Ferrarese masters, nor was he untouched by the creations of Mantegna at Mantua, where he studied for two or three years. In 1514, in his twentieth year, he was entrusted with an important commission by the Minorite Friars of Correggio. The Court of Correggio was then a centre of refinement and culture, under the rule of Giberto and his wife Veronica, who was one of the most accomplished women of the day, and greatly admired "our Antonio," as she called the painter. In 1518 Correggio left his native city for Parma, which was to become for ever associated with his name. "There is little reason," says his latest biographer, "to lament that he never visited Rome or any other great city. Parma, rising in smiling tranquillity upon her fertile plains, girdled by castles and villages, and looking out upon the vaporous line of hills from which the streams which give her water descend into the champaign, offered our painter not only the serenity that suited his temperament, but a vaster field of activity than had ever been allotted to any artist. There were altar-pieces to be painted, rooms to be decorated; and the joyous fancies of his genius were to be allowed ample scope in the decoration of two stately cupolas" (Ricci). He was first employed by the Abbess of the Convent of S. Paolo to paint her principal chamber. It is characteristic of the time that the subjects selected were from pagan mythology. Afterwards Correggio was commissioned to cover with frescoes the cupolas of the Church of S. Giovanni Evangelista, and of the cathedral. In these compositions, Correggio "carries the foreshortening of the figures to a point which, while it displays the daring of the artist, too often transcends the limits of grace." Seen from below, little of the figures is sometimes distinguishable except legs and arms in vehement commotion. When one of the frescoes in the cathedral was first uncovered, a canon is said to have remarked that it looked to him like a "fricassee of frogs." But many of the angels' heads in Correggio's frescoes are exquisitely beautiful. It is only in Parma that Correggio's power can be fully appreciated. His charm is to be found rather in his oil-paintings, and in these the National Gallery possesses some acknowledged masterpieces. In 1530 Correggio lost his wife, and returned to his native town. "Although by nature good and well-disposed, he nevertheless," says Vasari, "grieved more than was reasonable under the burden of those passions which are common to all men. He was very melancholic in the exercise of his art, and felt its fatigues greatly." His life was but little longer than that of Raphael, for he died in his forty-first year. The stories of