. Antonio Allegri da Correggio, his life, his friends, and his time. doe,which looks up witheyes full of gentle in-telligence. We now come to agroup of little belliger-ents (vi). One babydraws a dart from thequiver, while his friendinstructs him where toaim it. Others make avaliant effort to raise along and heavy lance(vii) ; their neighboursstring a bow (viii).The next have a moretroublesome business onhand (ix) ; several ofthem cluster round agreat mastiff, whichthey endeavour to pre-vent from falling- 0nthe trembling dog twoputti in the next ovalare doing their best to protect (x). But it i
. Antonio Allegri da Correggio, his life, his friends, and his time. doe,which looks up witheyes full of gentle in-telligence. We now come to agroup of little belliger-ents (vi). One babydraws a dart from thequiver, while his friendinstructs him where toaim it. Others make avaliant effort to raise along and heavy lance(vii) ; their neighboursstring a bow (viii).The next have a moretroublesome business onhand (ix) ; several ofthem cluster round agreat mastiff, whichthey endeavour to pre-vent from falling- 0nthe trembling dog twoputti in the next ovalare doing their best to protect (x). But it is time to start for the chase ; a Cupid lifts thehorn slung across his neighbours shoulder, and raises it to his lips ;the latter stands on his rights, however, and tries to snatch it , another blows such a terrific blast that two of his comradesstop their ears (xi and xii). One beautiful boy triumphantly holdsup the head of the stag (xiii), which others are about to crown (xiv).A Cupid in the penultimate oval (xv) hastens to assist at this solemn Y. BOY GENII FROM THE CAMERA DI SAN PAOLO, AFTER CORREGGIO. In the Weimar Museum. 162 ANTONIO DA CORREGGIO ceremony, but his companion draws him away towards the last pair,who are fighting for the possession of a pole, with which they proposeto attack the fruit above (xvi).1 This unity of argument, this sequence of infantile episodes, has passed almost unnoticed hitherto ; we shall see, however, that it was a very characteristic trait of Correggios compositions. The putti of the Camera di San Paolo are robust and vigorously modelled urchins ; they are foreshortened in a masterly manner ; but in some of the little figures there is an undeniable clumsiness, which is greatly modified in the genii of San Giovanni Evangelista, and disappears entirely from those of the Duomo. Even among these earlier groups there are individual figures of ideal beauty; but all are somewhat too rubicund, and their laughter has not the gleeful a
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