of the antique, and the works of Raffaelle and Michael Angelo; on this point, the only historical evidence which has been adduced, is a tradition recorded by Father Resta, and said to have been derived through three generations, from the information of Correggio's wife. As an authority so light and doubtful could not be seriously advanced, his biographers and admirers have sought in his works for more valid traces of the models to which he recurred. Mengs contends that his paintings exhibit proofs of an acquaintance with the antique, and the works of Raffaelle and Michael Angelo. In the head of the Danaë, he traces a resemblance to that of Venus de Medici; and in the St. Jerome, and Mercury teaching Cupid to read, he recognises imitations of the Farnese Hercules and the Apollo Belvidere; he also discovers a resemblance to one of the children of Niobe, in the young man who endeavors to escape from the soldiers, in the picture representing Christ betrayed in the garden. The countenance of the Magdalen, in the St. Jerome, he considers as an imitation of Raffaelle; and in the cupola of the church of St. John, he perceives a similitude to the grand style of Michael Angelo, in the frescos of the Vatican. In corroboration of this opinion, he adduces the sudden change which is perceived in the style of Correggio at an earlier period, as a proof that he must have seen and studied compositions superior to his own. Ratti, the copyist of Mengs, coincides with him in opinion. Lanzi cautiously adopts the same

sentiment; and Tiraboschi, after comparing the testimony on both sides, leaves the question unsettled. We cannot decide with certainty, that Correggio never visited Rome, and yet there is no argument to prove that he ever saw that Capital. Pungileoni, with superior advantage of research, pronounces a contrary decision; and affirms, from the evidence of the continued series of unquestionable documents, in which his presence is mentioned at Parma, Correggio, and other parts of Lombardy, during a number of years, that even if he did visit Rome, his stay must have been limited to a very short period. Finally, this opinion is corroborated in the assertion of Ortensio Landi, who had resided some time at Correggio; and who, in his Sette Libri de Cataloghi, printed at Venice by Giolito, as early as 1552, says of Correggio, "He was a noble production of nature, rather than of any master: he died young, without being able to see Rome." Were all other evidence wanting, this testimony of a cotemporary, who must have collected his information on the spot, and who published it within eighteen years after the death of Correggio, must be allowed to carry great weight.

SINGULAR FATE OF CORREGGIO'S ADORATION OF

THE SHEPHERDS.

A few days before the entry of the French into Seville, during the Peninsular war, when the inhabitants in great consternation were packing up their

most valuable effects to send them to Cadiz, a mas terpiece of Correggio, in one of the convents, representing the Adoration of the Shepherds, painted on wood, was sawn in two, for its more easy carriage to a place of safety, to preserve it from the enemy. By some accident, the two parts were separated on their way to Cadiz; and on their arrival in that city, one part was sold to one connoisseur, with the promise that the part wanting should subsequently be delivered to him; while the other part was sold to another connoisseur under the same engagement. Both the parts arrived in England, and the possessor of each maintained that he was entitled to the other.

It is somewhat remarkable that though the harmony of the picture is somewhat broken by the separation, yet each part forms of itself an admirable picture, and as the rival proprietors are rich and obstinate, the parts are not likely to be united. The whole picture is reckoned to be worth about 4,000 guineas.

CURIOUS HISTORY OF CORREGGIO'S "EDUCATION OF CUPID."

Correggio's picture of Mercury teaching Cupid to read, in the presence of Venus, called the Education of Cupid, is one of the most celebrated works of art extant. It now adorns the English National Gallery, and its history is exceedingly interesting. It was painted for Federigo Gonzaga,

Duke of Mantua, the predecessor of him who a hun. dred years later patronized Rubens. When Charles I. of England, in 1530, purchased the Mantuan collection for £20,000, this picture and three others by Correggio were included in the bargain. On the sale of the king's effects by order of parliament, it was purchased by the Duke of Alva, and from his family passed into the hands of the famous Godoy, Prince of Peace. When his collection was sold at Madrid during the French invasion, it was bought by Murat, who took it to Naples, where it adorned the royal palace. On his fall from power, it was among the precious effects with which his wife, Caroline Buonaparte, escaped to Rome, and thence to Vienna, where her collection of pictures was bought by the Marquis of Londonderry, the Eng. lish ambassador, who instantly dispatched the two Correggios-the Education of Cupid and the Ecce Homo-to. London. They were purchased of his Lordship by Parliament in 1834, for 10,000 guineas, and now adorn the English National Gallery. Sir Thomas Lawrence was allowed a furtive glance at these pictures, at Rome, in the hope that he would procure a purchaser for them. He says in a letter, "I had them brought down to me, and placed them in all lights, and I know them to be most rare and precious." By his recommendation, Mr. Angerstein offered £6,500 for the two, which was declined. At the time when the Marquis of Londonderry closed with General M'Donald, who was chamber

lain to Madame Murat, then known as Countess Lipona (this was during the Congress of Sovereigns at Verona in 1822), the Emperor of Russia was negociating for them, and supposing that he had a right to them, messengers were despatched after Londonderry's couriers, but fortunately they were not overtaken, though pursued to the Hague.

MAGDALEN BY CORREGGIO.

In 1837, Mr. Atherstone bought at an auction mart in London, a genuine picture of a Magdalen by Correggio, for a small sum. He found it among a parcel of rubbish sent to be sold by a gentleman, who had bought the picture in Italy for ten pounds, without knowing anything of its value. It was in perfect preservation, executed in the greatest style of Correggio, surpassing in beauty of coloring and depth of tone the famous specimens in the National Gallery!

The writer can tell an amusing story of a picture that was not by Correggio. It was a small picture of a Holy Family, on copper. It was bought in Naples, for a very large sum, by a gentleman who resides not many miles from New York, who smuggled it out of the country. On his arrival home, wishing to improve the brilliancy of the coloring, which appeared much obscured by the smoke and dust of many years, he sent it to a skillful artist to be cleaned, who, on removing the plentiful coats of varnish, soon discovered that it was nothing but a transfer. The art