About this period Correggio began his career in Parma, and his first paintings there were the admirable frescoes in the monastery of S. Paolo. A particular and most satisfactory account of these has been published by Padre Affò. The reputation which this performance gained him, induced the monks of S. Giovanni to employ him in the decoration of their church. The works executed by Correggio on this occasion are in his grandest manner: the Cupola represents the ascension of Christ; the figures of the Apostles, of gigantic size, occupy the lower part. The subject in the Tribune was the Coronation of the Virgin. It was so esteemed, that when that part of the church was demolished to enlarge the choir, the design was repainted for the new Tribune by Cesare Aretusi, according to some, from a copy by Annibale Caracci. The principal group of the original was fortunately saved, and is still to be seen in the Library at Parma; its grandeur of invention and treatment classes it among the highest productions of the art. Round the central group were some figures and heads of angels. The fragments of these were dispersed when the Tribune was destroyed; and the portions of frescoes by Correggio, which exist in various collections, are probably a part of these ruins. Those who contend that Correggio had visited Rome, suppose that he may have caught some inspiration from the works of M. Angelo; and Ratti imagines, that the Last Judgment was seen and imitated by him; but this work was not begun till after the death of Correggio. Lanzi smiles at the mistake of the author just mentioned; but if Correggio visited Rome, which, on the whole, does not appear probable, he may have seen the ceiling of the Capella Sistina, painted in 1511; and this is more likely to have inspired him than the Last Judgment, even supposing that he could have seen both. There is, however, a remarkable difference between the treatment of the cupolas of Correggio and that of the ceiling of M. Angelo (even setting aside the well-known distinctions of their taste in design), and the execution in both the examples alluded to, is exactly analogous to the styles of the two painters. M. Angelo, though a master of foreshortening, has not supposed his figures to be _above_ the eye, but _opposite_ to it, so that they are still intelligible when seen in any other situation, as for instance, when copied in an engraving. Correggio, on the other hand, always aimed at giving the perspective appearance of figures above the eye; and the violent foreshortening, which was the consequence, renders his figures unintelligible, because improbable, except in their original situation, where their effect, aided by his light and shade, must undoubtedly have been astonishing. Nevertheless, if the end and perfection of the art is to meet the impressions of nature by corresponding representation, and to embody the remembered appearances of things, it is quite evident that