Correggio painted for the church of the Conventuali at Correggio, an Ancona, (a small altar-piece in wood,) consisting of three pictures when he was in his twentieth year, as appears, says Lanzi, from the written agreement, which fixes the price at one hundred gold ducats, or one hundred zecchins, and proves the esteem in which his talents were then held. “He here represented St. Bartholomew and St. John, each occupying one side, while in the middle compartment, he drew a Repose of the Holy Family flying into Egypt, to which last was added a figure of St. Francis. Francesco I., Duke of Modena, was so greatly delighted with this picture, that he sent the artist Boulanger to copy it for him, and thus obtaining possession of the original, he contrived dexterously to substitute his own copy in its place.” The Duke satisfied the monks by giving them more lands. It is supposed that it was afterwards presented to the Medicean family, and by them given to the house of Este in exchange for the Sacrifice of Abraham by Andrea del Sarto. It is now in the Florentine gallery. PORTRAITS OF CORREGGIO. Correggio appears to have been far less solicitous than most other painters, that his likeness should be transmitted to posterity, for of him there is no unquestioned portrait extant. That which is prefixed to his life, in the Roman edition of Vasari, is evidently false, for it exhibits the head and countenance of a man aged seventy. It was taken from a collection of designs, in the possession of Father Resta, to one of which, representing a man and his wife with three sons and one daughter, in mean apparel, he gave the name of the Family of Correggio, forgetting that the family consisted of three daughters and one son. Another portrait, with the title, _Antonius Correggius_, and consequently supposed to be painted by himself, was preserved in a villa which belonged to the Queen of Sardinia, near Turin, and engraved by Valperga; but its authenticity seems justly questioned by Lanzi and Pungileoni. A third, which was sent from Genoa to England, bore an inscription signifying that it was the portrait of Maestro Antonio da Correggio, by Dosso Dossi, and was accordingly engraved for the memoirs of Correggio by Ratti, who obtained a copy. Lanzi is inclined to infer, however, that it is the portrait of Antonio Bernieri, the miniature painter, who also bore the name of Antonio da Correggio. A copy of this portrait is still preserved in the Pinacotheca Bodoniana, at Parma, and has been engraved, first by Asioli, and since as a medallion, by Professor Rocca, of Reggio. Pungileoni, who is inclined to consider it as genuine, has prefixed the medallion to his life of Correggio.