PART II.
[Footnote 2.1: Annabale Caracci, a painter of Bologna of the latterhalf of the sixteenth century. His most celebrated work is a series offrescoes on mythological subjects in the Farnese Palace at Rome. Alongwith his cousin Lodovico and his brother Agostino he founded theso-called Eclectic School of Painting; their maxim was that "accurateobservation of Nature should be combined with judicious imitation ofthe best masters." The Caracci enjoyed the highest reputation amongsttheir contemporaries as teachers of their art. Annibale died in 1609;Masaniello's revolt occurred, as already mentioned, in 1647; Antoniomust therefore have been at least fifty years of age. This however isnot the only anachronism that Hoffmann is guilty of.]
[Footnote 2.2: The well-known painter Guido, born in 1575 and died in1642. He early excited the envy of Annibale Caracci.]
[Footnote 2.3: Mattia Preti, known as _Il Cavaliere Calabrese_, fromhis having been born in Calabria. He was a painter of the Neapolitanschool and a pupil of Lanfranco, and lived during the greater part ofthe seventeenth century. Owing to his many disputes and quarrels he wasmore than once compelled to flee for his life.]
[Footnote 2.4: The Accademia di San Luca, a school of art, founded atRome about 1595, Federigo Zuccaro being its first director.]
[Footnote 2.5: Alessandro Tiarini (1577-1668) of Bologna, was a pupilof the Caracci.]
[Footnote 2.6: Giovanni Francesco Gessi (1588-1649), sometimes called"The second Guido," was a pupil of Guido.]
[Footnote 2.7: Sementi or Semenza (1580-1638), also a pupil of Guido.]
[Footnote 2.8: Giovanni Lanfranco (1581-1647), studied first underAgostino Caracci. He was the first to encourage the early genius ofSalvator Rosa.]
[Footnote 2.9: Zampieri Domenichino (1581-1641) was a pupil of theCaracci. The work here referred to is a series of frescoes, which hedid not live to quite finish, representing the events of the life ofSt. Januarius, in the chapel of the Tesoro of the cathedral at Naples,which he began in 1630.
The malicious spite which the text attributes to the rivals ofDomenichino is not at all exaggerated. There did really exist aso-called "Cabal of Naples," consisting chiefly of the paintersCorenzio, Ribera, and Caracciolo, who leagued together to shut out allcompetition from other artists; and their persecution of the BologneseDomenichino is well known. Often on returning to his work in themorning he found that some one had obliterated what he had done on theprevious day.
Not only have we a faithful picture of the Italian artist's life in themiddle of the seventeenth century depicted in this tale, but the actualfacts of the lives of Salvator Rosa, of Preti, of the Caracci, as wellas the existence of Falcone's _Compagnia della Morte_, furnish amplematerials and illustrations of the wild lives they did lead, of theirjealousies and heartburnings, of their quarrelsomeness andrevengefulness. They seem to have been ready on all occasions toexchange the brush for the sword. They were filled to overflowing withrestless energy. The atmosphere of the age they lived in was highlycharged with vigour of thought and an irrepressible vitality forartistic production. Under the conditions which these things supposethe artists of that age could not well have been otherwise than whatthey were.]
[Footnote 2.10: Belisario Corenzio, a Greek (1558-1643). "Envious,jealous, cunning, treacherous, quarrelsome, he looked upon all otherpainters as his enemies."]
[Footnote 2.11: Giuseppe Ribera, called _Il Spagnoletto_, a Spaniard bybirth (1589), was a painter of the Neapolitan school, and delighted inhorrible and gloomy subjects. He died in 1656.]
[Footnote 2.12: Don Diego Velazquez de Silva, the great Spanishpainter, born in 1599, died in 1660. He twice visited Italy and Naples,in 1629-31 and in 1648-51, and was for a time intimate with Ribera.]
[Footnote 2.13: This suggests the legend of Quentin Massys of Antwerpand the fly, or the still older, but perhaps not more historical storyof the Greek painters, Zeuxis and the bunch of grapes, which the birdscame to peck at, and Parrhasius, whose curtain deceived even Zeuxishimself.]
[Footnote 2.14: Giuseppe Cesari, colled Josepin or the Chevalierd'Arpin, a painter of the Roman school, born in 1560 or 1568, died in1640. He posed as an artistic critic in Rome during the later years ofhis life, and his judgment was claimed by his friends to beauthoritative and final in all matters connected with art.]
[Footnote 2.15: In a previous note it was stated that the Via del Corseran from the Piazza del Popolo southwards to the centre of the city ofRome. Besides this street there are two others which run from the samesquare in almost the same direction, the Via di Ripetta and the Via delBabuino, the former being to the west of the Via del Corso and thelatter to the east, and each gradually gets more distant from the Viadel Corso the farther it recedes from the Square. On the opposite sideof the Piazza del Popolo is the Porta del Popolo.]
[Footnote 2.16: Girolamo Frescobaldi, the most distinguished organistof the seventeenth century, born about 1587 or 1588. He early won areputation both as a singer and as an organist.]
[Footnote 2.17: Senigaglia or Senigallia, a town on the Adriatic, inthe province of Ancona.]
[Footnote 2.18: Pietro Francesco Cavalli, whose real name wasCaletti-Bruni. He was organist at St. Mark's at Venice for aboutthirty-six years (1640-1676). He composed both for the Church and forthe stage.]
[Footnote 2.19: Giacomo Carissimi, attached during the greater part ofhis life to the church of San Apollinaris at Rome. He died in 1674. Hedid much for musical art, perfecting recitative and advancing thedevelopment of the sacred cantata. His accompaniments are generallydistinguished for "lightness and variety."]