[Footnote 2.1: Annabale Caracci, a painter of Bologna of the latter
half of the sixteenth century. His most celebrated work is a series of
frescoes on mythological subjects in the Farnese Palace at Rome. Along
with his cousin Lodovico and his brother Agostino he founded the
so-called Eclectic School of Painting; their maxim was that "accurate
observation of Nature should be combined with judicious imitation of
the best masters." The Caracci enjoyed the highest reputation amongst
their contemporaries as teachers of their art. Annibale died in 1609;
Masaniello's revolt occurred, as already mentioned, in 1647; Antonio
must therefore have been at least fifty years of age. This however is
not the only anachronism that Hoffmann is guilty of.]
[Footnote 2.2: The well-known painter Guido, born in 1575 and died in
1642. He early excited the envy of Annibale Caracci.]
[Footnote 2.3: Mattia Preti, known as _Il Cavaliere Calabrese_, from
his having been born in Calabria. He was a painter of the Neapolitan
school and a pupil of Lanfranco, and lived during the greater part of
the seventeenth century. Owing to his many disputes and quarrels he was
more than once compelled to flee for his life.]
[Footnote 2.4: The Accademia di San Luca, a school of art, founded at
Rome about 1595, Federigo Zuccaro being its first director.]
[Footnote 2.5: Alessandro Tiarini (1577-1668) of Bologna, was a pupil
of the Caracci.]
[Footnote 2.6: Giovanni Francesco Gessi (1588-1649), sometimes called
"The second Guido," was a pupil of Guido.]
[Footnote 2.7: Sementi or Semenza (1580-1638), also a pupil of Guido.]
[Footnote 2.8: Giovanni Lanfranco (1581-1647), studied first under
Agostino Caracci. He was the first to encourage the early genius of
Salvator Rosa.]
[Footnote 2.9: Zampieri Domenichino (1581-1641) was a pupil of the
Caracci. The work here referred to is a series of frescoes, which he
did not live to quite finish, representing the events of the life of
St. Januarius, in the chapel of the Tesoro of the cathedral at Naples,
which he began in 1630.
The malicious spite which the text attributes to the rivals of
Domenichino is not at all exaggerated. There did really exist a
so-called "Cabal of Naples," consisting chiefly of the painters
Corenzio, Ribera, and Caracciolo, who leagued together to shut out all
competition from other artists; and their persecution of the Bolognese
Domenichino is well known. Often on returning to his work in the
morning he found that some one had obliterated what he had done on the
previous day.
Not only have we a faithful picture of the Italian artist's life in the
middle of the seventeenth century depicted in this tale, but the actual
facts of the lives of Salvator Rosa, of Preti, of the Caracci, as well
as the existence of Falcone's _Compagnia della Morte_, furnish ample
materials and illustrations of the wild lives they did lead, of their
jealousies and heartburnings, of their quarrelsomeness and
revengefulness. They seem to have been ready on all occasions to
exchange the brush for the sword. They were filled to overflowing with
restless energy. The atmosphere of the age they lived in was highly
charged with vigour of thought and an irrepressible vitality for
artistic production. Under the conditions which these things suppose
the artists of that age could not well have been otherwise than what
they were.]
[Footnote 2.10: Belisario Corenzio, a Greek (1558-1643). "Envious,
jealous, cunning, treacherous, quarrelsome, he looked upon all other
painters as his enemies."]
[Footnote 2.11: Giuseppe Ribera, called _Il Spagnoletto_, a Spaniard by
birth (1589), was a painter of the Neapolitan school, and delighted in
horrible and gloomy subjects. He died in 1656.]
[Footnote 2.12: Don Diego Velazquez de Silva, the great Spanish
painter, born in 1599, died in 1660. He twice visited Italy and Naples,
in 1629-31 and in 1648-51, and was for a time intimate with Ribera.]
[Footnote 2.13: This suggests the legend of Quentin Massys of Antwerp
and the fly, or the still older, but perhaps not more historical story
of the Greek painters, Zeuxis and the bunch of grapes, which the birds
came to peck at, and Parrhasius, whose curtain deceived even Zeuxis
himself.]
[Footnote 2.14: Giuseppe Cesari, colled Josepin or the Chevalier
d'Arpin, a painter of the Roman school, born in 1560 or 1568, died in
1640. He posed as an artistic critic in Rome during the later years of
his life, and his judgment was claimed by his friends to be
authoritative and final in all matters connected with art.]
[Footnote 2.15: In a previous note it was stated that the Via del Corse
ran from the Piazza del Popolo southwards to the centre of the city of
Rome. Besides this street there are two others which run from the same
square in almost the same direction, the Via di Ripetta and the Via del
Babuino, the former being to the west of the Via del Corso and the
latter to the east, and each gradually gets more distant from the Via
del Corso the farther it recedes from the Square. On the opposite side
of the Piazza del Popolo is the Porta del Popolo.]
[Footnote 2.16: Girolamo Frescobaldi, the most distinguished organist
of the seventeenth century, born about 1587 or 1588. He early won a
reputation both as a singer and as an organist.]
[Footnote 2.17: Senigaglia or Senigallia, a town on the Adriatic, in
the province of Ancona.]
[Footnote 2.18: Pietro Francesco Cavalli, whose real name was
Caletti-Bruni. He was organist at St. Mark's at Venice for about
thirty-six years (1640-1676). He composed both for the Church and for
the stage.]
[Footnote 2.19: Giacomo Carissimi, attached during the greater part of
his life to the church of San Apollinaris at Rome. He died in 1674. He
did much for musical art, perfecting recitative and advancing the
development of the sacred cantata. His accompaniments are generally
distinguished for "lightness and variety."]