. Antonio Allegri da Correggio, his life, his friends, and his time. Gallery.) 374 Portrait of Antea, by Parmigianino. (In the Naples Museum.) 375 Mothers presenting Offerings. (Fragment from the Conception, by Girolamo Mazzola-Bedoli. In the Parma Gallery.) 37° St. Clara, by Girolamo Mazzola-Bedoli. (In the Naples Museum.) . 377 St. Robert, Abbot of Chaise-Dieu, by Girolamo Mazzola-Bedoli. (In the Parma Gallery.) 378 PORTRAIT OF NlCOLO QuiRlCO SANVITALE. (School of Correggio. In the Parma Gallery.) 381 Allegorical Figure of Parma embracing Alessandro Farnese, by Girolamo Mazzola-Bedoli. (In t
. Antonio Allegri da Correggio, his life, his friends, and his time. Gallery.) 374 Portrait of Antea, by Parmigianino. (In the Naples Museum.) 375 Mothers presenting Offerings. (Fragment from the Conception, by Girolamo Mazzola-Bedoli. In the Parma Gallery.) 37° St. Clara, by Girolamo Mazzola-Bedoli. (In the Naples Museum.) . 377 St. Robert, Abbot of Chaise-Dieu, by Girolamo Mazzola-Bedoli. (In the Parma Gallery.) 378 PORTRAIT OF NlCOLO QuiRlCO SANVITALE. (School of Correggio. In the Parma Gallery.) 381 Allegorical Figure of Parma embracing Alessandro Farnese, by Girolamo Mazzola-Bedoli. (In the Naples Museum.) 384 Madonna and Child, with the Infant St. John, by Pomponio Allegri. (In the Parma Gallery.) 3&5 The Legend of Diana and Action, by Parmigianino. (In the Castle of Fontanellato.^ 386 The Legend of Diana and Action, by Parmigianino. (In the Castle of Fontanellato.) 387 Madonna and Child, with Saints, by Passarotti. (In the Bologna Gallery.) . 389 Head of the Dead Christ, by Mantegna. (In the Brera, Milan.) 392 CORREGGIO IN HIS NATIVE CITY. the three graces. (Fresco in the Camera di San Paolo at Parma. CHAPTER I THE RENAISSANCE IN THE EMILIA THE REVIVAL OF CULTURE—THE HORRORS OF THE MIDDLE AGES—THE BENTIVOGLIAT BOLOGNA—THE BOIARDI AT SCANDIANO—THE PICO FAMILY AT MIRANDOLA—THEPIO FAMILY AT CARPI—THE GONZAGHI AT NOVELLARA—THE TORELLI AT GUASTALLAAND AT MONTECHIARUGOLO—THE PALLAVICINI AT CORTEMAGGIORE—THE ROSSI ATPARMA—LOVE OF ART IN ITALY. I WELL remember a certainchilly April morning I oncespent on the summit ofCimone, the highest point of theEmilian Apennines. The palelight of dawn had scarcelypierced the mass of floatingcloud about the peak, which thewind drove before it at inter-vals, tearing it capriciously intoshreds, now of dense, now ofdiaphanous vapour. From everytwig and shoot silvered bythe mist, leaves and drops of B Hf A*. «i Ife 1 ¥ t ^^jlot I ? * Im WL -**4| ^^1 .*£? £, jM 1 putti. (Fresco in the Camera di San Paolo at Par
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