Finally the costume of his sacred history-pieces is deficient in nothing we could desire; though in his fables, indeed, he might have improved it, by adhering, like Raffaello and the moderns, more closely to the ancients. Thus in his Leda he has represented Juno in the guise of an elderly lady, full of spite and jealousy, secretly beholding the stolen embraces of her lord. She approaches in nothing to the antique, either in her countenance or in her symbols, and hence in the usual interpretations she is considered as a mere cypher. In the fable of Marsyas, he bears no resemblance to the Faun; Minerva has no Ægis, nor any other of her usual attributes; while Apollo is endued neither with the limbs nor aspect which are awarded him at this day; and so far from boasting of his lyre, he plays upon a violin. Here again we might adduce a fresh argument for Coreggio having never visited Rome, where even artists of mediocrity, instructed in a knowledge of the antique, knew how to avoid similar errors. In him, however, they are scarcely blemishes, and rather flattering to the name of Coreggio, inasmuch as they serve more fully to convince us that he partakes not the glory of his sovereign style with many masters or many assistants, standing great and alone. Regarded in this view he appears indeed something more than mortal; and in his presence, as Annibal Caracci truly wrote, Parmigianino and others of his rank seem to shrink into nothing.[25] But the productions of this great master are daily becoming more rare in Italy, such are the prices offered, such is the eagerness of strangers to obtain them, and the esteem in which he is held. We are still consoled for their loss by several ancient copies, more especially of his smaller pictures, such as the Marriage of S. Catherine, the Reposing Magdalen, the Young Man's Escape, pieces already mentioned; but to which we may add his Christ praying in the Garden, placed in the Escurial, and his Zingherina, the Gipsey Girl, in the gallery at Dresden. The most estimable among the old copies are by Schidone, Lelio da Novellara, Girolamo da Carpi, and by the Caracci, who, by dint of copying Coreggio's pieces, approached very nearly the style of the originals; though more in point of design than in skill and delicacy of colouring. Footnote 25: His words are, "It is my unalterable opinion that Parmigianino in no way approaches Coreggio, whose thoughts and fine inventions are all clearly drawn from himself, always original. All other artists look out for some support, some foundations for their efforts taken from other sources; one to models, one to statues, another to cartoons: all their productions are represented such as they might have been, Coreggio's such as they really are." (_See second Letter to Lodovico, Malvasia_, vol. i. p. 367.)