"Here are good examples of the work of the three Carracci," continued he, as after a time they entered the adjoining hall.
"But what does this mean?" cried Malcom, in an astonished voice, pausing before a large picture, the _Communion of St. Jerome_, which bore the name, Agostino Carracci. "How like it is to Domenichino's great picture in the Vatican! Do you suppose Domenichino borrowed so much from his master?"
"I fear so. Yet his picture is infinitely superior to this. And, look, here is Domenichino's _Death of St. Peter, Martyr_, which was borrowed largely from Titian's famous picture of the same subject, which has unfortunately been destroyed."
"But don't you call that a species of plagiarism?" queried Malcom.
"Undoubtedly it is. I must confess I am always sorry for Domenichino when I come into this hall. But we will pass on to better things. I wish you to study particularly these pictures by Francia," said he, as they entered a third hall.--"Yes, Betty, you are excusable. You all may look first at Raphael's _St. Cecilia_, for here it is."
All gathered about the beautiful, famous picture.
"How much larger than I have ever thought!" said Margery. "For what was it painted, uncle?"
"As an altar-piece for one of the oldest churches in Bologna. Do you recollect the story about Raphael's writing to Francia to oversee its proper and safe placing?"
"Oh, I do!" exclaimed Barbara, as Margery shook her head. "It was said that Francia never painted again, so overcome was he by the surpassing loveliness of Raphael's picture, and that he died from the effect of this feeling,--but," she went on impetuously, "I do not believe it; for see there!" pointing to Francia's _Madonna with Sts. John and Jerome_, "do you think that the artist who painted this picture is so very far behind even Raphael as to die of vexation at the difference between them?"
Barbara was so carried away by the picture that she had forgotten herself entirely, and spoke with her old-time frank eagerness, thereby thoroughly delighting Bettina and Mr. Sumner.
"I am glad you feel so," said the latter, very quietly, and with a strictly impersonal manner. "Francia, who belonged to the old Bolognese masters of the sixteenth century, was one of the most devout of painters, and everybody who studies his work must love it. See how pure and sweet are his expressions! How simple his composition! What harmony is in his coloring! How beyond those who painted after him!"