The works of Correggio are very rarely sold. The madonna in the National Gallery, London, known as "_La Vierge au Panier_," was formerly in the Royal Gallery at Madrid. During the French invasion of Spain, Mr. Wallace, an English artist, obtained it. It is painted on a panel, and is 13-1/2 inches high by 10 inches wide. In 1813 it was offered for sale in London at twelve hundred pounds. In 1825 it was sold in Paris for eighty thousand francs, and soon after sold to the National Gallery for thirty-eight hundred pounds, or nearly nineteen thousand dollars. A copy of the "Reading Magdalen" was sold to Earl Dudley for sixteen hundred pounds, or more than seven thousand dollars. Correggio had but few pupils, but he had many imitators. The one most worthy of mention was FRANCESCO MAZZUOLI (1503-1540), called IL PARMIGIANO, or PARMIGIANINO. He was not a great painter. The "Vision of St. Jerome," in the National Gallery, London, is one of his best works. It is said that during the sack of Rome, in 1527, he was painting the figures of the Virgin and Child in this picture, and was so engrossed by his work that the invaders entered his studio, and surrounded him before he was aware of their approach. And they, for their part, were so moved by what they saw that they went away, and left him undisturbed. Art writers often use the term "early masters." This denotes Michael Angelo, Raphael, and other men so great that they were very prominent in the history of art, and were imitated by so many followers that they had an unusual effect upon the world. Titian may be called the last of these great masters of the early school, and his life was so long that he lived to see a great decline in art. The painters of the close of the sixteenth century are called "Mannerists," which means that they adopted or imitated the manner or style of some great master who had preceded them--and this was done in so cold and spiritless a way that it may be said that true artistic inspiration was dead in Italy. No one lived who, out of his own imagination, could fix upon the wall or the canvas such scenes as would befit a poet's dream or serve to arouse the enthusiasm of those who saw the painted story born in the artist's brain. About 1600, the beginning of the seventeenth century, there arose a new movement in Italian art, which resulted in forming two schools between which there came to be much bitterness of feeling, and even deadly hatred. On one side there were those who wished to continue the study and imitation of the works of the old masters, but with this they united a study of nature. These men were called "Eclectics," because they elected or chose certain parts of different systems of painting, and from these formed a new manner of their own.