Guido was personally modest, although he valued himself on his position in the art, and would tolerate no slight in that relation; he was extremely upright, temperate in diet, nice in his person and his dress. He was fond of stately houses, but could feel also the charm of solitude. In his temper there was a large amount of suspiciousness; and the jealousy which his abilities and his successes excited, now from the Caracci, now from Albani, now from the monopolizing league of Neapolitan painters, may naturally have kept this feeling in active exercise. Of his numerous scholars, Simone Cantarini, named II Pesarese, counts as the most distinguished; he painted an admirable head of Reni, now in the Bolognese Gallery. The portrait in the Uffizi Gallery of Florence is from Reni's own hand. Two other good scholars were Giacomo Semenza and Francesco Gessi. The character of Guido's art is so well known as hardly to call for detailed analysis, beyond what we have already intimated. His most characteristic style exhibits a prepense ideal, of form rather than character, with a slight mode of handling, and silvery, somewhat cold, colour. In working from the nude he aimed at perfection of form, especially marked in the hands and feet. But he was far from always going to choice nature for his model; he transmuted _ad libitum_, and painted, it is averred, a Magdalene of demonstrative charms from a vulgar-looking colour-grinder. His best works have beauty, great amenity, artistic feeling and high accomplishment of manner, all alloyed by a certain core of commonplace; in the worst pictures the commonplace swamps everything, and Guido has flooded European galleries with trashy and empty pretentiousness, all the more noxious in that its apparent grace of sentiment and form misleads the unwary into approval, and the dilettante dabbler into cheap raptures. Both in Rome and wherever else he worked he introduced increased softness of style, which was then designated as the modern method. His pictures are mostly Scriptural or mythologic in subject, and between two and three hundred of them are to be found in various European collections--more than a hundred of these containing life-sized figures. The portraits which he executed are few--those of Sixtus V., Cardinal Spada and the so-called Beatrice Cenci being among the most noticeable. The identity of the last-named portrait is very dubious; it certainly cannot have been painted direct from Beatrice, who had been executed in Rome before Guido ever resided there. Many etchings are attributed to him--some from his own works, and some after other masters; they are spirited, but rather negligent.