Page "Antonio Marziale Carracci" Paragraph 7

Antonio inherited the studio against the claims of Annibale ’ s surviving brother Giovanni Antonio, who contested the inheritance by throwing doubt on his nephew ’ s paternity.

Despite gaining commissions, those from the Cardinal Pietro Aldobrandini, the main patron after the Farnese, declined once the cardinal's uncle Clement VIII died in 1605.

This also coincides with the onset of Annibale ’ s incapacitating illness.

The ascent of the Borghese Pope, Paul V, continued the decline of the studio.

By report, Annibale could not receive Cardinal Scipione Borghese, slipping out of a back door when he came to the studio ; but Antonio was introduced to the pope's Prodatario, Cardinal Tonti, also an avid collector.

Tonti employed Antonio to paint four chapels in his church ; other public commissions included a chapel in Santa Maria in Monticelli, work in Sant ' Girolamo dei Schiavoni, Santa Maria in Trastevere, and Sant ' Sebastiano fuori le Mura, and in Palazzo Mattei.

Antonio and Guido Reni collaborated in the decoration of the Cappella dell ’ Annunciata in the Palazzo Quirinal, painting a frieze of the Stanza del Diluvio.

He contributed, around 1616, to the Alexander frescoes done for Cardinal Peretti Montalto ; other works were done for Marchese Giustiniani, Cardinal Orsino, the Ludovisi, Cavalier Sachetti, Dionigio Buonavia in Bologna ; and of course he was under the protection of Cardinal Odoardo Farnese, who recognized him as his ‘ pittor di casa ’ and paid him a monthly stipend.