The heterogeneous principle of the eclectic school soon operated its own dissolution: the great talents which the Carracci had tutored, soon found their own bias, and abandoned themselves to their own peculiar taste. B. Schidone died young in 1615. Barto. Schidone, Guido Reni,[57] Giovanni Lanfranco, Francesco Albani, Domenico Zampieri, and Francesco Barbieri, called Guercino, differed as much in their objects of imitation as their names. Schidone, all of whose mind was in his eye, embraced, and often to meaner subjects applied the harmony and colour of Correggio, whilst Lanfranco strove, but strove without success, to follow him through the expanse of his creation and masses. Grace attracted Guido, but it was the studied grace of theatres: his female forms are abstracts of antique beauty, attended by languishing attitudes, arrayed by voluptuous fashions. His male forms, transcripts of models, such as are found in a genial climate, are sometimes highly characteristic of dignified manhood or apostolic fervour, like his Peter and Paul, formerly in the Zampieri at Bologna: sometimes stately, courteous, insipid, like his Paris attending Helen, more with the air of an ambassador, by proxy, than carrying her off with a lover's fervour. His Aurora deserved to precede a more majestic sun, and hours less clumsy--his colour varies with his style, sometimes bland and harmonious, sometimes vigorous and stern, sometimes flat and insipid. Albani, chiefly attracted by soft mythologic conceits, formed nereids and oreads on plump Venetian models, and contrasted their pearly hues with the rosy tints of loves, the juicy brown of fauns and satyrs, and rich marine or sylvan scenery. Domenichino, more obedient than the rest to his masters, aimed at the beauty of the antique, the expression of Raphael, the vigour of Annibale, the colour of Lodovico, and mixing something of each, fell short of all; whilst Guercino broke like a torrent over all academic rules, and with an ungovernable itch of copying whatever lay in his way, sacrificed mind, form and costume, to effects of colour, fierceness of chiaroscuro, and intrepidity of hand. Such was the state of art when the spirit of machinery, in submission to the vanities and upstart pride of papal nepotism, destroyed what yet was left of meaning; when equilibration, contrast, grouping, engrossed composition, and poured a deluge of gay common-place over the platfonds, panels and cupolas of palaces and temples. Those who could not conceive a figure singly, scattered multitudes; to count, was to be poor. The rainbow and the seasons were ransacked for their hues, and every eye became the tributary of the great but abused talents of Pietro da Cortona, and the fascinating but debauched and empty facility of Luca Giordano.[58]