He would seem to have been slow in his conceptions, being accustomed to form the whole piece in idea, before he once handled his pencil; but was then rapid in his execution. Strokes of his pencil may sometimes be traced so very daring and decided, that Albano pronounces them divine, and declares, that to his experience in design, he was indebted for that unequalled skill, which he always united to great diligence and high finish. His works, indeed, are not all equally well and powerfully coloured, nor produce the same degree of effect; though there are several which are conducted with so much feeling and enthusiasm as to have been ascribed to Coreggio himself. Such is the picture of Love, engaged in fabricating his bow, while at his feet appear two cherubs, one laughing and the other weeping; a piece, of which a number of duplicates, besides that contained in the imperial gallery, are enumerated, so great a favourite was it either with the artist or some other person. In regard to this production, I agree with Vasari, whose authority is further confirmed by Father Affò and other judges, whom I have consulted upon the subject; although it is true that this Cupid, together with the Ganymede, and the Leda, which are mentioned in the same context, (p. 302), have been positively assigned by Boschini to Coreggio, an opinion that continues to be countenanced by many other persons. His minor paintings, his portraits, his youthful heads, and holy figures, are not very rare, and some are found multiplied in different places. One that has been the most frequently repeated in collections, is a picture of the Virgin and Infant with S. Giovanni; while the figures of St. Catherine and Zaccarias, or some similar aged head, are to be seen very near them. It was formerly met with in the Farnese gallery, at Parma, and is still to be seen, sometimes the same, and sometimes varied, in the royal gallery, at Florence; in the Capitoline; in those of the princes Corsini, Borghesi, and Albani, at Rome. In Parma, also, it is in possession of the Abate Mazza,[27] and is found in other places; insomuch, that it is difficult to suppose that they could all have been repeated by Parmigianino, however old in appearance. He produced few copious compositions, such as the Preaching of Christ to the Crowd, which is contained in a chamber of the royal palace, at Colorno, forming a real jewel of that beautiful and pleasant villa. His altar-pieces are not numerous, of which, however, none is more highly estimated than his St. Margarita, at Bologna. It is rich in figures, which the Caracci were never weary of studying; while Guido, in a sort of transport of admiration, preferred it even to the St. Cecilia of Raffaello. His fresco, which he began at the Steccata, is a singular production; besides the figure of Moses, exhibited in chiaroscuro, he painted Adam and Eve, with several Virtues, without, however, completing the undertaking for which he had been remunerated.