(Giovanni Francesco), otherwise called Guercino da Cento, an eminent historical painter, was born at Cento, a village not far from Bologna, in 1590. At first he was the disciple of Benedetto Gennari; but he afterwards studied for some time in the school of the Caracci, though he did not adopt the manner of that famous academy. He seemed to prefer the style of Caravaggio to that of Guido or Albano, imagining it impossible to imitate nature truly, without the affluence of strong lights and strong shadows; and from that principle, his light was admitted into his painting room from above. In effect, by the opposition of his strong lights and shadows, he gave such force to his pictures, that few, except those of Caravaggio, can stand near them, and not seem feeble in their effect: however, that manner is censured as not being like nature, because it makes objects appear as if they were seen by candle light, or by the brightness of a sun-beam, which alone can justify the deepness of his shadowing. The principal attention of Guercino seems to have been fixed on arriving at perfection in colouring; he saw the astonishing effects produced by the colouring of the celebrated Venetian masters; and observed, that notwithstanding any imperfections in regard to grace, correctness, or elegance, the works of those masters were the objects of universal admiration. From which observation, he seems to have devoted his whole study to excel in colouring; as if he were convinced, that few are qualified to discern the elevation of thought, which constitutes the excellence of a composition; few may be touched with the grandeur or beauty of the design, or perhaps have a capacity to examine even the correctness of any part of a painting; and yet every eye, and even every imperfect judge of a picture, may be sensibly affected by the force and beauty of the colouring. His taste of design was natural, easy, and often grand, but without any extraordinary share of elevation, correctness, or elegance. The airs of his heads often want dignity, and his local colours want truth. However, there is great union and harmony in his colours, although his compositions are not very fresh; and in all his works there is a powerful and expressive imitation of life, which will for ever render them estimable. Towards the decline of his life, he observed that the clearer and brighter style of Guido and Albano had attracted the admiration of all Europe; and therefore he altered his manner, even against his own judgment. But he apologized for that conduct, by declaring, that in his former time he painted for fame, and to please the judicious; and he now painted to please the ignorant, and enrich himself. He died in 1666.—The most capital performance of Guercino, is the history of S. Petronilla, which is considered as one of the ornaments of S. Peter's at Rome.

Barbieri (Paolo Antonio), da Cento, painter of still life and animals, was the brother of Guercino, and born at Cento in 1596. He chose for his subjects fruit, flowers, insects, and animals; which he painted after nature with a lively tint of colour, great tenderness of pencil, and a strong character of truth and life. He died in 1640.