Vasari commiserates the fate of Correggio, whom he represents as of a melancholy turn of mind timid and diffident of his own powers; burthened with a numerous family, which, with all his prodigious talents, he could scarcely support; illy recompensed for his works; and to crown the sad story, we are told that, having received at Parma a payment of sixty crowns in copper money, he caught a fever in the exertion of carrying it home on his shoulders, which occasioned his death. This picture, however, according to Lanzi, is exaggerated; for although the situation of Correggio was far beneath his merits, yet it was by no means deplorable. His family was highly respectable, and possessed considerable landed property, which is said to have been augmented by his own earnings; and so far from his having died of the fatigue of carrying home copper money, he was usually paid in gold. For the cupola and tribune of the church of St. John, he received four hundred and seventy-two sequins; for that of the Cathedral, three hundred and fifty; payments by no means inconsiderable in those times. For his celebrated Notte he was paid forty sequins, and for the St. Jerome, which cost him six months’ labor, forty-seven. It does not appear probable that he acquired great riches, but there is no doubt that he was equally screened from the evils attendant on penury and affluence. The researches and discoveries of the learned Tiraboschi, the indomitable Dr. Michele Antonioli, and the zealous and impartial Padre Luigi Pungileoni, have thrown much light upon the life of Correggio. His father, Pellegrino Allegri, was a general merchant in Correggio, esteemed by his fellow-citizens. His circumstances were easy, and he intended Antonio for one of the learned professions, but his passion for painting induced him to allow him to follow the bent of his genius. It is not certainly known under whom he studied painting. Some of the Italian writers say that he was instructed by Francesco Bianchi and Giovanni Murani, called Il Frari; others that he was a pupil of Lionardo da Vinci and Andrea Mantegna; Lanzi is decidedly of the opinion that he formed his style by studying the works of Mantegna, who died in 1506, which does away with the supposition that he could have studied with him. “The manner,” says Lanzi, “in which Correggio could have imbibed so exquisite a taste, has always been considered surprising and unaccountable, prevailing everywhere, as we find in his canvass, in his laying on his colors, in the last touches of his pictures; but let us for a moment suppose him a student of Mantegna’s models, surpassing all others in the same taste, and the wonder will be accounted for. Let us, moreover, consider the grace and vivacity so predominant in the compositions of Correggio, the rainbow as it were of his colors, that accurate care in his foreshortenings, and of those upon ceilings; his abundance of laughing boys and cherubs, of flowers, fruits, and all