Correggio

ery justly summed up by hi

ks were executed in oil or in fresco." In another place he writes, "No artist has handled the colors more effectually than himself, nor has any painted with a more charming manner or given a more perfect relief to his figures." Color and chiaroscuro were undo

the disposition of light and shade in the whole composition. To quote Burckhardt, "In Correggio first, chiaroscuro becomes essential to the general

smiles. Hence childhood and youth were the painter's favorite subjects. The subtleties of character study did not interest him; and for this reason he failed in represent

he man himself was exactly the reverse of th

painter required of her psychically. He took no thought even to make her beautiful: the tribute he offered her was the technical excellence of his art,-the exquisite color with which he

an's ideal of happiness was tranquil and serene, Correggio's was exuberant and ecstatic. Raphael indeed was almost Greek in his sense of

oseph in the Madonna della Scodella, and of St. Jerome in the Madonna bearing his name. Usually he preferred some momentary attitu

e of the nude, and found their supreme delight in bodily motion. In a common zeal for exploiting the manifold possibilities of the human figure, the two fell into similar errors of exaggeration. In point of design Correggio can

ommissions, to the well-worn cycle of ecclesiastical themes, he could not work out all the possibilities of his genius. Nevertheless, he infused into th

ality as "sensuality." Certainly there is nothing didactic in his art. "Space and light and motion were what Antonio Allegri of Correggio most longed to express,"[2] and to these aims he subordinated all motives of spiritual significance. One of his severest cr

shfield in It