen tury the reaction against Mannerism hecame manifest in two widely different schools: the Eclectic and the Naturalistic. While not neglecting the study of the antique and of na ture, the Eclectics sought to combine the excel lence of all schools: Miehclangelo's line, Titian's color, Correggio's light and shade. 1:aphael's grace. The pioneers of the movement were the three Carraeci brothers, who about 1580 founded the first art academy, in the modern sense, at Bologna. (See BOLOGNESE SCHOOL OF PAINTING; CARRACCI.) They produced an art admirable in technical qualities. but lacking in originality and genius. Of their pupils Domenichino ( 15S1 1641) was the strongest and most conscientious; Guido Reni (1575-1642) the most gifted, but in clined to sentimentality. There were less im portant schools at Milan, Cremona, Ferrara, and at Rome, where flourished Carlo Maratti (1623 1713), an inferior kind of Guido Reni. The Florentine school maintained a semi-independent position, deriving inspiration from Andrea del Sarto.
Contemporary with the Eclectics there flour ished in Italy the _Vaturalists, who went directly to nature than they. Their version of nature was an extravagant one, delighting in scenes of passion and bloodshed. Their chief technical characteristics are the use of dark shadow masses, whence the name the 'Darklings' (Tenebrosi ), and strong light effects; their line was coarse and strong, and their brush work harsh. The chief seat of the school was Naples, where it maintained its position as much by the use of poison and the dagger as by artistic production. Caravaggio ( 1569-1609 ) the found er of the school, painted figures of the street as saints and angels and genre pictures with much dramatic power. His chief pupil. the Spaniard Ribera (15SS-1656), a painter of great strength and fine color instincts, delighted in the gloomy subjects favored by his rare. Salvator Rosa (1615-73), likewise of Naples. was a remark ably versatile painter of historical genre and landscape subjects.