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CORREGGIO, Antonio Allegri, Italian painter, frequently called Antonio da Correggio, from the place of his birth: b. Cor reggio 1494; d. there, 5 March 1534. He was intended for a learned profession, but nature had designed him for an artist. It has not been ascertained how much he was indebted to his first instructor, who was probably his uncle, Lorenzo Allegri. Three qualities will always be admired in him—grace, harmony and a skilful management of the pencil. There is a peculiar grace in the movements of his figures and a loveliness in their expression which takes pos session of the soul. These attitudes and move ments could not be executed by any artist without his masterly skill in foreshortening, which not only gives greater variety to a piece, but is also favorable to gracefulness. Avoiding all roughness and hardness, Correggio delights by mild and almost effeminate beauties. He strove to obtain this object also by harmony of coloring, of which he may be called the creator. He is unrivaled in the chiaroscuro; in the grace and rounding of his figures and in the faculty of giving them the appearance of advancing and retiring, which is the distinguishing excel lence of the Lombard school, of which he may be considered the head. In his drapery, he calculated with extreme accuracy all the effects of the chiaroscuro. He possessed the power of passing, by the most graceful transition, from the bright colors to the half tints. It was his object to make the principal figure prominent, that the eye, after gazing till it was satisfied on the bright colors, might repose with pleasure on the softer masses. He made a skilful use of

this art in his (Night) (la Notte), which is to be seen in the gallery in Dresden, where there are seven pictures in which his progress in the art may be recognized. Among his best pic tures, besides the are the (St. Jerome,) which has kindled the admiration of sev eral distinguished painters to such a degree as to render them unjust toward Raphael; the (Penitent Magdalene) ; the altar-pieces of Saint Francis, Saint George and Saint Sebastian; (Christ in the Garden of Olives); • the fresco painting in Parma; and, above all, the paintings on the ceiling of the cathedral in the same city. In 1520 he was married to Girolama Merlini, who appears to have inspired several of his most charming Madonnas. Of his four children, a son and daughter survived; the former, Pomponio, was a painter, but vastly inferior to his father. The story of his extreme poverty, and of his death in consequence of it, has been long since disproved, yet Oehlen schlager has made it the subject of one of his best tragedies in German and Danish. Consult Meyer, Heaton's translation (Lon don 1/376) • Landon 'Vie et oeuvres de Cor reggio) (Paris 1863-20) ; Morelli, Studies of Italian Painters' (Vol. II, 1893) ; Ricci, 'Antonio Allegri da Correggio) (London 1896) ; Thode, aCorreggio," in