But a striking proof of his taste and skill is manifested in the four lunettes between the arches supporting the cupola. Here he feigned the architecture to form four capacious niches or shells, in which he introduced the patrons of the city, St. John the Baptist, St. Hilary, St. Thomas, and St. Bernard degli Uberti, in magnitude equal to the Apostles, resting on clouds and attended by angels. In depicting the light as transmitted from the groups above, he has thrown it so naturally upon these figures and their angelic suite, that they appear as if detached from the wall, and animated with more than human spirit and grace. This great work was commenced about 1523, and finished in 1530, as appears from the original agreements and receipts, preserved in the archives of the Chapter, which were published by his biographer Pungileoni, from a copy taken and authenticated by a Notary Public, in 1803. The work seems to have been delayed by the feuds and warfare which agitated Parma at that time, and perhaps by other engagements of the artist. The contract was signed on the 3d of November, 1522. In the plan or estimate which Correggio drew up at the desire of the Chapter, and which is still preserved in his own handwriting, he required twelve hundred gold ducats, and one hundred for gold leaf; the scaffolding, lime, and other requisites to be provided by the Chapter. But in the contract itself, the price was reduced to one thousand ducats, exclusive of the one hundred for gold leaf. For this sum he engaged to paint the choir, and the cupola with its arches and pillars, as far as the altar; also the lateral chapels, in imitation of living subjects, bronze and marble, according to the plan, and in conformity to the nature of the place, comprising in the whole a surface of one hundred and fifty-four square perches (perteche). The Chapter, on their part, were to provide the scaffolding and the lime, and to defray the expense of preparing the walls. Thus Correggio received the sum of one thousand gold ducats (about two thousand dollars) for his work, out of which he had to pay for his colors, and the labors of his assistants. What then becomes of the miserable story generally current, that this was his last work; that when he went to receive payment, that he might take home the price of his labors to his poverty-stricken family, the canons found fault with his picture, and refused to pay him more than half the paltry sum originally promised; that they paid him in copper coin; that he took the heavy burden upon his shoulders, and walked a distance of eight miles to his cottage, under the burning heat of an Italian sun, which together with his despair threw him into a fever, of which he died, on his bed of straw, in three days? It appears from the documents before cited, that Correggio received payment in instalments, as his work progressed. CORREGGIO’S FATE.