The admiration which the works of Correggio excited, induced the monks of St. John to engage him in ornamenting the grand cupola, and other parts of their church. The original agreement has not been discovered, but various entries have been found in the books of the convent, between 1519 and 1536, which prove, that for adorning the cupola he received, as Tiraboschi asserts, two hundred and seventy-two gold ducats, and two hundred more for other parts of the fabric. The last payment of twenty seven gold ducats was made on the 23d of January, 1524, and the acknowledgment of the painter, under his own signature, is still extant. The subject is the Ascension of Christ in glory, surrounded by the twelve Apostles, seated on the clouds; and in the lunettes the four Evangelists and four Doctors of the Church. The situation for the picture presented difficulties which none but so great an artist could have overcome; for the cupola has neither sky-light nor windows, and consequently the whole effect of the piece must depend on the light reflected from below. The figures of the Apostles are chiefly naked, gigantic, and in a style of peculiar grandeur. Besides the cupola, various parts of the same church were adorned by his hand. He decorated the tribune, which was afterwards demolished to enlarge the choir; and it was so highly esteemed, that Cesare Aretusi was employed by the monks to copy it for the new tribune. He painted also in fresco, the two sides of the fifth chapel on the right hand, the first representing the Martyrdom of St. Placido and St. Flavia, and the second a dead Christ, with the Virgin Mary swooning at his feet. Of these paintings Mengs particularly admires the head of St. Placido and the exquisite figure of the Magdalen in the last mentioned picture. CORREGGIO’S GRAND CUPOLA OF THE CATHEDRAL AT PARMA. The grand fresco painting in the cupola of the Cathedral of Parma, is considered Correggio’s greatest work, and has ever been regarded as a most wonderful production.