tion to which he would so fain have seen it carried: he was a man who contented himself with very little, and always lived in the manner of a good Christian.[1]
The cares of his family caused Antonio to be very sparing, insomuch that he ultimately became exceedingly penurious.[2] On this subject it is related, that being at Parma, and having there received a payment of sixty scudi, the sum was given to him in copper money, which he, desiring to carry it to Correggio for some particular demand, loaded himself withal; he then set forward on foot for his home.[3] The heat being very great at the time, Antonio suffered much from the burning sun, and sought to refresh himself by drinking water, but a raging fever compelled him to take to his bed, and from this he never raised his head again, but departed from this life to another, being then in the fortieth year of his age, or thereabout.
His pictures were executed towards the year 1512, and the art derived great benefit from his labours, seeing that the colours! were handled by him in the manner of a true master, and that the Lombards were induced by his example to open their eyes: the result of this has been that painting has seen more than one fine genius belonging to that country subsequently following his steps; some of them producing works highly commendable, and well deserving to be had in remembrance. Among other peculiarities, Correggio had
- ↑ All writers attribute a singular mildness of character to Correggio, who was, besides, modest in the extreme, desiring the perfection of the art he loved, more than the plaudits of the multitude for himself.— Ah Correggio di cor mio.
- ↑ The meaning of the word misero has been much disputed among the Italians, some considering it to refer to the poverty of Correggio, others to avarice, supervening with increasing years; but of this last there is assuredly no trace in his works, wherein he manifestly spared neither cost nor labour. Yet it seems certain that he was not miserably poor: perhaps the truth may be found here, as it so frequently is elsewhere, in the mean. Correggio was frugal in his personal habits from regard to the interests of his family, hut it does not follow of necessity that he was grudging, miserly, avaricious (all which the word misero” may imply); that he scarcely could be so is, indeed, proved by his lavish expenditure of the most costly colours and so much valuable time on his works, as also in various events of his life.—See Tiraboschi, Notizie de’ Pittori Modenesi, &ic, Modena, 1786. See also the valuable works of Mengs, and those of Antonioli.
- ↑ This fabulous account has long been exploded.
