Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER XVI CORREGCIOS IUriLS AXl) IMITATORS I-RANCESCO MARIA KONDAN I —MICHIiLANGELO —PARMIGIANINO— —GIORGIO GANDIXO DIX GRANO—DERNARDINO GATTI, CALLED IL SOIARO—LELIO ORSI OF NOVELLARA—GIOVANNI GIAROLA POMPONIO ALLEGRI — ADMIRERS AND IMITATORS—THE CARRACCI—CORREGGIOs FAME. IN our study of Correggiowe have tried to paint thesociety by which he wassurrounded, and the events ofwhich he was a witness. But sofar we have only casually men-tioned his pupils, and those artistswho were most strongly in
Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER XVI CORREGCIOS IUriLS AXl) IMITATORS I-RANCESCO MARIA KONDAN I —MICHIiLANGELO —PARMIGIANINO— —GIORGIO GANDIXO DIX GRANO—DERNARDINO GATTI, CALLED IL SOIARO—LELIO ORSI OF NOVELLARA—GIOVANNI GIAROLA POMPONIO ALLEGRI — ADMIRERS AND IMITATORS—THE CARRACCI—CORREGGIOs FAME. IN our study of Correggiowe have tried to paint thesociety by which he wassurrounded, and the events ofwhich he was a witness. But sofar we have only casually men-tioned his pupils, and those artistswho were most strongly influ-enced by him. Allegris sojourn in Parmawas the immediate cause of anartistic evolution, which hasscarcely been appreciated at itstrue importance. A band of en-. CORREGGIOS INFLUENCE IN PARMA 369 thusiastic youncr men followed in his footsteps, producing works ofconsiderable merit, which sufficiently refute the assertion that Correggiofounded no school. We have followed the histor>- of painting In Parma down to aboutthe year 1520. \Y(; have seen that it was first a modest offshoot ofthe school of Cremona, and that Venetian and Bolonnesc inllucmccsinvested it with a certain beauty and animation, under the impulse ofwhich it produced works not wanting in dignity and earnestness, butat the same time of a purely imitative character. Early art in Parma was, in fact, no product of indigenous taste andknowledge, but an importation of ideas and formulx-, derived not merelyfrom without the city, but from without the territory in which it lay. We have shown what must have been the impression produced bythe works of the young artist of twenty-four from Correggio, whopainted the Abbess Giovannas chamber. Tcmperelli, Araldi, and theelder Mazzoli underto
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