Antonio Allegri da Correggio, his life, his friends, and his time . of the Palazzo dei Diamanti inFerrari, while we learn from a description of certain frescoes thatCesare da Reggio was working there from 1507 to 1508. Our painterthus received his first impressions of Ferrarese art before he quittedhis native city. But it is of more importance to note that his acquaint-ance with Costas work must have dated from his childhood, for therewas a picture by the master in the Church of San Thus, at the most glorious period of the Renaissance, we mark therise throughout the wide Emillan te
Antonio Allegri da Correggio, his life, his friends, and his time . of the Palazzo dei Diamanti inFerrari, while we learn from a description of certain frescoes thatCesare da Reggio was working there from 1507 to 1508. Our painterthus received his first impressions of Ferrarese art before he quittedhis native city. But it is of more importance to note that his acquaint-ance with Costas work must have dated from his childhood, for therewas a picture by the master in the Church of San Thus, at the most glorious period of the Renaissance, we mark therise throughout the wide Emillan territory of a very individual art,which, if it cannot compete in ideality and resthetic charm with thatof Florence or of Venice, may yet bear comparison with these byvirtue of its masculine vigour and profound sincerity. C. (nm|)Ori. Gli aiiisfi italiaiii e sliaiticri )icgU stati estensi. G. B. Venturi, Notizie(U aiiiiti iY!:;i:;i(i//i noii yiconlati dal Tinihoschi. Modena, 1883. Fr. Malaguzzi-Valeri,Notizie di ar/is/i irggiaHi. cil. - Pungileoni, ii. p. 43. I I I. CHAPTER IV CORREGGIO IN MANTUA INFLUENCE OF MANTEGNA—IMAGINARY JOURNEYS JO ROME AND MILAN—LORENZOCOSTA, DOSSO, AND LIONLRUNO - PICTURES AT MANTUA ATTRIBUTED TO CORREGGIO. THE affinity of Correggiosart to that of Mantegna,and the enlargement ofthe masters PY^rrarese styleunder the influence of the greatVincenzans works, have beenover - emphasised by somewriters ; others, again, have en-tirely ignored this influence ; andlater critics, in reopening thequestion, have hardly given itdue importance. It was generally supposedin the seventeenth century thatCorreggio was the pupil of Man-tegna. Francesco Scannelli, in his Rlurocosvto dclla pittitni, printed
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