Footnote 21: It is worth notice, that Ratti, persuaded of Coreggio's residence at Rome, has availed himself of the argument of certain figures being borrowed by him from the Judgment, _before Michel Angiolo had painted it_. Equally valid is his conjecture, founded upon several figures of Raffaello's, which he detected in Coreggio, as if these two artists had never studied from the same book of nature. Such an opinion is asserted also by Padre della Valle, cited in our second volume, p. 121. But writers will always be liable to these mistakes, as long as they pretend to make discoveries and throw light upon ancient facts, without adhering to historical dates, and in their conjectures rather consult novelty and their own vanity than truth. But this fault, brought into vogue about the middle of the eighteenth century, has produced no little evil, both in letters and religion, and surely cannot continue to receive encouragement at this enlightened period. Let us rather trust, that the love of truth, never altogether extinguished, will resume its former influence in the investigation of historical points, and that one of its leading objects will be to free both sacred and profane history from those foolish sophisms that so much obscure it. Astonishing, however, as such a production must be allowed to be, it will still be found to yield the palm to another, which the hand of Coreggio alone could have rendered superior. This is the celebrated Assumption of the Virgin, in the cathedral of Parma, completed in the year 1530. It is indisputably more ample; and in the background the figures of the same apostles are reproduced, as was customary, expressing feelings of surprise and piety, though in a manner altogether different from the former. In the upper part is represented an immense crowd of happy spirits, yet distributed in the finest order, with a number of angels of all dimensions, all full of action; some employed in assisting the flight of the Virgin, others singing and dancing, and the rest engaged in celebrating the triumph with applause, songs, torches, and the burning of celestial perfumes. In all, the countenances beam with mingled beauty, hilarity, and triumph; a halo of light seems to envelope the whole, so that notwithstanding the piece is much defaced, it is still calculated to awaken such an enchantment of the soul, that the spectator almost dreams he is in elysium. These magnificent works, as it has been observed of the chambers of Raffaello, were calculated to promote the dignity of his manner, and led the way to that height of perfection he attained in the difficult art of working in fresco. To estimate it aright, we ought to approach near, to mark the decision and audacity as it were of every stroke; the parts, that at a distance appear so beautiful, yet effected by few lines; and that