lery.

Giovanni Francesco Barbiera, surnamed Guercino da Cinto, approached the
school of the Caracci. In his art he resembled Guido Reni, with the same
sweetness, greater liveliness, and fine chiaroscuro. 'Dido's Last
Moments' and 'St Peter raising Tabitha' in Rome and in the Pitti Palace
are fine examples of Guercino's work. His later pictures, like Guido's,
are fascinating in softness, delicate colouring and tender sentiment,
degenerating, however, into mannerism and insipidity, while his
colouring becomes at last pale and washy.

Albano, born 1578, died 1660. He had elegance and cheerfulness which
hardly rose to grace. He painted mostly scenes from ancient mythology,
such as 'Venus and her Companions.' Religious subjects were
comparatively rare with him; one, however, often repeated was the
'Infant Christ sleeping on the Cross.'

Giovanni Battista Salvi, surnamed from his birth-place Sassoferrato, was
born in 1605 and died in 1685. He followed the scholars of the Caracci,
but with some independence, returning to older and greater masters. His
art was distinguished by a peculiar but slightly affected gentleness of
conception, pleasing and sweet--with the sweetness verging on weakness.
He finished with minute care. He gave constant representations of the
Madonna and Child and Holy Families in a domestic character. In one of
his pictures in Naples the Madonna is engaged in sewing. His most
celebrated, 'Madonna del Rosario,' is in S. Sabina, Rome. The Madonna
bending in ecstatic worship over an infant Christ lying on a cushion is
in the Dresden Gallery.

Giorgio Vasari was born at Arezzo in 1512 and died at Florence in 1574.
He was an architect, or jeweller, and a historical painter of heavy
crowded pictures. His lives of the early Italian painters and sculptors
up to his own time, the sixteenth century, though full of traditional
gossip, are invaluable as graphic chronicles of much interesting
information which would otherwise have been lost.

Sofonisba Anguisciola, born 1535, died about 1620, was a pupil of
Bernardino Campi about the close of the sixteenth century at Cremona.
She is justly praised by Vasari. Though her works are rare there are a
few in England and Scotland. Three of her pictures which are mentioned
with high commendation by Dr. Waagen are, 'a nun in the white robes of
her order, nobly conceived and delicately coloured,' in Lord
Yarborough's collection; in Mr Harcourt's collection, 'her own
portra