In regard to his education in the studio of Mantegna, the generally received opinion in Lombardy is, that Vedriani must have been mistaken in a name; and that in place of Andrea, he ought to have pronounced his son Francesco, the master with whom it is maintained Coreggio resided, either in quality of pupil or assistant. Mantegna's school, indeed, had risen into great reputation, having given striking proof of its excellence even in foreshortening from above; besides surpassing Melozio, as I elsewhere observed, so as only to leave another step before reaching the modern manner. This was reserved for the genius of Coreggio, in common with the master spirits of every other school, who flourished during the same period. In truth from his very first attempts, he appears to have aimed at a softer and fuller style than Mantegna's; and several, among whom is the Abate Bettinelli, have pointed out some such specimens in Mantua. Signor Volta, member of the Royal Academy there, assured me that Coreggio is named in the books of the Opera di S. Andrea, for which reason, several of the figures on the outside of the church, and in particular a Madonna, better preserved than the rest, a youthful essay, but from the hand of one freed from the stiffness of the quattrocentisti, have been attributed to him.[14] In Mantua likewise I saw a little picture in possession of the Abate Bettinelli, about to be engraved, representing a Holy Family, in which, if we except a degree of stiffness in the folds, the modern manner is complete. A few other of Coreggio's Madonnas, to be referred to this period, are to be seen in the ducal gallery at Modena, with other works mentioned in various places. Among these is a picture of our Lord, taking farewell of the Virgin mother, previous to his passion, a piece recognized as a genuine Coreggio by the Abate Carlo Bianconi at Milan.[15] Doubtless many of his other early productions were of an inferior description, and are dispersed abroad, either unknown, or disputed, Vasari having recorded of him that _he completed many pictures and works_. Footnote 14: There is a document existing in the same archives, where Francesco Mantegna binds himself to ornament the outside of the church. It may thus be conjectured, that the picture of the Ascension, placed over the gateway, is from his hand, while the Madonna, evidently from another, is the work of Coreggio. The master, in executing his commissions, often employed his pupil or his assistant. Footnote 15: This excellent judge of art, more particularly in point of engravings, and also extremely skilful in portraits drawn with the pen, departed this life at the beginning of 1802.