Antonio Allegri da Correggio, his life, his friends, and his time . in the gallery, the supposed portrait of NicoloMaria Ouirico Sanvitale, ascribed by Stanislao Campana and PaoloToschi to Correggio, who, as we have seen, paintc^d no it has something of the masters tone of colour, the tamenessof the conception, and the treatment of the drapery are decisive asagainst its attri-bution to Allegri. To the listof scholars whoadmittedly work-ed under Cor-reggios influ-ence in Parma,certain biogra-phers haveadded a groupof artists whoare supposed tohave been hispupils in hisnative
Antonio Allegri da Correggio, his life, his friends, and his time . in the gallery, the supposed portrait of NicoloMaria Ouirico Sanvitale, ascribed by Stanislao Campana and PaoloToschi to Correggio, who, as we have seen, paintc^d no it has something of the masters tone of colour, the tamenessof the conception, and the treatment of the drapery are decisive asagainst its attri-bution to Allegri. To the listof scholars whoadmittedly work-ed under Cor-reggios influ-ence in Parma,certain biogra-phers haveadded a groupof artists whoare supposed tohave been hispupils in hisnative city. The short so-journs he madeat Correggio be-tween his long-absences at Par-ma and else-where ; the e.\-treme improb- s^iwui of corressio. \ -T- r 1 • lu llie Parma Oalltry. ability 01 his having burdened himself with pupils during the last three years of his life, when he was, most probably, already in feeble health, and busily engaged on the Duke of Mantuas numerous commissions, and the ages of the presumptive scholars, all tend to negative the hypothesis. 382 ANTONIO DA CORREGGIO of these writers, though in some cases they take the form of definiteassertion. At the most, it may be possible to make exceptions in the cases ofLeHo Orsi and Giovanni Giaroki.^ As regards these two, dates atleast do not forbid the assumption. They may have come into contactwith Correggio after 1530, though, as a fact, we find no mention ofeither until after his death. That Antonio Bernieri, a good Correggese miniature painter,studied, or formed himself under Correggio, seems to us highly im-probable. He was born in 1516, a fact which has been enough initself to correct a long array of historical errors. Like Allegri, he iscommonly described in documents as Antonio da Correggio, and butfor this fortunate disparity in their ages, it would have been almostimpossible to avoid a hopeless confusion of their Finally, we must exclude from the number of his pupils one whohas always heade
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