[26] The earlier Paduan School, represented in the National Gallery by No 701, was only an offshoot from the Florentine. THE LATER ITALIAN SCHOOLS "The eclectic school endeavoured to unite opposite partialities and weaknesses. They trained themselves under masters of exaggeration, and tried to unite opposite exaggerations. That was impossible. They did not see that the only possible eclecticism had been already accomplished;--the eclecticism of temperance, which, by the restraint of force, gains higher force; and by the self-denial of delight, gains higher delight" (RUSKIN: _Two Paths_, § 59). The typical painters, with whom this chapter is concerned, are those of the "Eclectic School" of Bologna--the Carracci, Domenichino, Guido Reni; and Salvator Rosa, the Neapolitan painter of about the same period. It may be noticed, in the first place, that the lower repute in which these Italian painters of the seventeenth century are now held is of comparatively recent date. Poussin, for instance, ranked Domenichino next to Raphael, and preferred the works of the Carracci to all others in Rome, except only Raphael's, and Sir Joshua Reynolds cited them as models of perfection. Why, then, is it that modern criticism stamps the later Italian Schools as schools of the decadence? To examine the pictures themselves and to compare them with earlier works is the best way of finding out; but a few general remarks may be found of assistance. The painting of the schools now under consideration was "not spontaneous art. It was art mechanically revived during a period of critical hesitancy and declining enthusiasms." It was largely produced at Bologna by men not eminently gifted for the arts. When Ludovico Carracci, for instance, went to Venice, the veteran Tintoretto warned him that he had no vocation. Moreover "the painting which emerged there at the close of the sixteenth century embodied religion and culture, both of a base alloy.... Therefore, though the painters went on painting the old subjects, they painted all alike with frigid superficiality. Nothing new or vital, fanciful or imaginative, has been breathed into antique mythology. What has been added to religious expression is repellent, ... extravagantly ideal in ecstatic Magdalens and Maries, extravagantly realistic in martyrdoms and torments, extravagantly harsh in dogmatic mysteries, extravagantly soft in sentimental tenderness and tearful piety.... If we turn from the ideas of the late Italian painters to their execution, we shall find similar reasons for its failure to delight" (Symonds's _Renaissance_, vii. 232). For "all these old eclectic theories were based not upon an endeavour to unite the various characters of nature (which it is possible to do), but the various narrownesses of taste, which it is impossible to do.... All these specialities have their own charm in their own way; and there are times when the particular