Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/31

xxiv of which included the conservatives who desired to preserve and follow the manner of the masters of the Cinquecento, at the same time making a deeper study of Nature—thus the devotional feeling and many of the older traditions would be retained while each master could indulge his individuality more freely than heretofore. They aimed to unite such a style as Correggio's—who belonged to no school—with that of the severely mannered artists of the preceding centuries. These artists were called Eclectics, and the Bolognese school of the Carracci was the most important centre of the movement, while Domenichino, a native of Bologna—1581-1631—was the most distinguished painter of the school.

The original aims of the Eclectics are well summed up in a sonnet by Agostino Carracci, which has been translated as follows: "Let him who wishes to be a good painter acquire the design of Rome, Venetian action and Venetian management of shade, the dignified color of Lombardy—that is of Leonardo da Vinci—the terrible manner of Michael Angelo, Titian's truth and nature, the sovereign purity of Correggio*s style and the just symmetry of a Raphael, the decorum and well-grounded study of Tibaldi, the invention of the learned Primaticcio, and a little of Parmigianino’s grace; but without so much study and weary labor let him apply himself to imitate the works which our Niccolò—dell Abbate—left us here." Kugler calls this "a patchwork ideal," which puts the matter in a nut-shell.

At one period the Eclectics produced harmonious pictures in a manner attractive to women, many of whom