RAPHAEL MENGS.§
which one does not see in any other painter.
His lacca was the most fine, and for that reason
we see it preserved even to our time; and his
green colours are so beautiful as not to be sur-
passed.
Lastly, it is of little importance whether Cor-
reggio was poor or rich. That which evidently
results from his works is, that his education ought
to have been very good ; and what P. Orlandi
relates is very likely to be true, which is, that
Correggio studied philosophy, mathematics, paint-
ing, architecture, sculpture, and every sort of eru-
dition ; and of course conversed with the moft
famous professors of his time. In fa&, in his
principal works one discovers a very learned and
poetical style of thinking; as for example, in his
painting of the Education of Love, where he re-
presents Venus with wings and with a bow, to
lignify that the Mother of Love, who moves the
heart cf men and gods, is of a celefiial origin ;
and the same graceful allegories are to be found
in all his other compositions, as we shall see in
the descriptions of his paintings.
At that time flourished in Modena, according
to the account of Vedriani, an academy of Paint-
ing and Sculpture, which had produced some
good artists; among which were Francisco Bi-
anchi, surnamed il Frari, and Pellegrino Munari,
known by the name of Pellegrino of Modena.
Correggio began to learn painting of the afore-
said Bianchi, and from thence paffcd to study
under Andrew Mantegna. It is probable also that
he studied architecture, as one sees by his works,
B3