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
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. 342 ANTONIO DA rORREOGIO development of other great Italian painters, we shall see that very fewamong them worked out their own artistic salvation so unswervingly,or saw the world around them in a light so peculiarly individual. Inthis respect his only peers are Leonardo and Michelangelo ; and evenhere, the advantages of the comparison are on his side ; the influenceof Tuscan art, especially that of Verrocchio, is more obvious in thecase of Leonardo, and that of Jacopo della Querela, Donatello, andLuca Signorelli in the case of Michelangelo, than are the influencesof the Ferrarese and of Mantegna in the works of Corregglo. WithRaphael and Titian we arc not here concerned, for the evolutionof formuL-e which culminated in their manner is absolutely logicaland self-evident. Correggio s development, on the other hand, has been a fruitfultheme of discussion. He was long supposed to have been a member ofthe Lombard school, and to have come under the immediate influenceof L
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