painted in Rome, and remain in Rome.

Domenichino is said to have excited the extreme hostility of rival
painters, and to have suffered especially from the malice of the
Neapolitans, when he was invited to work among them. After a cruel
struggle Domenichino died in Naples, not without a horrible suspicion of
having being poisoned, at the age of sixty, in 1641. One of his
enemies--a Roman on this occasion--destroyed what was left of
Domenichino's work in Naples.

The painter's fate was a miserable one, and by a coincidence between his
fortune and his taste in subjects, he has identified his name with
terrible representations of martyrdoms. Kugler writes that martyrdom as
a subject for painting, which had been sparingly used by Raphael and his
scholars, had come into fashion in Domenichino's time, for 'painters and
poets sought for passionate emotion, and these subjects (martyrdoms)
supplied them with plentiful food.' Sensationalism is the florid hectic
of art's decay, whether in painting or in literature.

Domenichino is accredited with more taste than fancy. He made free use
of the compositions of even contemporary artists, while he
individualized these compositions. His good and bad qualities are those
of his school, already quoted, and perhaps it is in keeping with these
qualities that the excellence of Domenichino's works lies in subordinate
parts and subordinate characters. There are examples of Domenichino in
the National Gallery.

I shall close my long list of the great Italian painters of the past
with one who was quite apart from and opposed to the Carracci school,
and whose triumphs and failures were essentially his own. Salvator Rosa,
born in 1615 near Naples, was the son of an architect. In opposition to
his father Salvator Rosa became a painter. Having succeeded in selling
his sketches to a celebrated buyer, the bold young Neapolitan started
for Rome at the age of twenty years; and Rome, 'the Jerusalem of
Painters,' became thenceforth Salvator Rosa's head-quarters, though the
character of the man was such as to force him to change his quarters not
once or twice only in his life, and thus he stayed some time, in turn,
at Naples, Viterbo, Volterra, and Florence. At Volterra the aggressive
nature of the painter broke forth in a series of written satires on a
medley of subjects--music, poetry (both of which Salvator himself
cultivated), painting, war, Babylon, and envy. These incongruous satires
excited the