colouring, and that harmony which unites so many objects in one, produced, as it were, in sportful play. The renowned artist survived only four years, subsequent to the completion of the cupola; without commencing, during the interval, the painting of the tribune, for which he had pledged himself, and received part of the remuneration, which was afterwards restored to the revenues of the cathedral by his heirs. It has been conjectured, that the conductors of the works must, in some way, have given him offence; since the artist Soiaro, on being invited to paint at the _Steccata_, objects to it in the following terms: "Not wishing to remain at the discretion of so many different heads; for you know," he continues to his friend, "what was said to Coreggio in the dome." Now this, it would appear, must have consisted of some expressions derogatory to his talents; probably some words which one of the artificers is said to have applied to the diminutiveness of his figures: "Ci avete fatto un guazzetto di rane." "You have presented us with a hash of frogs." Words from a workman, for which Coreggio might easily have consoled himself, as they did not express the opinion of the city of Parma. He died, however, about four years afterwards, at his native place, before he had completed his undertaking; and without leaving any portrait of himself which can be considered genuine. Vasari's editor, at Rome, produces one of a bald old man, little agreeable to our ideas of Coreggio, who died at the age of forty. It is taken from a collection of designs by the Padre Resta, which he entitled, the "Portable Gallery," and which both the Cavalier Tiraboschi and the Padre della Valle mentioned as having been lost. Nevertheless it exists in the Ambrosian collection, and contains, among other designs, one which Resta, in the notes added thereto, declares to be the family of Coreggio, consisting of the portrait of himself, his wife, and his sons; altogether forming one female and three male heads, poor, and wretchedly attired. But it betrays evident marks of its want of genuineness, and not the least in the description of the family; inasmuch as Antonio is known to have had one son and three daughters, two of whom appear to have died at an early age. The portrait remaining at Turin, in the Vigna della Regina, engraved by the very able Valperga, bears an inscription, in part obliterated by the cornice. Still I contrived to decypher the words, _Antonius Corrigius, f_--(that is, _fecit_), one of the first arguments for not admitting it, as some have done, to be a head of Coreggio. A further one may be derived from the inscription itself being written in large letters, and in a space occupying the whole length of the canvass, a method occasionally adopted to explain the subject of the piece, but never the name of the artist. There was another portrait sent from Genoa into England, with an inscription upon the back, indicating it to be