Opposed to the Eclectics were the "Naturalists," who insisted that nature only should be studied, and that everything should be represented in the most realistic way, and made to appear in the picture exactly as it did in reality, not being beautified or adorned by any play of fancy or imagination. The chief school of the Eclectics, of whom I will first speak, was at Bologna, and is known also as the "school of the Caracci," because LUDOVICO CARACCI (1555-1619) was at the head of a large academy there, and was assisted by his nephews, AGOSTINO CARACCI (1558-1601) and ANNIBALE CARACCI (1560-1609), the latter being the greatest artist of the three. The lives of the Caracci are not of such interest as to require an account of them here, neither are their works so interesting that we may not leave these artists by saying that they have great consideration as the heads of the Eclectic Academy, and for the work they did in it at an important era in the history of Italian art; but the fruits of their work are shown in that of their scholars rather than in their own paintings, and in this view their influence can scarcely be overvalued. The greatest of their scholars was DOMENICO ZAMPIERI (1581-1641), called DOMENICHINO, who was born at Bologna, and was instructed by Denis Calvert, who forbade his drawing after the works of Annibale Caracci. Domenico disobeyed this command, and was so severely treated by Calvert that he persuaded his father to take him from that master, and place him in the school of the Caracci. When he entered the Academy he was so dull that his fellow-pupils nicknamed him "The Ox;" but Annibale Caracci said: "Take care: this ox will surpass you all by and by, and will be an honor to his art." Domenichino soon began to win many prizes in the school, and left it well trained and prepared for a brilliant career. He gave much thought to his art, shunned private society, and if he went out at all he frequented public places where large numbers of people were gathered, thus affording him an opportunity to study their varying expressions. He also tried to feel in himself the emotions of the person he was painting. For instance, it is said that when he was painting the "Scourging of St. Andrew," he threw himself into a passion, and used threatening gestures and high words. In the midst of this his master, Annibale Caracci, surprised him, and was so impressed with his method that he threw his arms about his pupil's neck, exclaiming, "To-day, my Domenichino, thou art teaching me!" The most celebrated work by Domenichino is the "Communion of St. Jerome," in the Vatican. It is universally considered the second picture in Rome, the "Transfiguration," by Raphael, being the only one that is placed before it. The scene it represents is just before the death of the saint, when he was borne into the chapel to receive the sacrament of the communion for the last time (Fig. 50). [Illustration: FIG. 50.--COMMUNION OF ST. JEROME.]