Domenichino was made very unhappy in Rome, on account of the jealousy of other artists, and he returned to Bologna. However, his fame had reached the court at Naples, and the viceroy of that city invited the artist to decorate the Chapel of St. Januarius. There was in Naples at that time an association of artists who had determined that no strange artist should be allowed to do work of any account in their city. As soon as Domenichino began his work, therefore, he received letters threatening his life. His colors were spoiled by having ruinous chemicals mixed with them, his sketches were stolen from his studio, and all sorts of insults and indignities were heaped upon him. After a time, the painter was so disheartened that he fled to Rome; but the viceroy sent for him and took every precaution possible to protect him and enable him to work in peace. But just as all seemed to be going well he sickened and died, and it has always been said that he was poisoned. Be this as it may, there is no doubt that the fear, vexation, and anxiety of his life caused his death, and on this account his tormentors were his murderers. The works of Domenichino are not numerous, and are not seen in as many galleries as are those of some Italian painters; but there are a considerable number scattered over Europe and very beautiful ones in several galleries in Rome. The next painter of importance in the Eclectic school was GUIDO RENI (1575-1642), born at Bologna, and the son of a professor of music. His father intended that Guido also should be a musician, and the poor boy was much persecuted on account of his love for drawing. But after many struggles the boy came into the Caracci school, and was soon a favorite pupil there. When still young he listened with great attention to a lecture from Annibale, in which he laid down the rules which should govern a true painter. Guido resolved to follow these rules closely, and soon he painted so well that he was accused of trying to establish a new system of painting. At last Ludovico Caracci turned against him and dismissed him from his school. [Illustration: FIG. 51.--AURORA. _By Guido Reni._] The young artist went to Rome; but his persecutions did not cease, and it seemed to be his fate to excite the jealousy of other painters. Now, when so much time has elapsed, we know that Guido was not a very great master, and had he painted in the days of Michael Angelo he would not have been thought so. But art had lowered its standard, and Guido's works were suited to the taste of his time; he had a high conception of beauty, and he tried to reach it in his pictures.