_Decline of the School of the Campi. Trotti and other Artists support it._
From the brief description already given, it will easily be perceived how far the Campi School was a sort of sketch of that of the Caracci; and what were the causes which contributed to the superiority of the latter, although they had both the same original outline. The Caracci were all excellent designers, and invariably aimed at appearing such; they were likewise united by affection, no less than by their place of residence, and were continually engaged in assisting each other. Finally, they supported an academy, much frequented, the object of which was, not so much to study the various manners of different artists, as to examine the different effects produced by nature, so as to render their works her real offspring, as it were, and not her more distant relations. The Campi, on the other hand, did not so uniformly aspire to the same excellence, nor did they reside, and unite together in forming so methodical and well-established an academy; each maintaining a separate school and residence, and teaching, if I mistake not, rather how their pupils should imitate them, than how they should paint. Hence it arose, that while Domenichino, Guido, Guercino, and others of the Caracci School, distinguished themselves by their novelty and originality of manner, the scholars of the Campi were confined to the sphere of imitating, as nearly as lay in their power, the painters of their own city, either severally or in a select number. And thus, as man is every where the same, it here ensued, as in the rest of the Italian schools, that having acquired a tolerable degree of skill in imitating their predecessors, artists began to slacken their industry. The first had accustomed themselves to copy only from the life; they drew cartoons, they modelled in wax, and carefully arranged all the divisions of their folds, with every accessary; but the second contented themselves with making a few sketches, and some heads taken from nature, executing the rest of their work in a mere mechanical manner, and as they judged to be most convenient. Thus by degrees this great school degenerated, and it happened also about the same period, when the disciples of Procaccini observed the same method at Milan. From this cause, during the seventeenth century, Lombardy was filled with the sectarists of the art, among whom the followers of Zuccheri themselves would have appeared in the rank of masters. A few there were who struggled to free themselves from the herd of imitators; and Caravaggio afforded them an opportunity. Born in the vicinity of Cremona, he was partly considered their compatriot, and the more willingly followed by the Cremonese; more particularly as it became popular to cry down the style of the last masters as feeble, and to demand one of a more vigorous character. The attempt succeeded admirably in a few; while others, on the contrary, as it occurred in Venice, at Cremona also became only coarse and sombre. I have not been very anxious to cultivate an acquaintance with the artists of this period; though I shall take care to make mention of such as succeeded in raising themselves above the crowd.