. Antonio Allegri da Correggio, his life, his friends, and his time. minekva. (Fresco in the Camera di San Paolo at Parma.) CHAPTER XVI CORREGGIOS PUPILS AND IMITATORS FRANCESCO MARIA RONDANI —MICHELANGELO ANSELMI—PARMIGIANINO—GIROLAMOMAZZOLA-BEDOLI —GIORGIO GANDINO DEL GRANO—BERNARDINO GATTI, CALLED IL SOIARO LELIO ORSI OF NOVELLARA—GIOVANNI GIAROLA—POMPONIO ALLEGRI — ADMIRERS AND IMITATORS—THE CARRACCI—CORREGGIOS FUTTi. (Fresco in the Camera di San Paolo at Parma.) IN our study of Correggiowe have tried to paint thesociety by which he wassurrounded, and the events ofwhich he was a wit
. Antonio Allegri da Correggio, his life, his friends, and his time. minekva. (Fresco in the Camera di San Paolo at Parma.) CHAPTER XVI CORREGGIOS PUPILS AND IMITATORS FRANCESCO MARIA RONDANI —MICHELANGELO ANSELMI—PARMIGIANINO—GIROLAMOMAZZOLA-BEDOLI —GIORGIO GANDINO DEL GRANO—BERNARDINO GATTI, CALLED IL SOIARO LELIO ORSI OF NOVELLARA—GIOVANNI GIAROLA—POMPONIO ALLEGRI — ADMIRERS AND IMITATORS—THE CARRACCI—CORREGGIOS FUTTi. (Fresco in the Camera di San Paolo at Parma.) 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 young men followed in his footsteps, producing works ofconsiderable merit, which sufficiently refute the assertion that Correggiofounded no school. We have followed the history of painting in Parma down to aboutthe year 1520. We have seen that it was first a modest offshoot ofthe school of Cremona, and that Venetian and Bolognese influencesinvested 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 imitat
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