The fame which the frescoes of S. Giovanni procured for their author, even in their commencement, led to his decorating the cathedral of Parma; and the engagement respecting the works therein executed is dated 1522. The subject of the octagonal cupola of the cathedral is the Assumption of the Virgin: a multitude of figures covered the vast surface, and, when the work was in its best state, are described as appearing to float in space. The foreshortenings in this cupola are such as to make the figures appear altogether distorted, except when seen from below, and Mengs himself was astonished at their apparent deformity when he inspected them near. The figures of the Apostles and angels, in various attitudes, occupy the lower portion of the cupola; and in four lunettes underneath are represented the patron saints of the city, the whole being supposed to be lighted by the glory from above. It is evident that Correggio’s feeling for gradation dictated the invention and treatment of his subject in many instances: the whole scale of light and shade cannot be more happily or naturally available, than when the light is supposed to emanate from a point, and gradually lose itself in the opposite extremes; and it happens, that in every instance in which this painter employed the principle, as in the cupolas, the Notte, the St. Sebastian, the Christ in the Garden, &c., the subject itself gained in sublimity. The difference between the cupola of the cathedral and that of S. Giovanni, affords an additional proof of the tendency of Correggio’s general taste as it became further developed. A grandeur more allied to simplicity is the comparative characteristic of the latter, while in the cathedral the multitude of figures, the variety of arrangement and attitude, and the richness and splendor of the light and shade, are calculated to affect the imagination as with a dazzling vision. It has been justly observed by Fuseli, that Correggio’s treatment of this cupola is “less epic or dramatic than ornamental.” It must, however, be remembered, that the surface he had to cover, the interior of a high cupola, could hardly have been occupied by subjects in which form on expression, as predominant qualities, could have produced their effect when seen from below. The only mode which remained was assuredly altogether adapted to the genius of Correggio: space, gradation, chiaro-scuro, were not only the means most likely to be effective in such a situation, but they were precisely the excellencies in which he was pre-eminent. Nevertheless, the example was a seducing one, and was likely to be followed where local circumstances would not so entirely warrant it; and, as the author above quoted observes, “if the cupola of Correggio be, in its kind, unequalled by earlier or succeeding plans, if it leave far behind the effusions of Lanfranco and Pietro da Cortona, it was not the less their model; the ornamental style