. Antonio Allegri da Correggio, his life, his friends, and his time. arocci, who, although a fellow-citizen ofRaphael, and an enthusiastic student of his great compatriots art, wasfascinated by the works of Correggio, whose pictures he copied, andwhose motives he reproduced. It is interesting, too, to note how even 1 Vita deW invitissimo e gloriosissimo wiperador Carlo Quitito, p. 171. Venice, tre nei quali si tratta delle diverse sorte delle gemme, p. 68. Venice, 1565. 2 Bottari, Raccolta di lettere, iii. p. 350. 3 Op. cit. iv. p. 118. HIS INFLUENCE ON HIS SUCCESSORS 389 before the
. Antonio Allegri da Correggio, his life, his friends, and his time. arocci, who, although a fellow-citizen ofRaphael, and an enthusiastic student of his great compatriots art, wasfascinated by the works of Correggio, whose pictures he copied, andwhose motives he reproduced. It is interesting, too, to note how even 1 Vita deW invitissimo e gloriosissimo wiperador Carlo Quitito, p. 171. Venice, tre nei quali si tratta delle diverse sorte delle gemme, p. 68. Venice, 1565. 2 Bottari, Raccolta di lettere, iii. p. 350. 3 Op. cit. iv. p. 118. HIS INFLUENCE ON HIS SUCCESSORS 389 before the time of the Carracci, the current of Bolognese art set in thedirection of our painters manner, and how the tendency to adopt hisforms had declared itself before the rise of the great school of is true that Biagio Pupini dalle Lame, Girolamo Marchesi,Innocenzo da Imola, Bagnacavallo, and some few others, only threw offthe spell of Francia to fall under that of Raphael ; but it is equallytrue that their immediate successors turned with one accord to Cor-. MADONNA AND CHILD WITH SAINTS, BY PASSAROTTI. In the Bologna Gallery. reggio. Orazio Sammachini, Lorenzo Sabbatini, the Procaccini, thePassarotti, Nicolo dell Abate, in fact, all the Bolognese and Modenesepainters who flourished in the second half of the sixteenth century, feltthe fascination of Correggios colour and line. In many examples oftheir art we could point not only to imitation, but direct Martyrdom of St. Peter and St. Paul, by Nicolo dell Abate, inthe Dresden Gallery, is inspired to some extent by Pordenones pic-ture at Cortemaggiore; but the central group, with the executioner 39o ANTONIO DA CORREGGIO in the act of killing St. Paul, is lifted bodily from CorreggiosSt. Placidus. Bartolomeo Passarotti was perhaps of all these painters the onewho approached the master most nearly in his colour, and thesweetness of his types. In a small early picture by him in theBologna Gallery, representing
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