was sent from Genoa to England, bore an inscription signifying that it was the portrait of Maestro Antonio da Correggio, by Dosso Dossi, and was accordingly engraved for the memoirs of Correggio by Ratti, who obtained a copy. Lanzi is inclined to infer, however, that it is the portrait of Antonio Bernieri, the miniature painter, who also bore the name of Antonio da Correggio.
A copy of this portrait is still preserved in the Pinacotheca Bodoniana, at Parma, and has been engraved, first by Asioli, and since as a medallion, by Professor Rocca, of Reggio. Pungileoni, who is inclined to consider it as genuine, has prefixed the medallion to his life of Correggio.
Tiraboschi and Pungileoni mention other supposed portraits and busts, of questionable authenticity; and Pungileoni, in particular, adverts to a portrait still preserved near a door of the cathedral at Parma, which is exhibited as a likeness of Correggio. It is supposed to have been copied in the middle of the seventeenth century, by Lattanzio Gambara, from a more ancient one of this celebrated painter, in another part of the cathedral; but its authenticity is questioned, merely on the ground that it represents a man of more advanced age than Correggio, who only attained his forty-first year.
DID CORREGGIO EVER VISIT ROME?
The question has been long agitated whether Correggio
ever visited Rome, and profited by the study
