Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/208

 *cifixion of St. Peter, he coupled it with the command that it should be in the manner of that painter. Guido obeyed, but he gave his composition a grandeur and dignity beyond the powers of Caravaggio. Paul V. employed him to decorate the private chapel in the Palace of Monte Cavallo, a work which gained him great reputation and made him many enemies, even his friend Albani becoming inimical when he found that Guido's fame was likely to exceed his own. After an absence in Rome of twenty years, Guido returned to Bologna, where he painted the Massacre of the Innocents for S. Domenico, now in the Bologna Gallery, and St. Paul reproving St. Peter, for the Palazzo Zampieri, now in the Brera, Milan. Paul V. soon induced him to return to Rome, where he executed works in S. M. Maggiore and other public buildings, his most famous one being the fresco Aurora, in the pavilion of the Palazzo Rospigliosi. Guido's productions vary much in manner according to the time of their execution, and may be assigned to three different periods: The first, marked by strong contrasts of light and shade; the second or transition period, stronger and more natural; the third, pale-gray tones and insipid sentiment. Works: Massacre of Innocents, Madonna della Pietà, Christ on the Cross, Samson Victorious, St. Sebastian, Madonna of the Rosary, Coronation of Virgin, Ecce Homo, Bologna Gallery; Bacchus and Ariadne, Fortune, Cupid, Accademia di S. Luca, Rome; portrait of Beatrice Cenci (?), Palazzo Barberini, ib.; Concert of Angels, Cappella di S. Silvia, near S. Gregorio, ib.; St. Andrew adoring Cross, S. Andrea, ib.; Head of Joseph, Palazzo Borghese, ib.; St. Sebastian, Capitol Gallery, ib.; Salome, study for Crucifixion of St. Peter, Ecce Homo, Mater Dolorosa, St. John, Contemplation, Palazzo Corsini, ib.; Madonna, Palazzo Doria, ib.; Aurora, Palazzo Rospigliosi, ib.; Rape of Helen, portrait of Cardinal Spada, Palazzo Spada, ib.; Madonna in Glory and Saints, Crucifixion of St. Peter, Vatican, ib.; Bacchus, St. Peter, Rebecca at the Well, Death of Cleopatra, Charity, St. Elizabeth, Palazzo Pitti, Florence; Cumean Sibyl, Bradamante and Fiordaspina, portrait of Guido, Madonna with St. John, Virgin, Uffizi, ib.; Christ on the Cross and Saints, Lucca Gallery; SS. Peter and Paul, Apostle Reading, Brera, Milan; Christ on the Cross, Modena Gallery; Atalanta's Race, Four Seasons, Infant Christ, Nausicaä, Vanity and Modesty, Museum, Naples; Nativity, S. Martino, ib.; John Baptist, Madonna, Fame, St. Francis of Assisi, St. Catherine, Apollo and Marsyas, Group of Cherubs, Lucretia, Turin Gallery; David and Goliath, Annunciation, Purification of Virgin, Madonna, Madonna and St. John, Christ and Samaritan Woman, Christ giving Keys to Peter, Christ in the Garden, Ecce Homo, Magdalen (?), St. Sebastian, Union of Design and Colour, Hercules and the Hydra, Hercules and Achelous, Rape of Dejanira, Death of Hercules, Rape of Helen, Sleep of Jesus (attributed), Louvre, Paris; Lucretia, Cleopatra, Madonna de la Silla, St. Sebastian, St. James, Assumption, St. Jerome in the Desert, Martyrdom of St. Apollonia, Magdalen, and others, Madrid Museum; St. Jerome, Magdalen, Youthful Christ and St. John, Lot and his Daughters, Susannah and the Elders, Coronation of the Virgin, Ecce Homo, National Gallery, London; St. John in the Wilderness, St. Sebastian, Dulwich Gallery; Venus and Graces, Ecce Homo, National Gallery, Edinburgh; Venus and Cupid, Ninus and Semiramis, Ecce Homo (2), Christ crowned with Thorns (2), Christ appearing to Virgin, Madonna in Adoration, Madonna with Saints, Bacchus, Dresden Gallery; Madonna and Saints, Berlin Museum; Cleopatra, Cassel Gallery; St. Jerome, Apollo and Marsyas, Assumption, Munich Gallery; Magdalen, Presentation in Temple, Baptism of Christ, Vienna Museum; Adoration of Shepherds, Jupiter and Antiope, Descent from Cross, Liechtenstein Gallery, Vienna; David and Goliath, Adoration of Magi, St. Joseph and Infant Christ, Madonna and St. Francis, St. Peter, Dispute of