These differences may be studied even better in their separate work:, in which the Gallery of Bologna is richest. The earliest examples show the influence of the masters who were their and Lodovico's are strongly tinged with mannerism. His "Sermon of John the Baptist" (1591). in the Gallery of Bolo•ma, shows strong naturalistic tendencies, while the "Vision of Saint Hyacinth," now in the Louvre, is a charm ing combination of the influences composing EL leeticism. In like manner, Annibale's "Assump tion of the Virgin" (Dresden) and his "Pieta" (Gallery of Parma) show the influence of Cor reggio, while his "Assumption," in the Gallery of Bologna, reminds one of Veronese. But his "Santa Conversazione" (q.v.), also in Bologna, is a perfect specimen of Eclecticism. Annibale executed a large number of small compositions of this description. charming in sentiment and execution. Among his larger canvases, the "Ma donna Appearing to Saint Luke and Saint Cath arine" (1592) and the "Resurrection," both in the Louvre, and his "Saint Roche Giving Alms" (Dresden), show his highest development in oil painting. His "Three Marys" in Castle Howard (Yorkshire) shows a wonderful pathos of grief.
Agostino was more occupied with engraving than with painting. In 158!1 he engraved Tinto retto's "Crucifixion" in the Simla di San Rocco with such success that ,Tintoretto himself pro noun•ed the engraving better than the original. Agostino was fond of living in Venice, where his pftetie and scholarly gifts were much appre ciated, and where his son was born. Upon his return to Bologna he devoted himself anew to painting. His celebrated "Last Communion of Saint Jerome," painted for the Church of San 'Michele in Bosco, now in the Pinacoteca of Bo logna, date; from 1592. Thought surpassed in some respect; by Domenichino's picture of the same subject, which was modeled upon it, this composition is a masterpiece of careful drawing, delicate color, and truthfulness of expression. His "Adulteress Before Christ," painted some what later. is also excellent in color and in action, and has a fine architectural background.
Not the least among the achievements of the Carracci was the revival of the landscape (q.v.). They treated it not only as a background for figure-painting, as their predecessors had done, bat as an independent subject, in which the fig ures were accessories, thus becoming, the origina tors of the modern landscape, and the true predecessor: of Gaspard Dughet and Claude Lor rain (q.v.). This was done by Agostino, and especially by Amdbale, who excelled in this work. His landscapes may be found in the gal leries of Paris, Saint Petersburg, 'Madrid, Flor ence, and especially in the Palazzo Doria-Pam fill, Rome. •
In 1597 the Carracci were invited to undertake the most famous and extensive of their works, the decoration of the gallery of the Farnese l'alace in Rome. After arranging the business details, Lodovico returned to lt(dogna, leaving the execu tion of the work to his cousins. Agostino, as sisted by Monsignore Aguechi, determined the composition. The subject was mythological, and represented the "Power of Love" over the strong, the proud, the chaste—over the universe. The frescoes show the influence of the Doman School, e•Teeially of Raphael: the disposid,31 is modeled it Michelangelo's ceiling of the Sistine Chapel. They are admirable pieces of decoration, the ornamental portion being partic ularly good. .‘..Tostino executed the two princi pal pictures of the long walls, the "Triumph of Galatea" and the "Rape of Cephalus." his chief works in fresco .painting—both excellent efunpo salons, rich and symmetrical in line, fresh and bright in eolor. Except a few subjeets painted after his designs by- his pupils, Annibale did the remaining frescoes, which occupied him until i004. This is unquestionably his best fresco work: his bright and fanciful naturalism is c‘crywhere present. Among the best of these are the admirable genre pieces "Juno v,ith the (3irdle of Graces Jupiter," "Diana and Endymion." "Venus and Anchises," and the "Tri umph of Bacchus." Annibale also decorated the ceiling of an adjoining room with mythological subjects. but this work is not as good as that in the gallery.
Agostino was compelled by the jealousy or ill will of his brother to leave Rome, but he was provided for by the Farnesi in Parma, where Duke Ranuevio protected him. lie several times portrayed the Duke. but his chief work there was the frescoes of the Palazzo del Giardino. four mythological love scenes. Ile lived to com plete only three. The quarrel with his brother and his enfooreed withdrawal from Rome had de stroyed his bright spirits. After an apoplectic stroke he withdrew to a Capuchin monastery, where he died, March 22, 1602. In his many sided talent he resembles the greatest masters of the Renaissance. In addition to being a painter, he was a poet and scholar of high repute. As an engraver he stands in the very first rank of Italian artists. His work is similar to that of his master, Cornelius Cort, but shows more free dom and versatility. lie excels in correctness of design and in beauty of execution, and his fig ures are very expressive. He executed about 278 plates in all, largely from lois own designs., and after the great Italian toasters.