Excerpt from Gems of European Art
The career of Domenico Zampieri, or Domenichino, as he is usually called, affords astriking example of the neglect to which unassuming merit may be subjected in the profession of Art, when the disposition of the individual inclines him to shrink from contention for honours he is conscious of deserving. In so little estimation were his works held while he lived, that, in mortification and disgust, he was about to abandon the pursuit of Fame but the future supplied a rich recompense; the productions of his pencil have been duly appreciated by succeeding centuries, and posterity has justly placed him in the foremost rank of the Italian School? In the subject-matter of the pictures of Domenichino there is little new or strik ing; their’worth is derived mainly from their mechanical and moral approach to nature results of a severe censorship he exercisedover himself, and -a searching and untiring study of the actual, in life and character. Domenichino was of the Bolognese school, the most distinguished pupil of the Carracci, to whom. He. 15 by’many authorities pronounced superior. His most famous pictures are those of his mature age - such as the Communion of St. Jerome, the Martyrdom of’ St. Agnes, and other altar - pieces of a similar class. The first-named is, ’ indeed, ‘considered by competent judges as second only to The Transfiguration? Of Rafi’aelle. His reputation in Italy is, however, more firmly established by his Frescoes, in the production of which he attained the highest degree of excellence, and which have excited the universal admiration of ages in Rome, at Grotta Ferrata, &c. Domenichino was born at Bologna in 1581 His first master was Denys Calvart, a native?
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