Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER XV THE GENIUS AND STYLE OF CORREGOIO PERSONALITV^SCHOOL—COMPOSITION—CORREGGIO AND MICHELANGELO COMPARED—SUBJECTS—DRAWING—HIS INTUITIVE SENSE OF FORESHORTENING—HIS SENTIMENT—GREAT ARTISTS CONTEMPORARY WITH HIM—HIS TUMULTUOUS GROUPING OF FIGURESIN MOTION—RELIGIOUS FEELING AND SENSUALITY—ESSENTIAL CHARACTERISTICSOF ART—CORREGGIOS TECHNIQUE—CHIAROSCURO —LIGHT—COLOUR—HIS AFFINITYWITH LFONARDO, , AND LORFNZO LOTTO—TECHNICAL METHODS—HIS USEOF THE BRU^H- CORRr(,i I(>sIT\ \Mi DEMONIAC FORCE. WE know that OrtcnsioLa

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Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER XV THE GENIUS AND STYLE OF CORREGOIO PERSONALITV^SCHOOL—COMPOSITION—CORREGGIO AND MICHELANGELO COMPARED—SUBJECTS—DRAWING—HIS INTUITIVE SENSE OF FORESHORTENING—HIS SENTIMENT—GREAT ARTISTS CONTEMPORARY WITH HIM—HIS TUMULTUOUS GROUPING OF FIGURESIN MOTION—RELIGIOUS FEELING AND SENSUALITY—ESSENTIAL CHARACTERISTICSOF ART—CORREGGIOS TECHNIQUE—CHIAROSCURO —LIGHT—COLOUR—HIS AFFINITYWITH LFONARDO, , AND LORFNZO LOTTO—TECHNICAL METHODS—HIS USEOF THE BRU^H- CORRr(,i I(>sIT\ \Mi DEMONIAC FORCE. WE know that OrtcnsioLandi was the first toappreciate CorrcggiosL;i-cat artistic personality. Th(^prolonged hesitation of criticismia detc:rmining who were hismasters, and to what school hemight jjroperly be affiliated, de-monstrates more plainly than anyaffirmations, ancient or modern,how complete was the domina-tion of individual over acquiredqualities in his art. Nay, more ;if we consider the gradual

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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896