Antonio Allegri da Correggio, his life, his friends, and his time . nted, andtransferred it for ^ ^^^^^^. ^^^^^^l^^^^^^ safety from one church to another. These facts, which atone in some degree forthe wanton destruction of his fresco in the choir of the Benedictinechurch, sufficiently prove that Correggios work was treated withpeculiar reverence by his immediate survivors. Historians and writers of treatises were not long silent. In 1552 Landi described him as a painter nobly formed by Nature herself, rather than by any master. No one, he adds, excelled him in the painting of children, the
Antonio Allegri da Correggio, his life, his friends, and his time . nted, andtransferred it for ^ ^^^^^^. ^^^^^^l^^^^^^ safety from one church to another. These facts, which atone in some degree forthe wanton destruction of his fresco in the choir of the Benedictinechurch, sufficiently prove that Correggios work was treated withpeculiar reverence by his immediate survivors. Historians and writers of treatises were not long silent. In 1552 Landi described him as a painter nobly formed by Nature herself, rather than by any master. No one, he adds, excelled him in the painting of children, the treatment of draperies, and the rendering of hair. ^ Fabio Segni praised him in two epigrams preserved by Lodovico Dolce, speaking of Giulio Romano, declares him to be eclipsed by the finer colour and the greater charm of Antonio da Correggio, a superb master, by whom there are pictures in Parma so beautiful that it is impossible to desire better. In another work he 1 Settc Ubri di catha-/og/ii, p. 493. Vife, iv. p. 120. 2 Dialogo siilla llw Castle of FoTitandblo. 388 ANTONIO DA CORREGGIO includes Allegri among the most illustrious men of his century.^ Atabout the same i^eriod, Anton l^rancesco Doni, writing to MesserSimone Carnesecchi, exhorts him not to omit to see Correggios worksduring his sojourn in Parma,- and Lamo expresses his enthusiasticadmiration for the Noli inc taiigcre in 1560. But before this, in the year 1550, Lorenzo Torrentino, of Florence,had published Vasaris Vitc dcipiu eccellenti pittori, sailtori ed archi-tetti, in which, save for a trifling reservation in reference to his drawing,the most unbounded praise was bestowed on Correggios work, and hehimself was acclaimed as unique {siiigolarissimo) and an exquisitegenius. During the years which passed between the publication ofthe first and second editions of the Lives, Vasari had seen many ofCorreggios works again, but far from modifying his encomiums, hewaxed still more enthusiasti
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