spent in the service of Pope Paul III. (1534-1549), for whom his finest productions were executed. He died in 1578, at the age of eighty.

Besides the Italians, Innocenza da Imola, Timoteo della Vite of Bologna, and Andrea di Salerno of Naples, many painters came from beyond the Alps to place themselves under the tuition of Raphael; among these were Bernard von Orlay from Brussels; Michael Coxcis from Mechlin; and George Penz from Nuremberg. But the influence of Raphael's mind and style is not very apparent in any of these painters.

On the whole we may say that, while Michael Angelo and Raphael displayed in all they did the inspiration of genius, their scholars and imitators inundated all Italy with mediocrity:

"Art with hollow forms was fed,

But the soul of art lay dead.”

CORREGGIO AND GIORGIONE,

AND

THEIR SCHOLARS.

WHILE the great painters of the Florentine school, with Michael Angelo at their head, were carrying out the principle of form, and those of Rome-the followers and imitators of Raphael-were carrying out the principle of expression-and the first school deviating into exaggeration, and the latter degenerating into mannerism-there arose in the north of Italy two extraordinary and original men, who, guided by their own individual genius and temperament, took up different principles and worked them out to perfection: one revelling in the illusions of chiaro'scuro, so that to him all nature appeared clothed in a soft transparent veil of lights and shadows; the other delighting in the luxurious depth of tints, and beholding all nature steeped in the glow of an Italian sunset. They chose each their world, and "drew after them a third part of heaven.”

Of the two, Giorgione appears to have been the most original-the most of a creator and inventor. Correggio may possibly have owed his conception of melting, vanishing outlines and transparent shadows, and his peculiar feeling of grace, to Lionardo da Vinci, whose

pictures were scattered over the whole of the north of Italy. Giorgione found in his own fervid melancholy character the mystery of his colouring-warm, glowing, yet subdued-and the noble yet tender sentiment of his heads; characteristics which, transmitted to Titian, became in colouring more sunshiny and brilliant, without losing depth and harmony; and in expression more cheerful, still retaining intellect and dignity.

We will speak first of CORREGGIO, SO styled from his birthplace, a small town not far from Modena, now called Reggio. His real name was Antonio Allegri, and he was born towards the end of the year 1493. Raphael was at this time ten years old, Michael Angelo twenty, and Lionardo da Vinci in his fortieth year. The father of Antonio was Pellegrino Allegri, a tradesman possessed of moderate property in houses and land. He gave his son a careful education, and had him instructed in literature and rhetoric, as well as in the rudiments of art, which he imbibed at a very early age from an uncle, Lorenzo Allegri, a painter of little merit. Afterwards he studied for a short time under Andrea Mantegna; and although, when this painter died in 1506, Antonio was but thirteen, he had so far profited by his instructions and those of Francesco Mantegna, who continued his father's school, that he drew well and caught that taste and skill in foreshortening which distinguished his later works; it was an art which Mantegna may almost be said to have invented, and which was first taught in his academy; but the dry, hard, precise, meagre style of the Mantegna school, Correggio soon abandoned for a manner entirely his