DOI Page / Citation link:
https://doi.org/10.11588/diglit.73714#0064
64 the works or
having so much merit in the other more noble
parts, he should affectedly praise this trissing
ability.
After the consusion and disorder with which
Vasari writes the lise of Correggio, and after
having accused him as a melancholic and pusil-
lanimous painter, and an indisferent designer,
and ignorant of his own proper merit, &c. &c.
he finishes by giving him a thousand encomiums ;
saying, that amongst those of the prosession one
admires as divine every thing of his. , Vasari
asserts his not being able to find the portrait of
Correggio, and his annotator Bottari pretends to
give it to us diseovered in a print of Belluzzi,
but says'not from whence he copied it. Every
one who lees this portrait, which represents a bald
old man, and decrepit, sees at once that it can*
not be the portrait os a man who died at forty
years os age.
There was found at Genoa a few years ago, a
small picture on wood, eight inches long, the
portrait of a man, rather handsome and of
a fair complexion, having this inscription :
Doffo Doff dipinfe queforitratto di Antonio da
Correggio. Mengs got a design made from it,
but I know not what is become of it. I being
in Turin seven years ago, saw in the Cigna of the
Queen, a series of portraits, amongst which was
one os a middle-aged man with a beard, and
light coloured hair, on which was written:
Antonio Allegri da Correggio. Many have taxed
Vasari of partiality, and many others of envy, in.
his history of the lives os the painters, through
having so much merit in the other more noble
parts, he should affectedly praise this trissing
ability.
After the consusion and disorder with which
Vasari writes the lise of Correggio, and after
having accused him as a melancholic and pusil-
lanimous painter, and an indisferent designer,
and ignorant of his own proper merit, &c. &c.
he finishes by giving him a thousand encomiums ;
saying, that amongst those of the prosession one
admires as divine every thing of his. , Vasari
asserts his not being able to find the portrait of
Correggio, and his annotator Bottari pretends to
give it to us diseovered in a print of Belluzzi,
but says'not from whence he copied it. Every
one who lees this portrait, which represents a bald
old man, and decrepit, sees at once that it can*
not be the portrait os a man who died at forty
years os age.
There was found at Genoa a few years ago, a
small picture on wood, eight inches long, the
portrait of a man, rather handsome and of
a fair complexion, having this inscription :
Doffo Doff dipinfe queforitratto di Antonio da
Correggio. Mengs got a design made from it,
but I know not what is become of it. I being
in Turin seven years ago, saw in the Cigna of the
Queen, a series of portraits, amongst which was
one os a middle-aged man with a beard, and
light coloured hair, on which was written:
Antonio Allegri da Correggio. Many have taxed
Vasari of partiality, and many others of envy, in.
his history of the lives os the painters, through