as opposed to the lively distinctness of colour and forms, is of itself allied to the voluptuous. The principle was applied by Correggio, as we have seen, in subjects of purity and sublimity: these, united with the soothing spell of his chiaro-scuro, and with forms of grace and beauty, excite a calm and pleasing impression by no means foreign to the end proposed; but the application was unfortunately still more successful where he united beauty and mystery in subjects addressed to very different feelings. The Magdalen Reading, now at Dresden; the Christ praying in the Garden, in the possession of the Duke of Wellington; and the Ecce Homo; are all celebrated pictures of the best time of Correggio. The Ecce Homo, and the Mercury teaching Cupid to read, have lately been secured for the National Gallery; the first came from the Colonna palace at Rome, the other was purchased out of the collection of Charles I. by the Duke of Alva, in whose family it remained till it became the property of Murat; and a few years since it was restored to this country. The small picture of the Virgin and Child, in the National Gallery, is also a pleasing specimen of the master. Vasari, who is silent as to the time of Correggio’s death, relates an absurd story of the manner in which it happened, now scarcely worth contradicting. According to him, the painter received a payment of sixty crowns in copper, which he carried from Parma to Correggio, and caught a fever in consequence from over-fatigue, of which he died. The sum thus paid in copper is computed to exceed two hundredweight! This incident, unobjectionable in a work of fiction, is introduced in an interesting drama called ‘Correggio,’ by the Danish poet Oehlenschläger. The researches of Pungileoni have proved that Correggio died in easy, if not in affluent circumstances. The exclamations of Annibale Caracci, in some of his letters, respecting the unhappy fate of Correggio, amount only to regret that he was confined to a comparatively remote part of Italy, and that he was not known in Rome or Florence, where his talents would undoubtedly have been still better rewarded. This great painter died almost suddenly, at his native place, of a malignant fever, March 6, 1534, in the forty-first year of his age. He was buried in the Franciscan convent of the Frati Minori at Correggio, where the record of his death was found. For a full account of Correggio and his works, the history of Pungileoni, above mentioned, may be consulted. It was published at Parma, in three octavo volumes, in 1817, 1818, and 1821. The best account in English is contained in an anonymous work, entitled, “Sketches of the Lives of Correggio and Parmegiano.”—1823. The original, from which our engraving is taken, is a face painted on the wall adjoining the Cathedral door at Parma, by Correggio himself, from which it was copied, with the necessary additions to suit it for an engraving, by J. B. Davis, Esq. [Illustration: [Virgin and Child.] ]