of immortality, here to die unhappily. He and Titian will always be my delight: and if I do not see the works of the latter at Venice, I shall not die content.—April 28, 1580."
CORREGGIO'S ENTHUSIASM.
Among the many legends respecting Correggio,
it is related that when he first contemplated one of
the masterpieces of Raffaelle, his brow colored, his
eye brightened, and he exclaimed, "I also am a
painter!" When Titian first saw the great works
of Correggio at Parma, he said, "Were I not Titian,
I would wish to be Correggio."
CORREGGIO'S GRACE.
No one can contemplate the works of Correggio,
without being captivated by that peculiar beauty
which the Italians have very appropriately distinguished
by the epithet Correggiesque, for it was
the complexion of the individual mind and temperament
of the artist, stamped upon the work of his
hand. No one approached him in this respect, if
perhaps we except Lionardo da Vinci. Though so
often imitated, it remains in fact inimitable; an attempt
degenerating into affectation of the most intolerable
kind. It consists in the blending of sentiment
in expression, with flowing, graceful forms, an
exquisite fullness and softness in the tone of color,
and an almost illusive chiaro-scuro, all together con-
