DOI Page / Citation link:
https://doi.org/10.11588/diglit.52800#0118
98
ORLEANS COLLECTION.
by Annibal Caracce to assist him in painting’
several subjects for the Farnese Gallery, after
the designs of that master; and he also painted
several original compositions of his own for that
palace. He decorated the walls of Frescati with
various frescos representing the history of Apollo,
by order of the Cardinal Aldobrandini, and after
having given abundant proofs of his great talents,
he was engaged to paint the subject of the
Communion of St. Jerome for the principal altar
of the church of St. Girolamo della Carita at
Rome.
This most admirable production of art, while it
raised him as a painter to the highest rank, excited
the greatest jealousy of some of his cotemporaries,
among whom was Lanfranco, and every means
was taken to endeavour to make it appear that
the composition was borrowed from a similar sub-
ject painted by Augostino for the Certosa at Bo-
logna ; but the various cabals formed against him
did not succeed; his brilliant genius triumphed
over them; and Nicholas Poussin, who was in
Rome at the time, and saw with disgust the in-
trigues which were formed against him, boldly
declared it to be his decided opinion, that next to
the Transfiguration of Raphael, the Communion
of St. Jerome was the second picture in Rome.—
The taking down from the Cross by Daniel da
ORLEANS COLLECTION.
by Annibal Caracce to assist him in painting’
several subjects for the Farnese Gallery, after
the designs of that master; and he also painted
several original compositions of his own for that
palace. He decorated the walls of Frescati with
various frescos representing the history of Apollo,
by order of the Cardinal Aldobrandini, and after
having given abundant proofs of his great talents,
he was engaged to paint the subject of the
Communion of St. Jerome for the principal altar
of the church of St. Girolamo della Carita at
Rome.
This most admirable production of art, while it
raised him as a painter to the highest rank, excited
the greatest jealousy of some of his cotemporaries,
among whom was Lanfranco, and every means
was taken to endeavour to make it appear that
the composition was borrowed from a similar sub-
ject painted by Augostino for the Certosa at Bo-
logna ; but the various cabals formed against him
did not succeed; his brilliant genius triumphed
over them; and Nicholas Poussin, who was in
Rome at the time, and saw with disgust the in-
trigues which were formed against him, boldly
declared it to be his decided opinion, that next to
the Transfiguration of Raphael, the Communion
of St. Jerome was the second picture in Rome.—
The taking down from the Cross by Daniel da