DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73714#0007
RAPHAEL MENGS.,
or the style of his first labours. Among his paint-
ings, which from Modena have passed to Dres-
den, one only is with his signature, but without
date ; and here one distinguishes the style of his
masters, as I shall presently relate. Nor is there
any considerable work by which one can devise
by what way he abandoned the dry manner of
his masters, and acquired that great and noble
style which he always followed afterwards.
Since no one has recorded how Correggio made
his studies, or by what means he advanced so
much in his profession, it will be permitted me
to make some conjecture upon the same.
We know that Pellegrino Munari, on hearing
the fame which Raphael had acquired, proposed
to go and study under him; and, abandoning his
country, went to Rome. When Pellegrino took
this resolution, Correggio then studied at Modena,
and probably heard the same praises of Raphael
and of Michael Angelo. Shall we say then that
he was less studious, and less a lover os the art
and of glory, than Pellegrino ? He certainly can-
not say it who has observed the works of an
artist, who even from his beginning was superior
to his masters; and who imagined a mutation so
rapid as from his first to his second style, and
who, not content with being equal to many great
men, and superior to all in his country, abandoned
notwithstanding that style, and undertook, by
means of new studies and the mod profound me-
ditation, to change almost the art of painting. By
that I-incline to believe that Correggio went to
Rome, where he saw and studied the works of
B4
or the style of his first labours. Among his paint-
ings, which from Modena have passed to Dres-
den, one only is with his signature, but without
date ; and here one distinguishes the style of his
masters, as I shall presently relate. Nor is there
any considerable work by which one can devise
by what way he abandoned the dry manner of
his masters, and acquired that great and noble
style which he always followed afterwards.
Since no one has recorded how Correggio made
his studies, or by what means he advanced so
much in his profession, it will be permitted me
to make some conjecture upon the same.
We know that Pellegrino Munari, on hearing
the fame which Raphael had acquired, proposed
to go and study under him; and, abandoning his
country, went to Rome. When Pellegrino took
this resolution, Correggio then studied at Modena,
and probably heard the same praises of Raphael
and of Michael Angelo. Shall we say then that
he was less studious, and less a lover os the art
and of glory, than Pellegrino ? He certainly can-
not say it who has observed the works of an
artist, who even from his beginning was superior
to his masters; and who imagined a mutation so
rapid as from his first to his second style, and
who, not content with being equal to many great
men, and superior to all in his country, abandoned
notwithstanding that style, and undertook, by
means of new studies and the mod profound me-
ditation, to change almost the art of painting. By
that I-incline to believe that Correggio went to
Rome, where he saw and studied the works of
B4