nd both he and Garofolo were strikingly original
in their background landscapes. Garofolo (1481-1559) was a pupil of
Panetti and Costa, who made several visits to Rome and there fell in
love with Raphael's work, which showed in a fondness for the sweep and
flow of line, in the type of face adopted, and in the calmness of his
many easel pictures. He was not so dramatic a painter as Dosso, and in
addition he had certain mannerisms or earmarks, such as sootiness in
his flesh tints and brightness in his yellows and greens, with dulness
in his reds. He was always Ferrarese in his landscapes and in the main
characteristics of his technic. Mazzolino (1478?-1528?) was another of
the school, probably a pupil of Panetti. He was an elaborate painter,
fond of architectural backgrounds and glowing colors enlivened with
gold in the high lights. Bagnacavallo (1484-1542) was a pupil of
Francia at Bologna, but with much of Dosso and Ferrara about him. He,
in common with Imola, already mentioned, was indebted to the art of
Raphael.

CORREGGIO AT PARMA: In Correggio (1494?-1534) all the Boccaccio nature
of the Renaissance came to the surface. It was indicated in Andrea del
Sarto--this nature-worship--but Correggio was the consummation. He was
the Faun of the Renaissance, the painter with whom the beauty of the
human as distinguished from the religious and the classic showed at
its very strongest. Free animal spirits, laughing madonnas, raving
nymphs, excited children of the wood, and angels of the sky pass and
repass through his pictures in an atmosphere of pure sensuousness.
They appeal to us not religiously, not historically, not
intellectually, but sensuously and artistically through their rhythmic
lines, their palpitating flesh, their beauty of color, and in the
light and atmosphere that surround them. He was less of a religionist
than Andrea del Sarto. Religion in art was losing ground in his day,
and the liberality and worldliness of its teachers appeared clearly
enough in the decorations of the Convent of St. Paul at Parma, where
Correggio was allowed to paint mythological Dianas and Cupids in the
place of saints and madonnas. True enough, he painted the religious
subject very often, but with the same spirit of life and joyousness as
profane subjects.

[Illustration: FIG. 46--CORREGGIO. MARRIAGE OF ST. CATHERINE AND
CHRIST. LOUVRE.]

The classic subject seemed more appropriate to his spirit, and yet he
knew and probably cared l