example, an arm or a leg, look as if it was stretched forward,
out of the canvas, directly toward the person who is looking at it. Now,
the truth is that in order to produce this effect the object is often
thrown backward in the drawing; sometimes also it is doubled up in an
unnatural manner, and occupies a small space on the canvas, while it
appears to be of life size when one looks at it. A "Christ in Glory"
painted by Correggio in the cupola of the Church of San Giovanni
Evangelista, in Parma, is a fine piece of foreshortening. The head is so
thrown back, and the knees are so thrown forward, that the whole figure
seems to be of life size; yet if the space from the top of the head to the
soles of the feet were measured, it would be found to be much less than
the height of the same figure would be if it were drawn in an erect
position.

I have already explained the meaning of chiaro-scuro, and this delicate
manner of passing from light to shade was another quality in the works of
Correggio. It is even seen in his early works, as, for instance, in the
beautiful Madonna di San Francesco, now at Dresden, which he painted when
he was but eighteen years old.

When this master was twenty-six years old he married Girolama Nurlini, and
about the same time he was summoned to Mantua by the Duke Federigo
Gonzaga. During eleven years after his marriage he was occupied with works
in Mantua, and with his great frescoes at Parma. In 1530 he returned to
Correggio, and there passed the remainder of his life. That he held a high
position is proved by certain records of his life, among which is the fact
that in 1533 he was invited to be one of the witnesses of the marriage of
the Lord of Correggio.

It is said that when this painter saw one of the great works of Raphael,
he exclaimed, enthusiastically and thankfully, "I, too, am a painter!" and
no doubt he then felt himself moved to attempt such works as should make
his name known to all the world through future centuries. When Titian saw
Correggio's frescoes at Parma, he said: "Were I not Titian, I should wish
to be Correggio." Annibale Caracci, also a great artist, said of
Correggio, more than a hundred years after his death, "He was the only
painter!" and declared that the children he painted seemed to breathe and
smile with such grace that one was forced to smile and be happy with them.

In 1534 Correggio died of a fever, and was buried in his family tomb in
the Franciscan Conven