Antonio Allegri da Correggio, his life, his friends, and his time . , and, above all, in his colour. Comparing himwith Parmigianino, we sec him to have been a less accomplisheddraughtsman ; but on the other hand, he is less mannered and curious feature of his works is the evicU-nt derivation of some ofhis figures fromstatues by AntonioBegarelli. Hiscolour is soft andtransparent, andat times weak,owing to his over-fondness for thosepale opalescenttints which recallthe changeful sur-face of mother-of-pearl. His master-piece is the Coii-ccption, a picturewhich fairly ranksas one of
Antonio Allegri da Correggio, his life, his friends, and his time . , and, above all, in his colour. Comparing himwith Parmigianino, we sec him to have been a less accomplisheddraughtsman ; but on the other hand, he is less mannered and curious feature of his works is the evicU-nt derivation of some ofhis figures fromstatues by AntonioBegarelli. Hiscolour is soft andtransparent, andat times weak,owing to his over-fondness for thosepale opalescenttints which recallthe changeful sur-face of mother-of-pearl. His master-piece is the Coii-ccption, a picturewhich fairly ranksas one of the bestworks of the Par-mesan andEmilianschools in the firstpart of the century. The influence of Correggio manifests itself more especiallytransparent colour, the half-tones and shadowquisitely light and delicate. The scrupulous accuracy of the outlines,the somewhat excessive length of the figures, and the convolutionsof the draperies, recall Parmigianino. Some of the figures of youth-ful angels betray reminiscences of the terra-cottas modelled by. : theof which are e.\- 37S ANTONIO DA CORREGGIO Begarelli for the Benedictines of San Giovanni Evangelista. Thegeneral effect is broad and coherent, in spite of the minute executionof details and the number of figures introduced ; but the picturehas been most severely cleaned, an operation which has robbed itof much of its brilliance, and has, indeed, completely ruined it inparts. The noble beauty of the faces, especially of the female figures,is, however, but slightly impaired. {Secillustration on p. 349.) Giorgio Gandino del Grano, born inParma towards the close of the fifteenthcentury, died in his native city in little is known either of his life orhis works. The latter are comparativelyrare. He felt the influence of Correg-gio, but though an artist of considerabletalent, he never approached his masterin transparency of colour and sobrietyof composition. His tints are some-what hard and violent ; th
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
