Francia at Bologna, but with much of Dosso and Ferrara about him. He, in common with Imola, already mentioned, was indebted to the art of Raphael. CORREGGIO AT PARMA: In Correggio (1494?-1534) all the Boccaccio nature of the Renaissance came to the surface. It was indicated in Andrea del Sarto--this nature-worship--but Correggio was the consummation. He was the Faun of the Renaissance, the painter with whom the beauty of the human as distinguished from the religious and the classic showed at its very strongest. Free animal spirits, laughing madonnas, raving nymphs, excited children of the wood, and angels of the sky pass and repass through his pictures in an atmosphere of pure sensuousness. They appeal to us not religiously, not historically, not intellectually, but sensuously and artistically through their rhythmic lines, their palpitating flesh, their beauty of color, and in the light and atmosphere that surround them. He was less of a religionist than Andrea del Sarto. Religion in art was losing ground in his day, and the liberality and worldliness of its teachers appeared clearly enough in the decorations of the Convent of St. Paul at Parma, where Correggio was allowed to paint mythological Dianas and Cupids in the place of saints and madonnas. True enough, he painted the religious subject very often, but with the same spirit of life and joyousness as profane subjects. [Illustration: FIG. 46--CORREGGIO. MARRIAGE OF ST. CATHERINE AND CHRIST. LOUVRE.] The classic subject seemed more appropriate to his spirit, and yet he knew and probably cared less about it than the religious subject. His Dianas and Ledas are only so in name. They have little of the Hellenic spirit about them, and for the sterner, heroic phases of classicism--the lofty, the grand--Correggio never essayed them. The things of this earth and the sweetness thereof seemed ever his aim. Women and children were beautiful to him in the same way that flowers and trees and skies and sunsets were beautiful. They were revelations of grace, charm, tenderness, light, shade, color. Simply to exist and be glad in the sunlight was sweetness to Correggio. He would have no Sibylesque mystery, no prophetic austerity, no solemnity, no great intellectuality. He was no leader of a tragic chorus. The dramatic, the forceful, the powerful, were foreign to his mood. He was a singer of lyrics and pastorals, a lover of the material beauty about him, and it is because he passed by the pietistic, the classic, the literary, and showed the beauty of physical life as an art motive that he is called the Faun of the Renaissance. The appellation is not inappropriate.