Guido Reni

Of my exquisite Madonna di Foligno, or Francesco's Fia, the most garrulous and devout painter in the world.

Of poor Guido Reni, whom the bearded painters of the present day treat with such contempt, and yet he painted a certain Aurora, and many other splendid objects besides.

But what avails description? It is well for me that I can revel in the sight of them.

When we meet I may perhaps be able to give you a better idea of them.

Ginevra Cantafuoli.

And in fact, the portrait now, although for a long time it was believed to be by a well-known Baroque artist called Guido Reni.

In fact, there's been a re-evaluation and in the gallery, in the Palazzo Barberini, there's a kind of a question mark under the attribution.

But the view is now that it's more than likely a woman artist.

Even his celestial spirits have anything but glorified bodies.

Now Guido Reni is, if one may so speak, heavenly.

His every touch has a tinge of the blue sky about it; and he is seldom guilty of mixing up mythological and sacred subjects, which is so profane, or mythological and historical, which is so puzzling.

Each of his paintings is a simple idea, which the mind can take in and contemplate without distraction.

But the tendency of the crucifix as it nears the ridge to the south is to become weak and sentimental.

The carved Christs turn up their faces and roll back their eyes very piteously in the approved Guido Reni fashion.

They are overdoing the pathetic turn.

They are looking to heaven and thinking about themselves in self-commiseration.