Among the many legends respecting Correggio, it is related that when he first contemplated one of the masterpieces of Raffaelle, his brow colored, his eye brightened, and he exclaimed, “I also am a painter!” When Titian first saw the great works of Correggio at Parma, he said, “Were I not Titian, I would wish to be Correggio.” CORREGGIO’S GRACE. No one can contemplate the works of Correggio, without being captivated by that peculiar beauty which the Italians have very appropriately distinguished by the epithet _Correggiesque_, for it was the complexion of the individual mind and temperament of the artist, stamped upon the work of his hand. No one approached him in this respect, if perhaps we except Lionardo da Vinci. Though so often imitated, it remains in fact inimitable; an attempt degenerating into affectation of the most intolerable kind. It consists in the blending of sentiment in expression, with flowing, graceful forms, an exquisite fullness and softness in the tone of color, and an almost illusive chiaro-scuro, all together conveying to the mind of the spectator the most delightful impression of harmony, both spiritual and sensual. He is the painter of _beauty_ par excellence; he is to us what Apelles was to the ancients--the standard of the amiable and the graceful. CORREGGIO AND THE MONKS. The pleasure which the monks derived from the works of Correggio, even in their incipient state, and the esteem which they had for him, is manifested by a remarkable document. This is a letter or patent of confraternity, passed in the general assembly of the order, held at Pratalea, in the latter end of 1521; a privilege which was eagerly sought at this and earlier periods, and was seldom conferred on persons not eminent for rank or talents. It conveyed a participation in the spiritual benefits derived from the prayers, masses, alms, and other pious works of the community, and was coupled with an engagement to perform the same offices for the repose of his soul, and the souls of his family, as were performed for their own members. CORREGGIO’S MULETEER. It is said that Correggio painted a picture of a muleteer, as a sign to a small public house, which was kept by a man who had frequently obliged him, and who had been a muleteer. This picture was purchased by a person sent to Italy many years ago to collect ancient paintings. It has all the marks in the upper corner, of having been joined to a piece of wood, and used for a sign; it cost five hundred guineas! DUKE OF WELLINGTON’S CORREGGIO CAPTURED AT VITTORIA. Cunningham warms into rapture in speaking of this picture. “The size is small, some fifteen inches or so; but true genius can work miracles in small compass. The central light of the picture is altogether heavenly; we never saw anything so insufferably brilliant; it haunted us round the room at Apsley House, and fairly extinguished the light of its companion pictures.” CORREGGIO’S ANCONA.