See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

CORREGGIO, or COREGGIO  , the name ordinarily given to See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• ALLEGRI, GREGORIO

Allegri (1494-1534), the celebrated See also:

• ITALIAN

Italian painter, one of the most vivid and impulsive inventors in expression and pose and the most consummate executants . The See also:

• EXTERNAL

external circumstances of his See also:

• LIFE

life have been very diversely stated by different writers, and the whole of what has been narrated regarding him, even waiving the question of its authenticity, is but meagre . The first controversy is as to his origin . Some say that he was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born of poor and lowly parents; others, that his See also:

• FAMILY

family was See also:

• NOBLE, SIR ANDREW (1832- )

noble and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich . Neither See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account is accurate . His See also:

• FATHER

father was Pellegrino Allegri, a tradesman in comfortable circumstances, living at See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio, a small See also:

• CITY (through Fr. cite, from Lat. civitas)

city in the territory of See also:

• MODENA (ancient Mutina)

Modena; his See also:

• MOTHER

mother Bernardina Piazzoli degli Aromani, also of a creditable family of moderate means . Antonio was born at Correggio, and was carefully educated . He was not (as has been often alleged) strictly self-taught in his See also:

• ART

art—a supposition which the See also:

• INTERNAL

internal See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of his pictures must of itself refute . They show a knowledge of See also:

• OPTICS

optics, See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy . The last-named See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science he studied under Dr Giovanni Battista Lombardi, whom he is believed to have represented in the portrait currently named " Il Medico del Correggio " (Correggio's physician) . It is concluded that he learned the first elements of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design from his See also:

• UNCLE

uncle, Lorenzo Allegri, a painter of moderate ability at Correggio, and from Antonio Bartolotti, named Tognino, and that he afterwards went to the school of See also:

• FRANCESCO
• FRANCESCO, 210

Francesco See also:

• FERRARI, GAUDENZIO (1484-1549)
• FERRARI, GIUSEPPE (1812–1876)
• FERRARI, PAOLO (1822–1889)

Ferrari Bianchi (named Frare), and perhaps to that of the successors of See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea Nlantegna in See also:

• MANTUA (Ital. Mantova)

Mantua . He is said to have learned modelling along with the celebrated Begarelli at See also:

• PARMA

Parma; and it has even been suggested that, in the " Pieta " executed by Begarelli for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• SANTA

Santa Margherita, the three finest figures are the See also:

• WORK

work of Correggio, but, as the See also:

• GROUP

group appears to have been completed three years after the painter's See also:

• DEATH

death, there is very little plausibility in this See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story .

Another statement connecting Begarelli with Correggio is probably true, namely, that the sculptor executed See also:

• MODELS

models in See also:

• RELIEF

relief for the figures which the painter had to design on the cupolas of the churches in Parma . This was necessarily an expensive See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

item, and it has been cited as showing that Correggio must have been at least tolerably well off,—an inference further supported by the fact that he used the most See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious and costly See also:

• COLOURS, MILITARY

colours, and generally painted on See also:

• FINE

fine canvases or sometimes on sheets of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper . The few certain See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORKS

works of .Correggio show a rapid progression towards the attainment of his own See also:

• ORIGINAL

original See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . Though he never achieved any large measure, of reputation during his brief lifetime, and was perhaps totally unknown beyond his own See also:

• DISTRICT

district of See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, he found a sufficiency of employers, and this from a very youthful See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . One of his early pictures, painted in 1514 when he was nineteen or twenty years old, is a large See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece commissioned for the Franciscan See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent at See also:

• CARPI
• CARPI, GIROLAMO DA (15or-1556)

Carpi, representing the Virgin enthroned, with See also:

• SAINTS, BATTLE OF THE

Saints; it indicates a predilection for the style of Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, and has certainly even greater freedom than similarly early works of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael . This picture is now in the See also:

• DRESDEN

Dresden See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery . Another See also:

• PAINTING

painting of Correggio's youth is the " See also:

