Emulation carries with it neither envy nor unfair rivalry, but inspires
a man to surpass all others by superiority alone. Such was the emulation
and rivalry between Zeuxis and Parrhasius, which contributed to the
improvement of both; and similar thereto was that which inspired the
master-minds of Michael Angelo and Raffaelle; of Titian and Pordenone;
of Albert Durer and Lucas van Leyden; of Agostino and Annibale Caracci;
and we may add, in our own country, of Thomas Cole and Durand. The
emulation between the Caracci, though it tended to the improvement of
both, was more unfortunate in its result, as it finally engendered such
a bitter rivalry as to drive Agostino from the field, and it is said by
some that both the Caracci declined when their competition ceased.
The confraternity of the Chartreuse at Bologna proposed to the artists
of Italy to paint a picture for them in competition, and to send designs
for selection. The Caracci were among the competitors, and the design of
Agostino was preferred before all others; this, according to several
authors, first gave rise to the jealousy between the two brothers. The
picture which Agostino painted was his celebrated Communion of St.
Jerome which Napoleon placed in the Louvre, but is now in the gallery at
Bologna. It is esteemed the masterpiece of the artist. It represents the
venerable saint, carried to the church of Bethlehem on his approaching
dissolution, where he receives the last sacrament of the Roman Church,
the Viaticum, in the midst of his disciples, while a monk writes down
his pious exhortations. Soon after the completion of this sublime
picture, the two brothers commenced the celebrated Farnese Gallery in
conjunction; but the jealous feelings which existed between them caused
continual dissentions, and the turbulent disposition of Annibale
compelled Agostino to abandon him and quit Rome. Agostino, who according
to all authorities was the best tempered of the two, from that time gave
himself up almost entirely to engraving. Annibale, though he has the
honor of having executed the immortal works in the Farnese Gallery, yet
owed much there, as elsewhere, to the acquirements and poetical genius
of Agostino. In the composition of such mythological subjects the
unlettered Annibale was totally inadequate. See vol. i., page
71 of this work.