New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-03-01

-. a.. hoe, no WAS vim owing the wind In tax
tn, RI much trouble TO confirm his theory When
oil h.o been conceded for the sake of argument
where does Correggio stand? Precisely where
be has been left by the comparison made ABOVE
only that whereas 1t might be granted tha' lie
stands side by side with Mozart. ne caihiy lu'"'
tis back on Mantegra and his architcc'urai
genius Dr. Ricci did not need to compare tne
two eIaborateIy In order to find this out lie
could have made the discovery BY going strdish'
70 the central spring Of Correggo's art. he
would have seen then that the painter Deins'
as has been said. incapable OF travelling De-
vond a certain sphere Of graceful. Joyous beauty
swervei Enthusiastically from the austere ana
even melancholic lines upon which Mahteeha
worked out his artistic destiny. Recognize this'
and the question OF Mantesnesque influence III
Correggios history becomes very small matter
indeed II attention has been paid TO IT here
It has been because II Is a source of confusion
In Dr. Riccis book ana vltiates the latter 70
some extent.
Once he mas ceased 10 exercise his fancy
over this tonic Dr. Ricci comes close to the
sn,rit 81 Correrato, and justhes the terms In
which his faculties as interpreter and critic
have been praised Being Italian, with all
the ouickncss Of his race In the appreciation OF
delicately sensuous phenomena he arrives In the
long run at a Just conception Of Corregglo ana
leaves the reader at that point OF view from
which the painter Ia best regarded He sees,
then the strictly lyric character Of Corregg'os
genius the mastery Of improvisation by which
the latter distinguished, and he does not
hesitate TO charge the great fresco OF the Duomo
M Parma with constructive effects. Indeed. the
cases In which Correggio revealed such defcien-
cics not few In number But TO accept that
,in to
pre-emnence. his great claim to the de-
tachmcnt which belongs to him In the history
Of art He may not have been a master OF
structural design. but re was unqucstionaby
master Of poetic rapture In pictorial and decora-
tive art, the absolute ruler Of domain wherein
The felicity Of things Dis alone pursued. wherein
the first and last obligation Of the painter Is
70 cnthrone beauty and the charm OF his indi-
v.duality together.
Corregglo Is enchanting because his style has
an Irresistible attraction an originality unsur-
passed in Italian art His power is further
csta blished by his devotion TO a dainty, fugi-
tive almost aerial conception Of form He had
no great spiritual depth He could be grandiose
in the two huge domes Of Parma, and he could
be tender in his religious pictures. But his
said. Is not one OF inner exaltaton 1t Is rather
a level upon which the sumptuouS bravery on
material things Is brought elegantly to the
fore. a certain polish and fastidious sophistca-
ton justifying the latter epithet. His tender
ness. for all its sublety Is never percing' never
the tenderness Of pathos Correggio at MS
tendercst was little too saccharln. 10 pt'c-
trate to the heart Of his public Why. then.
does his public love him? Dr Ricci gives the
reasons and his boo promises 10 make Cor
regglos public love him more. This painter
llved an unrventfu He he devoted hnseit
70 his art h. was reserved Of temperament
and died a the age OF forty. without ha''lB
made n resounding career for himself. But ne
was always gentle and winning In his art, al
WAYS bent upon giving pleasure: his thoughts
,,ok an ldealistic flight. and, though they d!d
no, reach tho highest peaks. they ros" W"H
above mere earthln"ss. Iie mGde MS PAINTINGS
beautiful and lovablo. n. sun'ised them WIN
sunny light ne was vivacious gay. posSessci
81 a shirnmsring. howcrlike. lyric vein Which
Leaves him to-day the freshest painter IN itay;
MS vogue seems never 10 fade. TINS book Oh
Dr Nlccis is as welcome IA though no ono
h,d over before written on the subject II ~,
t,.o1 tho NOR. welcome bccaus" II comes
aricr a long iinc OF critical and biograp ,h
s,utles Of ,orr-gglo. II SITS them All NOR
,,,rhi, TIL. impression ~ leaves Is ~
work ARMY founded on familiar material ana
enriched by abundant criticism ana h""m..rss
own studies.