Cook and Wedderburn seek at Works, 3.284n to justify Ruskin's diatribe against Domenichino on the grounds that it is a response to an established and unquestioned reputation.
Waagen, Treasures of Art in Great Britain, Volume I, p. 336, writing in 1838, is positive in his assessment of Domenichino, describing him as 'the greatest scholar of the Caracci in poetical invention, genuine feeling for nature, warmth and transparency of colouring and solidity of execution', and Ruskin's comments on colour and execution in paintings by Domenichino seem to be directed to challenging such views.
Jameson, Hand-book to the Public Galleries of Art in and near London, p. 185, writing in 1842, says of him that 'through depth of moral feeling and sincerity of purpose [he] reaches to great elevation in his conceptions, though not gifted with a very vivid or fertile imagination'.
Kugler, ed. Eastlake, Handbook of the History of Painting, Part One, The Italian Schools, First Edition, also attempted a balanced assessment. Kugler, translated into English in 1842, agrees that though Domenichino was 'not gifted with a particularly rich fancy' nevertheless 'the imitation is not servile'. However, 'if an enthusiastic state of mind, a lofty conception of life, or a grand and animated scene is to be represented, Domenichino is cold and insipid and theatrical in arrangement', though 'accessory figures are often very graceful and in a nobler style of beauty'. Kugler adds that 'the character of his landscape is decorative; but it is united in a happy manner with warmth of colour, and with cheerful, lively feeling'.