Antonio Allegri da Correggio, his life, his friends, and his time . llow ourselves to be carried awayby love of our subject, scrupulously recording all that has beensaid both for and against Correggio, though the critic is oftentempted to become the panegyrist before the works of a genius soindividual as to justify the well-known phrase, the Correggiosity ofCorreggio. Even those least disposed to admire his forms, the rigid devotees \V)1. iv. pp. 12, 115, 119. 1NM)I\I1)UALI TV Ol HIS CFNTUS ;/,7 of Florentine dignity and correctncjss, cannot hut admit the fascinationthat breathes from a thousa
Antonio Allegri da Correggio, his life, his friends, and his time . llow ourselves to be carried awayby love of our subject, scrupulously recording all that has beensaid both for and against Correggio, though the critic is oftentempted to become the panegyrist before the works of a genius soindividual as to justify the well-known phrase, the Correggiosity ofCorreggio. Even those least disposed to admire his forms, the rigid devotees \V)1. iv. pp. 12, 115, 119. 1NM)I\I1)UALI TV Ol HIS CFNTUS ;/,7 of Florentine dignity and correctncjss, cannot hut admit the fascinationthat breathes from a thousand lovely cn^ations, moving and smiling inthe effulgent light of morning and spring. This is the demoniac power, as Goethe calls it, which ink)rmsthe work of the great creative genius. The magic of form, the in-toxication of movement and sentiment, awak(>n an emotion againstwhich reason and criticism are alike powerless. All defects are for-gotten, and, filled with wondering admiration, we recognise the artistsgreatness in our own sense of delighted
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
