In Lombard y. 401 also the style of Lodovico Mazzolini (1478 — 1528?) — a fellow-pupil under Costa, and a subsequent rival of Garofalo, and second only to him in Ferrara — may be studied. The National Gallery, too, contains the masterpiece of Giovanni Battista Benvenuti, called dell' Ortolano (ab. 1490 — aft. 1524), whose manner was formed on a study of Raphael and Bagnacavallo. (/) The Lombardic School. Antonio Allegri, called from his birth-place Correggio (1494 ? — 1534), introduced a totally new manner in the art of painting, and excelled all his predecessors and cotemporaries in his chiaroscuro, and in the grace and softness of effect of his pictures. He was the founder of what is known as the School of Lombardy or Parma. In the early part of his career he was greatly influenced by Leonardo da Vinci; but he soon displayed all those distinctive peculiarities which raised him at once to the highest rank. Whilst the masters of Rome and Florence almost exclusively cultivated form and expression, Correggio directed his attention to the harmonious play of light and shade, and to subtle combinations of colour. In the words of Sir Joshua Reynolds, " His manner, design, and execu- tion are all very great, without' correctness. He had a most free and delightful pencil, and it is to be acknowledged that he painted with a strength, relief, sweetness, and vivacity of colouring which nothing ever exceeded. He understood how to distribute his lights in such a manner as was wholly peculiar to himself, which gave great force and great roundness to his figures." He filled up all that EHA D D
