of machinists dates not the less its origin from him.” In order to give that true foreshortening which was calculated to produce illusion from below, Correggio was assisted by the sculptor Begarelli, who supplied him with small models in clay from which he drew. According to Ratti, one of these was found on the cornice of the cupola by a Florentine painter towards the close of the last century. Some of the drawings by Correggio in the Lawrence collection are supposed to have been studies made from these models. It has been asserted that Correggio himself worked in marble; some figures in a group, by Begarelli, in the church of Sta. Margherita, are ascribed to him, but on very slight grounds. After all, it appears that he never entirely finished the work he had undertaken to do in the cathedral. The Tribune was not begun, and even a few figures in the lower part of the cupola are said to have been added by Bedoli. The cause of this suspension of Correggio’s labours has been attributed, with some probability, to the absurd criticisms of his employers. It is said that they referred to Titian (who is supposed to have visited Parma with the Emperor Charles V.) to decide whether they should cancel the whole, and that the great Venetian rebuked their ignorance, by pronouncing it to be the finest composition he had ever seen. Correggio ceased to work in the cathedral in 1530, about four years before his death. A great number of his oil pictures are assigned to this period, more indeed than he could have executed, and some of them must therefore belong to an earlier time. Be the precise order of their dates what it may, the quantity which Correggio did in his short life is quite as astonishing as the multitude of Raffaelle’s productions, especially when we consider the number of assistants employed by the latter. Among his last works, Correggio painted two pictures for Federigo, Duke of Mantua; the subjects were Leda, and Venus, according to Vasari. The latter was probably the Mercury teaching Cupid to read, in which composition Venus is introduced; or it may have been the Jupiter and Antiope, now in the Louvre. Both are mentioned in the catalogue of Charles I., as having come from Mantua; and the Antiope is described as “a Sleeping Venus and Cupid, and a Satyr, &c., three entire figures, so big as the life.” The original Leda, much mutilated, is now at Potsdam; a repetition of the Danaë is in the Borghese palace in Rome; the Io, a picture of the same class, is supposed to have been destroyed, but repetitions of it exist in Vienna and in this country. The taste for such subjects, which, in Correggio’s time, was encouraged by the example of the great, is now reprobated as it deserves, and it is to be hoped will never be revived; but, in reference to the tendency of the painter’s taste and powers in the choice and treatment of subjects, it must be evident that the effect of soft transitions of light and shade,