In the Vienna Gallery are two; and at Berlin three-among them the Io and the Leda.

There is in the British Museum a complete collection of engravings after Correggio.

Correggio had no school of painting, and all his authentic works, except his frescoes, were executed solely by his own hand: in the execution of his frescoes he had assistants, but they could hardly be called his pupils. He had, however, a host of imitators who formed what has been called the School of Parma, of which he is considered the head. The most famous of these imitators was Francesco Mazzola, of whom we are now to speak.

PARMIGIANO:

Born 1503; died 1540.

FRANCESCO Mazzola, or MazZUOLI, called ParMIGIANO, and, by the Italians, IL PARMIGIANINO (to express by this endearing diminutive the love as well as the admiration he inspired even from his boyhood), was a native of Parma, born on the 11th of January, 1503. He had two uncles who were painters, and by them he was early initiated into some knowledge of designing, though he could have owed little else to them, both being very mediocre artists. Endowed with a most precocious genius, ardent in every pursuit, he studied

indefatigably, and at the age of fourteen he produced a picture of the Baptism of Christ, wonderful for a boy of his age, exhibiting even thus early much of that easy grace which he is supposed to have learned from Correggio; but Correggio had not then visited Parma. When he arrived there four years afterwards, for the purpose of painting the Cupola of San Giovanni, Francesco, then only eighteen, was selected as one of his assistants, and he took this opportunity of imbuing his mind with a style which certainly had much analogy with his own taste and character: Parmigiano however had too much genius, too much ambition, to follow in the footsteps of another, however great. Though not great enough himself to be first in that age of greatness, yet had his rivals and contemporaries been less than giants, he must have overtopped them all; as it was, feeling the impossibility of rising above such men as Michael Angelo, Raphael, Correggio, yet feeling also the consciousness of his own power, he endeavoured to be original by combining what has not yet been harmonised in nature, therefore could hardly succeed in art-the grand drawing of Michael Angelo, the antique grace of Raphael, and the melting tones and sweetness of Correggio. Perhaps, had he been satisfied to look at nature through his own soul and eyes, he would have done better; had he trusted himself more, he would have escaped some of those faults