correctness of design, expression of the passions, and simplicity and variety in the airs of his heads, is allowed to be little inferior to Raffaelle. "We must," says Lanzi, "despair to find paintings exhibiting richer or more varied ornaments, accessories more beautifully adapted, or more majestic draperies. The figures are finely disposed both in place and action, conducing to the general effect; whilst a light pervades the whole, which seems to rejoice the spirit, growing brighter and brighter in the aspect of the best countenances, whence they first attract the eye and heart of the beholder." The persons delineated could not tell their tale to the ear more plainly than they speak it to the eye. The Scourging of St Andrew, which he executed in competition with Guido at Rome, is a powerful illustration of this truthful expression. Of the two works of these masters, Annibal Caracci preferred that of Domenichino. It is said that in painting one of the executioners the artist actually threw himself into a passion, using threatening words and actions, and that Annibal Caracci surprising him at that moment, embraced him, exclaiming with joy, "To-day, my dear Domenichino, thou art teaching me." "So novel," remarks Lanzi, "and at the same time so natural, it appeared to him, that the artist, like the orator, should feel within himself all that he is representing to others."

Domenichino is universally esteemed as the most distinguished disciple of the Caracci. Algarotti prefers him to the greatest masters; and Nicolo Poussin considered him as the first painter after Raffaelle. His pictures of the Communion of St Jerome, Adam and Eve, and the Martyrdom of St Agnes, are esteemed amongst his best works. Domenichino was unrivalled in his frescos. He excelled also in landscape painting. In that style the beauty arising from the natural and simple elegance of his scenery, his trees, his well-broken grounds, and in particular the character and expression of his figures, gained him as much public admiration as any of his other performances.

The worth of Domenichino, as Agucchi foretold, was Domestay never rightly appreciated during his lifetime. But the spirit of party which set in so strongly against him whilst living, soon passed away when he was no more; and impartial posterity has done justice to the talents of this illustrious painter, whose works are in the highest esteem, and fetch enormous prices.