Footnote 23: It must be observed that the two younger Caracci visited Rome, where they continued to instruct their pupils on the same plan. Passeri, in his life of Guido, says, that they were joined by literary men, who proposed history-pieces to them, with premiums for such as should be best executed; and that on one occasion Domenichino, one of the youngest, being preferred above all, Guido was seized with the most lively emulation to eclipse him. The historian adds, that the same method was soon adopted in the Roman academy, and that Car. Barberini, nephew to Urban VIII., presided at the election of the first, and rewarded him with money, and those that next followed, to the fourth member. Moreover he gave the first a commission for a picture from the same subject as the design. What a secret is here shewn for promoting the fine arts. The maxim of uniting together the study of nature, and the imitation of the best masters, already touched upon in the outset of this book, formed the real foundation of the school of Caracci; although they took care to modify it according to particular talents, as we have seen. Their object was to collect into one whatever they found most valuable in other schools, and in this process they observed two methods. The first resembles that of the poets, who, in several Canzoni, propose different models for imitation; in one, for instance, borrowing from Petrarch, in another from Chiabrera, in a third from Frugoni. The second method is like that of those, who, being masters of these three styles, form and harmonize them into one, like Corinthian metal, composed of various other kinds. Thus the Caracci, in some of their compositions, were accustomed to present different styles in a variety of different figures. So Lodovico, in his Preaching of St. John the Baptist, at the church of the Certosini (where Crespi is especially opposed to Paul Veronese), has exhibited the audience of the saint in such a manner that a judge described them by these names:--the Raffaellesque, the Tizianesque, and the imitator of Tintoretto. Annibal too, who had long admired only Coreggio, having finally adopted Lodovico's maxim, painted his celebrated picture for the church of St. George, where, in his figure of the Virgin, he imitated Paolo; in that of the Divine Infant and St. John, Coreggio; in St. John the Evangelist he exhibited Titian; and in the very graceful form of St. Catherine, the sweetness of Parmigianino. Most generally, however, they pursued the second path, and still more examples might be adduced of less apparent and more free and mixed imitations, so modified as to produce a whole of a perfectly original character. And the ingenious Agostino, emulating the ancient legislators, who embodied all their laws in a few verses, composed that very picturesque, rather than poetical sonnet, in praise of Niccolino Abati, but which also well explains