as Bianchi died in 1510, this, like all that concerns Correggio's training, is uncertain. The attempt to account for his peculiar development has led to many conjectures, none of which give any clue to the formation of his totally new method of painting, or to the distinguishing characteristics of his style. These characteristics are sweetness of expression and ineffable grace of pose; light in colour, or in other words a certain luminous quality which irradiates and transfigures. In facility of handling, in absolute mastery over the difficulties of foreshortening, in the management of light and shade as distributed over vast spaces and affecting multitudes of figures, this great master has no rival. At the same time, with all the beauty of his Madonnas and Angels, the charm and grace of his children, the noble dignity of his Saints and Apostles, and the harmony of his colouring, Correggio's sweetness sometimes cloys, and his grace occasionally degenerates into affectation. His masterpieces in oils are in Dresden, Paris, and Parma. Works: Madonna of St. Francis (1514), Madonna of St. George, Madonna of St. Sebastian, La Notte (1522 or 1528), and Magdalen, Correggio's Physician, Dresden Gallery; Rape of Ganymede, Jupiter and Io, Vienna Museum; Madonna adoring Jesus, Uffizi, Florence; Madonna hushing Jesus, Prince Torlonia, Rome; Madonna del Latte (1519), Assumption of the Virgin (sketch for the fresco in the Duomo, Parma), Apollo and Marsyas, Hermitage, St. Petersburg; La Zingarella, Marriage of St. Catherine, Naples Museum; Antiope, Marriage of St. Catherine, Louvre, Paris; Ecce Homo, Madonna della Cesta, Education of Cupid, National Gallery, London; Il Giorno, Madonna della Scodella (1530), Madonna della Scala, Martyrdom of SS. Placidus and Flavia, Pietà, Parma Gallery; Danaë, Palazzo Borghese, Rome; Leda, Jupiter and Io, Berlin Museum. Correggio's frescos are in Parma: Camera di S. Paolo (1518), Ascension of Christ, cupola, and St. John the Evangelist over Sacristy door, S. Giovanni (1520-25); Assumption of the Virgin and patron Saints of Parma, Duomo (1526-35); Christ in the Garden, Apsley House, England; Noli Me Tangere, Madrid Museum. The life of Correggio was passed within the confines of Lombardy, between Correggio, Modena, and Parma. It is more than doubtful whether he ever visited Rome. Vasari's story of his death caused by fatigue of carrying a large sum of money in copper coin, with which he had been paid for his work at Parma, to Correggio, has no foundation.—Vasari, ed. Mil., iv. 109; Meyer, Künst. Lex., i. 335; Meyer, Correggio (Leipsic, 1871); Seguier, 203; Burckhardt, 175, 634, 694, 700; Pungileoni, Mem., etc. (1817-21); Coxe, Lives of Correggio and Parmegianino (London, 1823); Dohme, 2iii.; Kugler (Eastlake), ii. 497; Lübke, Gesch. ital. Mal., ii. 414.
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CORRODI, HERMAN, born in Rome, July 23, 1844. Italian school; landscape and genre painter, son of the Swiss landscape painter, Salomon C. (born at Zürich in 1810), who settled in Rome in 1828, twin brother of the history painter, Arnold C. (died 1874), together with whom he studied in Rome and Paris, and after whose death he made study-trips to the East. He has three studios: in Rome, Baden-Baden, and London, and divides his time between them, according to the season. Medal, Vienna, 1874.
