With Iacopo Robusti may be named, though adopted by another school, Belisario Corenzio, an Achæan Greek, his pupil, his imitator in the magic of chiaroscuro, and with still less compunction his rival in dispatch and rapidity of hand: the immense compositions in which he overflowed, he encompassed, and carried to irresistible central splendour by streams of shade, and hemmed his glories in with clouds, or showery, or pregnant with thunder. The monasteries and churches of Naples and its dependencies abound in his frescoes. The more adscititious effects of chiaroscuro produced by the opposition of dark to lucid, opaque to transparent bodies, and cold to warm tints, though fully understood by the whole Venetian school, were nearly carried to perfection by Paolo Cagliari. There is no variety of harmonious or powerful combination in the empire of colour, as a substitute of light and shade, which did not emanate from his eye, variegate his canvass, and invigorate his scenery. Many of his works, however, and principally the masses scattered over his Suppers, prove that he was master of that legitimate chiaroscuro which, independent of colour, animates composition: but the gaiety of his mind, which inspired him with subjects of magnificence and splendour, of numerous assemblies canopied by serene skies or roving lofty palaces, made him seek his effects oftener in opposed tints, than in powerful depths of light and shade. But all preceding, contemporary, and subsequent schools, with their united powers of chiaroscuro, were far excelled both in compass and magnitude of its application by the genius of Antonio Allegri, from the place of his nativity surnamed Correggio. To them light and shade was only necessary as the more or less employed, or obedient attendant on design, composition, and colour. But design, composition, and colour, were no more than the submissive vehicles, or enchanted ministers of its charms to Correggio. If, strictly speaking, he was not the inventor of its element, he fully spanned its measure, and expanded the powers of its harmony through Heaven and earth; in his eye and hand it became the organ of sublimity; the process of his cupolas made it no longer a question whether an art circumscribed by lines and figure could convey ideas of reality and immensity at once. Entranced by his spell, and lapped in his elysium, we are not aware of the wide difference between the conception of the medium, the place, space, and mode in which certain beings ought, or may be supposed to move, and that of those beings themselves; and forget, though fully adequate to the first, that Correggio was unequal to the second; that though he could build Heaven, he could not people it. If M. Agnolo found in the depth of his mind and in grandeur of line the means of rendering the immediate effect of will and power intuitive in the Creation of Adam, by darting life from the finger of Omnipotence, the coalition of light and darkness opened to the