. Antonio Allegri da Correggio, his life, his friends, and his time. en more fervent in their admiration. OnApril 18, 1580, Annibale wrote to Agostino: I lost no time in goingto see the great cupola, which you have so often praised to me, and I,too, was amazed to see so vast a composition so perfectly carriedout, so excellentlyforeshortened frombeneath to above,executed with somuch vigour, andyet with such graceand judgment, andwith a glow ofcolour that seems tobe that of flesh it-self. Truly, neitherTibaldo, nor Nico-lino,1 nor evenRaphael himself,has equalled it! From thence-forth Parma be-c
. Antonio Allegri da Correggio, his life, his friends, and his time. en more fervent in their admiration. OnApril 18, 1580, Annibale wrote to Agostino: I lost no time in goingto see the great cupola, which you have so often praised to me, and I,too, was amazed to see so vast a composition so perfectly carriedout, so excellentlyforeshortened frombeneath to above,executed with somuch vigour, andyet with such graceand judgment, andwith a glow ofcolour that seems tobe that of flesh it-self. Truly, neitherTibaldo, nor Nico-lino,1 nor evenRaphael himself,has equalled it! From thence-forth Parma be-came a place ofpilgrimage for allthe numerous ar-tists of the Bolog-nese school, and thecupola of the Duo-mo the greatest and most perfect example of Italian art, and the idealthat every painter of discrimination sought to follow. Scannelli declaredthat it was a complete epitome of all the excellencies scattered abroadin the works of other Nor did the enthusiasm abate in the 1 Pellegrino Tibaldi and Nicolo dell Abate. 2 // Microcosnw della pittura, p. HEAD OF A DOY, A COPY AFTER CORREGGIO. In the Ufnzi, Florence. 272 ANTONIO DA CORREGGIO following centuries. Gianbattista Tiepolo, contemplating it, almostfelt his faith in Titian and Paolo Veronese shaken ; and Mengs summedup the chorus of praise in these words : It is the most beautiful of allthe cupolas painted either before or since. 1 Ludwig Tieck, the famous German poet, sang thus of Correggio :What genius disclosed all these wonders to thee ? All the fair imagesin the world seem to have sprung forward to meet thee, and to throwthemselves lovingly into thine arms. How joyous was the gatheringwhen smiling angels held thy palette, and sublime spirits stood beforethee in all their splendour as models. Let no one say he has seenItaly, let no one think he has learnt the lofty secrets of art, till he hasseen thee and thy cathedral, O Parma! 1 Opere, ii. p. 158.
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