by Correggio at Parma f in the enpolasof the Cathedral and
of the Church of -St. John, and in the Convent of St. Paul, together with three others, making the whole of those known to have been designed by Correggio and painted by. him and his scholars. To these have been added four frescoes by Parmi- giana that, like the works of the great master of the school of Parma, age in a state of irreparable decay. The entire set of drawings, forty- eight in number, are in progress of engraving in line by Paolo Toschi and artists under his direction; and are to be published in three portions. The first series of ten large prints will give the paintings on the cupola of the Cathedral complete; the second series of fourteen includes those of the cupola of St. John's Church, and three other frescoes; and the third series of twenty-four smaller prints consists of the paintings in the chamber of the Convent of St. Paul, and the four frescoes by Parmigiano.
Specimens of the drawings and engravings for this magnificent work have been exhibited this week by Messrs. Paul and Dominic Colnaghi and CO. in Pall Mall East, by whom the plates will be published in London. The Dutchess of Parma would only spare three of the drawings, but these alone are -well worth a visit; and some slighter sketches and unfinished proofs of the plates serve to convey an idea of the character of Correggio's designs and the excellence of the publication. The ability of Paolo Toschi to preserve the peculiar characteristics of Correggio's style is conspicuous in a very beautiful copy of the Notte in the room; the lively and delicate fidelity of which will be appreciated by all who have seen that exquisite picture. It is in the frescoes of Correggio that the genius and power of the mighty master shine forth in their full splendour and majesty. r. his easel pictures, intensity of expression does not always prevent the sweetness from cloying: they are divine miniatures painted in oil. But in the expanse of the dome his imagination has ample scope, and soars to the height of his celestial theme with a daring spirit and strength of wing that belong only to greatness itself His sublime conceptions are on the vastest scale that the painter's pencil has wrought upon; and his designs have the grandeur of form and compo- sition that distinguish Michael Angelo, with a seraphic benignity of ex- pression and a gracious air peculiar to Correggio. His figures are full of movement and vital character: the Apostles standing on the balustrade encircling the dome, looking up with wonder and adoration at the Assump- tion' of the Virgin, appear inspired with devout earnestness and reverential awe; while the Cherubim that float in the clouds of glory are radiant with meek-eyed innocence and delight. Having seen so lately at Mr. Herz's a few fragments of the cartoons for these frescoes, we were enabled to enlarge in fancy the scale of Tosehrs prints and drawings, and fill up from memory and imagination the vast outline of these designs; though the full effect of Correggio's sublime conceptions can only be realized Wider the dome at Parma.
The engravings shown afford satisfactory evidence that the plates will be executed with conscientious care and elaboration. The drawing is good, and the expression of the heads is particularly fine.
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