• ARREST (Fr. arrester, arreeter, to stop or stay)

Arrest of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ." A third 4s an See also:

• ANCONA
• ANCONA, ALESSANDRO (1835– )

Ancona (or triple altar-piece—the " Repose in See also:

• EGYPT

Egypt, with Sts See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew and See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John ") in the church of the Conventuali at Correggio, showing the transition from the painter's first to his second style . Between 1514 and 15 20 Correggio worked much, both in oil and in See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, for churches and convents . In 1521 he began his famous fresco of the " See also:

• ASCENSION
• ASCENSION, FEAST OF THE

Ascension of Christ," on the See also:

• CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola of the See also:

• BENEDICTINE

Benedictine church of See also:

• SAN

San Giovanni in Parma; here the Redeemer is surrounded by the twelve apostles and the four doctors of the church, supported by a See also:

• HOST

host of wingless cherub boys amid the clouds . This he finished in 1524, and soon afterwards undertook his still vaster work on another cupola, that of the See also:

• CATHEDRAL

cathedral of the same city, presenting the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," amid an unnumbered host of saints and angels rapt in See also:

• CELESTIAL, OR STELLAR

celestial joy . It occupied him up to 1530 . The astounding boldness of See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme in these works, especially as regards their incessant and audacious foreshortenings—the whole See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of figures being portrayed as in the clouds, and as seen from below—becomes all the more startling when we recall to mind the three facts—that Correggio had apparently never seen any of the masterpieces of Raphael or his other See also:

• GREAT

great predecessors and contemporaries, in See also:

• ROME
• ROME (Roma)

Rome, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, or other See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief centres of art; that he was the first artist whoever undertook the painting of a large cupola; and that he not only went at once to the extreme of what can be adventured in foreshortening, but even forestalled in this See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt the mightiest geniuses of an See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation-the " Last See also:

• JUDGMENT

Judgment " of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, for instance, not having been begun earlier than 1533 (although the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the Sixtine See also:

• CHAPEL

chapel, in which foreshortening plays a comparatively small See also:

• PART

part, See also:

• DATES

dates from 1508 to 1512) .

The cupola of the cathedral has neither skylight nor windows, but only See also:

• LIGHT

light reflected from below; the frescoes, some portions of which were ultimately supplied by Giorgio Gandini, are now dusky with the See also:

• SMOKE (from O. Eng. smeocan, to smoke, reek, cf. Dutch meek, Ger. Schmauch, probably allied to Gr. vol9caiv)

smoke of tapers, and parts of them, in the cathedral and in the church of St John, have during many past years been peeling off . The violent foreshortenings were not, in the painter's own See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, the See also:

• OBJECT

object of unmixed admiration; some satirist termed the See also:

• GROUPS
• GROUPS, THEORY

groups a " guazzetto di rane," or " hash of frogs." This was not exactly the See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, who is reported to have said, on seeing the pictures, and finding them lightly esteemed by See also:

• LOCAL

local dignitaries, " See also:

• REVERSE

Reverse the cupola, and fill it with See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold, and even that will not be its See also:

• MONEY

money's See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth." Annibale See also:

• CARACCI, LODOVICO, AGOSTINO

Caracci and the Eclectics generally evinced their zealous admiration quite as ardently . Parma is the only city which contains frescoes by Correggio . For the paintings "of the cupola of San Giovanni he received the moderate sum of 472 sequins; for those of the cathedral, much less proportionately, 350 . On these amounts he had to subsist, himself and his family, and to provide the colours, for about ten years, having little time for further work meanwhile . Parma was in an exceedingly unsettled and turbulent See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition during some of the years covered by Correggio's labours there, veering between the governmental ascendancy of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and of the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope, with See also:

• WARS

wars and rumours of wars, alarms, tumults and pestilence . Other leading works by Correggio ,are the following:—The frescoes in the See also:

• CAMERA (a Latin adaptation of Gr. Kagapa, an arched chamber)

