Guido was faithful to the eclectic principle of the Bolognese school of painting. He had appropriated something from Calvart, much more from Lodovico Caracci; he studied with much zest after Albert Durer; he adopted the massive, sombre and partly uncouth manner of Caravaggio. One day Annibale Caracci made the remark that a style might be formed reversing that of Caravaggio in such matters as the ponderous shadows and the gross common forms; this observation germinated in Guido's mind, and he endeavoured after some such style, aiming constantly at suavity. Towards 1602 he went to Rome with Albani, and Rome remained his headquarters for twenty years. Here, in the pontificate of Paul V. (Borghese), he was greatly noted and distinguished. In the garden-house of the Rospigliosi Palace he painted the vast fresco which is justly regarded as his masterpiece--"Phoebus and the Hours preceded by Aurora." This exhibits his second manner, in which he had deviated far indeed from the promptings of Caravaggio. He founded now chiefly upon the antique, more especially the Niobe group and the "Venus de' Medici," modified by suggestions from Raphael, Correggio, Parmigiano and Paul Veronese. Of this last painter, although on the whole he did not get much from him, Guido was a particular admirer; he used to say that he would rather have been Paul Veronese than any other master--Paul was more nature than art. The "Aurora" is beyond doubt a work of pre-eminent beauty and attainment; it is stamped with pleasurable dignity, and, without being effeminate, has a more uniform aim after graceful selectness than can readily be traced in previous painters, greatly superior though some of them had been in impulse and personal fervour of genius. The pontifical chapel of Montecavallo was assigned to Reni to paint; but, being straitened in payments by the ministers, the artist made off to Bologna. He was fetched back by Paul V. with ceremonious eclat, and lodging, living and equipage were supplied to him. At another time he migrated from Rome to Naples, having received a commission to paint the chapel of S. Gennaro. The notorious cabal of three painters resident in Naples--Corenzio, Caracciolo and Ribera--offered, however, as stiff an opposition to Guido as to some other interlopers who preceded and succeeded him. They gave his servant a beating by the hands of two unknown bullies, and sent by him a message to his master to depart or prepare for death; Guido waited for no second warning, and departed. He now returned to Rome; but he finally left that city abruptly, in the pontificate of Urban VIII., in consequence of an offensive reprimand administered to him by Cardinal Spinola. He had received an advance of 400 scudi on account of an altarpiece for St Peter's, but after some lapse of years had made no beginning with the work. A broad reminder from the cardinal put Reni on his mettle; he returned the 400 scudi, quitted Rome within a few days, and steadily