DOI Page / Citation link:
https://doi.org/10.11588/diglit.73712#0268
176
THE WORKS OF
PART THE THIRD.
CHAR I.
OF THE TASTE OF CORREGGIO.
CORREGGIO, like all the other Painters of
his time, began with little Taste, and was
servily attached to nature, but he freed himsels
from it sooner than all the rest. Some pretend
that he knew not the Antiques, but that is
contradicted by some of his figures of women,
composed to resemble the Venus of Medicis.
Besides that, Andrew Mantegna, his master,
was so great an admirer of antiquity, that his ri-
vals said, he did ill not to finish his paint-
ings of one soie grey colour, because thus they
would at least have appeared of the ancient bas-
relief. This is a fajfe criticism, because Man-
tegna had not either the Grace, Beauty, or Taste
of the ancients; but solely desired to imitate
them. Then is Correggio learnt to paint os Mon-
fegna, which is very probable, as his hrst paint-
THE WORKS OF
PART THE THIRD.
CHAR I.
OF THE TASTE OF CORREGGIO.
CORREGGIO, like all the other Painters of
his time, began with little Taste, and was
servily attached to nature, but he freed himsels
from it sooner than all the rest. Some pretend
that he knew not the Antiques, but that is
contradicted by some of his figures of women,
composed to resemble the Venus of Medicis.
Besides that, Andrew Mantegna, his master,
was so great an admirer of antiquity, that his ri-
vals said, he did ill not to finish his paint-
ings of one soie grey colour, because thus they
would at least have appeared of the ancient bas-
relief. This is a fajfe criticism, because Man-
tegna had not either the Grace, Beauty, or Taste
of the ancients; but solely desired to imitate
them. Then is Correggio learnt to paint os Mon-
fegna, which is very probable, as his hrst paint-