Camera di San See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo (the See also:

• ABBESS (Lat. abbatissa, fem. form of abbas, abbot)

abbess's See also:

• SALOON

saloon) in the monastery of S . Lodovico at Parma, painted towards 1519 in fresco,—" See also:

• DIANA

Diana returning from the See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

Chase," with See also:

• AUXILIARY (from Lat. auxilium, help)

auxiliary groups of lovely and vivacious boys of more than life See also:

• SIZE

size, in sixteen See also:

• OVAL (Lat. ovum, egg)

oval compartments . In the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, the " Ecce Homo," painted probably towards 1520 (authenticity not unquestioned); and " See also:

• CUPID (Cupido, " desire ")

Cupid, See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury and See also:

• VENUS

Venus," the latter more especially a fine example . The oil-painting of the Nativity named " See also:

• NIGHT

Night " (" La Notte "), for which 40 ducats and 208 livres of old Reggio See also:

• COIN
• COIN (older forms of the word are coyne, quoin and coign, all derived through the O. Fr. coing, and cuigne from Lat. cuneus, a wedge)

coin were paid, the nocturnal See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene partially lit up by the splendour proceeding from the divine See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant . This work was undertaken at Reggio in 1522 for Alberto Pratoneris, and is now in the Dresden gallery . The oil-painting of St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome, termed also " See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day " (" Il Giorno "), as contrasting with the above-named " Night." Jerome is here with the Madonna and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child, the Magdalene, and two Angels, of whom one points out to the Infant a passage in the See also:

• BOOK

book held by the See also:

• SAINT (lat. sanctus, " holy ")

Saint .

This was painted for Briseida Bergonzi from 1527 on-wards, and was remunerated by 400 gold imperials, some cartloads of faggots and See also:

• MEASURES

measures of See also:

• WHEAT
• WHEAT (Triticum)

wheat, and a See also:

• FAT (O.E. fdett; the word is common to Teutonic languages, cf. Dutch vet, Ger. Fett, &c., and may be ultimately related to Greek Irian, and =apos, and Sanskrit pivan)

fat See also:

• PIG
• PIG (a word of obscure origin, connected with the Low Ger. and Dut. word of the same meaning, bigge)

pig . It is now in the gallery at Parma . The " Magdalene lying at the entrance of her Cavern ": this small picture (only 18 in. wide) was bought by See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus III. of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony for 6000 See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

louis d'or, and is in Dresden . In the same gallery, the two works designated " St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George " (painted towards 1532) and " St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian." In the Parma gallery, the Madonna named " della Scala," a fresco which was originally in a See also:

• RECESS (Lat. recessus, a going back, withdrawal, from recedere, to withdraw)

recess of the Porta See also:

• ROMANA

Romana, Parma; also .the Madonna " della Scodella " (of the bowl, which is held by the Virgin—the subject being the Repose in Egypt) : it was executed for the church of San Sepolcro . Both these works date towards 1526 . In the church of the See also:

• ANNUNCIATION

Annunciation, " Parma," a fresco of the Annunciation, now all but perished . Five celebrated pictures painted or begun in 1532,—" Venus," " See also:

• LEDA

Leda," " See also:

• DANAE

Danae," " See also:

• VICE

Vice," and " Virtue " : the " Leda," with figures of charming girls bathing, is now in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin gallery, and is a singularly delightful specimen of the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master . In See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, " See also:

• JUPITER

Jupiter and Io." In the Louvre, " Jupiter and See also:

• ANTIOPE

Antiope," and the " Mystic See also:

• MARRIAGE

Marriage of St Catharine." In the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples Museum, the " Madonna Reposing," commonly named " La Zingarella," or the " Madonna del Coniglio " (Gipsy-girl, or Madonna of the See also:

• RABBIT

Rabbit) . On some of his pictures Correggio signed " Lieto," as a synonym of " Allegri." About See also:

