His colouring is allowed to correspond beautifully with the grace and selection of his design, Giulio Romano having been heard to assert that it was altogether the best he had ever seen; nor was he averse to the Duke of Mantua giving the preference to Coreggio above himself, when about to make a presentation of pictures to the emperor Charles V. Equal commendation is bestowed upon him by Lomazzo, when he pronounces that, among the colourists, he is to be considered rather as unique than as rare in point of merit. No artist before him ever bestowed so much attention upon his canvass, which, after a slight covering of chalk, received his colours, both in point of quantity and quality, as we have before stated, from a lavish hand.[23] In the _impasto_, or laying on his colours, he approaches the manner of Giorgione, in their tone he resembles Titian, though in their various gradations, in the opinion of Mengs, he is even more expert. There prevails likewise in his colouring a clearness of light, a brilliancy rarely to be met with in the works of others; the objects appear as if viewed through a glass, and towards evening, when the clearness of other paintings begins to fade with the decay of light, his are to be seen as it were in greater vividness, and like phosphoric beams shining through the darkness of the air. Of the kind of varnish for which Apelles has been so commended by Pliny, we appear to have no idea since the revival of the art, or if, indeed, we at all possess it, we must confess our obligations to Coreggio. Some there have been who could have liked more delicacy in his flesh tints; but every one must allow, that according to the age and the subjects he had to deal with, he has succeeded in varying them admirably, impressing them at the same time with something so soft, so juicy, and so full of life, as to appear like the truth itself.