of the draperies, so exquisite the expression which the master has given to the figures. Some of the sketches of them are in the book of designs to which we not unfrequentlj refer; they are drawn by Correggio himself in red chalk, and are surrounded by a kind of frieze, wherein there are figures of beautiful children, and other ornamental forms, with which the master adorned that work, some of them being varied and fanciful representations of sacrifices, after the manner of the antique.[1] And, of a truth, if Antonio liad not finished his works so admirably as we see that he did, his drawings (although they have merit in the manner, with a grace which sufficiently indicates the practised hand of a master) would scarcely have obtained him that reputation among artists which he has derived from his truly excellent works. The art of design is so difficult and has so many ramifications, that an artist not unfrequently finds himself incapable of perfectly mastering all. Some, for example, have drawn most admirably, but have betrayed certain imperfections in their colouring; others have coloured wonderfully, but have not drawn with equal success. All this depends on the judgment exercised in youth, and the amount of practice bestowed by one on drawing, by another on colouring; but all must be acquired before the work can be conducted perfectly to its desired completion, that, namely, of colouring finely what has been well drawn. To Correggio belongs the great praise of having attained the highest point of perfection in colouring, whether his works were executed in oil or in fresco. For the church of San Francesco, belonging to the Barefooted Friars in that city (Parma), he painted an Annunciation in fresco, a work of extraordinary beauty; insomuch that when it afterwards became needful to demolish the wall, in the course of certain changes required in the building, those friars caused that part whereon the
- ↑ These drawings would seem to have belonged to the earliest of Correggio’s fresco-paintings in Parma, and of which Vasari makes no mention. The work was executed in one of the halls of the Convent of San Paolo, and by command of the then Abbess, Donna Giovanna, of Piacenza. The subjects, which are taken from the Greek and Roman Mythology, were selected by the learned Giorgio Anselmi, who had a daughter in the convent. The principal group represents Diana returning from the Chase. For minute details, see Pitture di Antonio Allegri esistenti in Parma nel Monasterio di San Paolo, &c.; Parma, 1800.