• FORTY

forty works can be confidently assigned to him, apart from a multitude of others probably or manifestly See also:

• SPURIOUS

spurious . The famous story that this great but isolated artist was once, after See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long expectancy, gratified by seeing a picture of Raphael's, and closed an intense See also:

• SCRUTINY (Fr. scrutin, Late Lat. scrulinium, from scrutari, to search or examine thoroughly)

scrutiny of it by exclaiming " Anch' io son pittore " (I too am a painter), cannot be traced to any certain source . It has nevertheless a great internal See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability; and the most enthusiastic devotee of the Umbrian will admit that in technical bravura, in enterprizing, gifted, and consummated See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, not Raphael himself could have assumed to See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

lord it over Correggio . In 1520 Correggio married Girolama Merlino, a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady of Mantua, who brought him a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DOWRY (in Anglo-Fr. dowarie, O. Fr. douaire, Med. Lat. dotaria, from Lat. dos; from root of dare, to give; in Fr. dot)

dowry .

She was but sixteen years of age, very lovely, and is said by tradition to have been the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of his Zingarella . They lived in great See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony together, and had a family of four See also:

• CHILDREN, LAW RELATING TO

children . She died in 1529 . Correggio himself expired at his native See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place on the 5th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1534 . His illness was a See also:

• SHORT, FRANCIS JOB (1857– )

short one, and has by some authors been termed See also:

• PLEURISY, or PLEURITIS (Gr. srXeiipc =ribs)

pleurisy . Others, following See also:

• VASARI, GIORGIO (1511-1571)

Vasari, allege that it was brought on by his having had to carry See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home a sum of money, 50 scudi, which had been paid to him for one of his pictures, and paid in copper coin to humiliate and See also:

• ANNOY (like the French ennui, a word traced by etymologists to a Lat. phrase, in odio esse, to be " in hatred " or hateful of someone)

annoy him; he carried the money himself, to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save expense, from Parma to Correggio on a hot day, and his fatigue and exhaustion led to the mortal illness . In this curious See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale there is no symptom of authenticity, unless its very singularity, and the unlikelihood of its being invented without any See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation at all, may be allowed to See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count for something . He is said to have died with See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian piety; and his eulogists (speaking apparently from See also:

• INTUITION (from Lat. intueri, to look at)

intuition rather than See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record) affirm that he was a good See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen, an affectionate son and father, fond and observant of children, a sincere and obliging friend, pacific, beneficent, grateful, unassuming, without meanness, See also:

• FREE

free from envy and tolerant of See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . He was buried with some pomp in the Arrivabene chapel, in the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister of the Franciscan church at Correggio . Regarding the art of Correggio from an intellectual or emotional point of view, his supreme See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift may be defined as suavity,—a vivid, spontaneous, lambent See also:

• PLAY

play of the affections, a heartfelt inner See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace which fashions the forms and features, and beams like soft and glancing See also:

• SUNSHINE

sunshine in the expressions . We see lovely or lovable souls clothed in bodies or corresponding loveliness, which are not only physically charming, but are so informed with the spirit within as to become one with that in See also:

• MOVEMENT

movement and gesture . In these qualities of graceful naturalness, not heightened into the sacred or severe, and of joyous animation, in momentary See also:

• SMILES, SAMUEL (1812-1904)

smiles and casual living turns of See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head or See also:

• LIMB

limb, Correggio undoubtedly carried the art some steps beyond any-thing it had previously attained, and he remains to this day the unsurpassed or unequalled model of pre-See also:

• EMINENCE (Lat. eminentia)

eminence .

