him a portrait of their
father threading a needle, and their mother cutting out the cloth, to
remind him, as he once whispered in Agostino's ear, when he met him
walking with a nobleman, "not to forget that they were sons of a poor
tailor!"[269] The same contrast existed in the habits of their mind.
Agostino was slow to resolve, difficult to satisfy himself; he was for
polishing and maturing everything: Annibale was too rapid to suffer any
delay, and, often evading the difficulties of the art, loved to do much
in a short time. Lodovico soon perceived their equal and natural
aptitude for art; and placing Agostino under a master who was celebrated
for his facility of execution, he fixed Annibale in his own study,
where his cousin might be taught by observation the _Festina lente_; how
the best works are formed by a leisurely haste. Lodovico seems to have
adopted the artifice of Isocrates in his management of two pupils, of
whom he said that the one was to be pricked on by the spur, and the
other kept in by the rein.

But a new difficulty arose in the attempt to combine together such
incongruous natures; the thoughtful Lodovico, intent on the great
project of the reformation of the art, by his prudence long balanced
their unequal tempers, and with that penetration which so strongly
characterises his genius, directed their distinct talents to his one
great purpose. From the literary Agostino he obtained the philosophy of
critical lectures and scientific principles; invention and designing
solely occupied Annibale; while the softness of contours, lightness and
grace, were his own acquisition. But though Annibale presumptuously
contemned the rare and elevated talents of Agostino, and scarcely
submitted to copy the works of Lodovico, whom he preferred to rival,
yet, according to a traditional rumour which Lanzi records, it was
Annibale's decision of character which enabled him, as it were
unperceived, to become the master over his cousin and his brother;
Lodovico and Agostino long hesitated to oppose the predominant style, in
their first Essays; Annibale hardly decided to persevere in opening
their new career by opposing "works to voices;" and to the enervate
labours of their wretched rivals, their own works, warm in vigour and
freshness, conducted on the principles of nature and art.

The Caracci not only resolved to paint justly, but to preserve the art
itself, by perpetuating the perfect taste of the true style among thei