From a technical point of view, his supreme gift—even exceeding his prodigious See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty in foreshortening and the like—is See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro, the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of modifying every See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, from See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright light to See also:

• DEPTH

depth of darkness, with the sweetest and most subtle gradations, all being combined into harmonious unity . In this again he far distanced all predecessors, and defied subsequent competition . His See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour also is luminous and precious, perfectly understood and blended; it does not See also:

• RIVAL

rival the superb richness or deep intense glow of the Venetians, but on its own showing is a perfect achievement, in exact keeping with his See also:

• POWERS, HIRAM (1805-1873)

powers in chiaroscuro and in vital expression . When we come, however, to estimate painters according to their dramatic faculty, their power of telling a story or impressing a majestic truth, their range and strength of mind, we find the merits of Correggio very feeble in comparison with those of the highest masters, and even of many who without. being altogether great have excelled in these particular qualities . Correggio never means much, and often, in subjects where fulness of significance is demanded, he means provokingly little . He expressed his own miraculous facility by saying that he always had his thoughts at the end of his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil; in truth, they were often thoughts rather of the pencil and its controlling See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand than of the teeming See also:

• BRAIN (A.S. braegen)

brain . He has the faults of his excellences—sweetness lapsing into mawkishness and affectation, empty in elevated themes and lasciviously voluptuous in those of a sensuous type, rapid and forceful See also:

• ACTION

action lapsing into posturing and self-display, fineness and sinuosity of See also:

• CONTOUR

contour lapsing into exaggeration and mannerism, daring design lapsing into incorrectness . No great master is more dangerous than Correggio to his enthusiasts; See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round him the misdeeds of conventionalists and the follies of connoisseurs cluster with See also:

• PECULIAR

peculiar virulence, and almost tend to See also:

• BLIND, MATHILDE (1841—1896)

blind to his real and astonishing excellences those practitioners or lovers of painting who, while they can acknowledge the value of technique, are still more devoted to greatness of soul, and See also:

• GRAVE

grave or elevated invention, as expressed in the See also:

• FORM (Lat. forma)

form of art . Correggio was the head of the school of painting of Parma, which forms one See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division of the Lombardic school . He had more imitators than pupils . Of the latter one can name with certainty only his son Pomponio, who was born in 1521 and died at an advanced age; Francesco Capelli; Giovanni Giarola; Antonio Bernieri (who, being also a native of the See also:

• TOWN

town of Correggio, has sometimes been confounded with Allegri); and Bernardo Gatti, who ranks as the best of all . The Parmigiani (Mazzuoli) were his most highly distinguished imitators .

A large number of books have been written concerning Correggio . The See also:

• PRINCIPAL

principal See also:

• MODERN

modern authority is Conrado See also:

• RICCI, MATTEO (1552-1610)

Ricci, Life and Times of Correggio (1896) ; see also Pungileoni, Memorie storiche di Antonio Allegri (1817); See also:

• JULIUS

Julius See also:

• MEYER, CHRISTIAN ERICH HERMANN VON (18or-1869)
• MEYER, HEINRICH AUGUST WILHELM (1800-1873)
• MEYER, JULIUS LOTHAR (183o-1895)
• MEYER, KONRAD FERDINAND (1825-1898)
• MEYER, VICTOR (1848-1897)
• MEYER, [MARIE] PAUL HYACINTHE (184o- )

Meyer, Antonio Allegri (187o, See also:

• ENGLISH

English See also:

• TRANSLATION

translation, 1876) ; H . Thode, Correggio (1898) ; Bigi, Vita ed opere (1881); Colnaghi, Correggio Frescoes at Parma (1845); Fagan, Works of Correggio (1873); and T . See also:

• STURGE, JOSEPH (1793-1859)

Sturge See also:

• MOORE, A
• MOORE, ALBERT JOSEPH (1841–1893)
• MOORE, EDWARD (1712–1757)
• MOORE, GEORGE (1853– )
• MOORE, GEORGE FOOT (1851– )
• MOORE, HENRY (1831–1895)
• MOORE, JOHN (1729-1802)
• MOORE, SIR JOHN (1761-1809)
• MOORE, THOMAS (1779-1852)

Moore, Correggio (1906) (a work which includes some adverse criticism on the views of Bernhard Berenson, in his Study of Italian Art, 1901, and else-where) . . (W . M .