We are at length arrived at one of those distinguished characters, whom, from his high reputation, and the influence he exercised over the style of painting in Italy, we can by no means dismiss with our accustomed brevity. His name, however, must still be confined within compendious limits, adding whatever new information and reflections we may think best adapted for the illustration of such a subject; the life of Coreggio being involved in so much obscurity, as to admit, beyond that of any other artist, of fresh discussion. The more curious may consult the notices of him by the Cavalier Mengs, contained in his second volume, a little work by Cavalier Ratti, upon the life and works of Allegri, published in Finale in 1781, and Tiraboschi in his Notices of the professors of Modena, besides Padre Affò, in his works already cited, the most accurate, perhaps, of any in point of chronology.
The whole of these writers, following the example of Scannelli and Orlandi, have complained of Vasari for having falsely asserted the abject condition of Antonio,[12] sprung, in fact, from a tolerably good family in an illustrious city, and not destitute of those conveniences of fortune that might enable him from the first to obtain an education adapted to the success of his future efforts. They have also in particular reproached him with his excessive credulity, in representing him to us as a suffering and unhappy object, burdened with a numerous family, little appreciated and badly rewarded for his labours. On the contrary they observe, we know that he was respected by the great, richly recompensed, and enabled to leave a fair heritage for his family. Now I admit that Vasari is guilty of much exaggeration, though not without some shew of truth; for we only need to compare the commissions and gains of Coreggio with those of Raffaello, of Michelangiolo, of Titian, and even of Vasari himself, to divest us of all surprise at the honest commiseration of the historian. Annibal Caracci did not only compassionate his condition, but is said to have bewailed it with his tears.[13] Besides, if we reflect that the terms made use of by Vasari, of Coreggio having become si misero, so wretched, that nothing could be worse, do not exactly signify miserabile, miserable, as interpreted by some of his critics, but rather mean, miserly, and sparing, renouncing certain conveniences of life, in order to spend as little as possible, it will alter the complexion of the case. In the same manner he states, or rather as some think, imagines that Antonio, though enabled to travel like others, by water, mounted horse during the summer solstice, and shortly after died. And, indeed, if we consider the singular deprivations to which very wealthy people, for the same reason, will submit, we do not see how a reference to the possessions of the Allegri family, not without some degree of exaggeration, as has more than once been done, can disprove this charge of meanness and extreme parsimony. We trust that the Signor Dottor Antonioli will inform us more distinctly respecting the amount of Antonio's property, though we are inclined to believe it could not have exceeded the limits of mediocrity. The highest salaries received by him have been ascertained. For the cupola and larger nave of the church of San Giovanni, he was paid four hundred and seventy-two gold ducats, or Venetian zecchins, and for the cupola of the cathedral, three hundred and fifty; doubtless considerable sums, though we should consider he was occupied from the year 1520 until 1530, in the designs and labours requisite for works of such magnitude, and which prevented him from accepting other offers of any account during the interval. He earned forty gold ducats by his celebrated picture of Night; his San Girolamo brought him forty-seven ducats, or zecchins, besides his subsistence during six months he was employed on it; and thus, in equal proportion, we may suppose him to have been recompensed for the time bestowed upon his lesser pieces. The two which he painted for the Duke of Mantua we may reckon at something more; but these were the only ones he produced at the request of sovereigns. Thus much being certain, it is hardly credible, that after deducting the expense of colours, of models, and of assistants, including the maintenance of his family, there should still have remained enough to leave that family in a state of affluence.
But although we admit the reality of his supposed indigence, it can form no reproach, no drawback upon the excellences of so great a man, crowning him rather with additional honour, in particular when we reflect, that with such limited means he was invariably lavish of his colours, to a degree beyond example. There is not a single specimen, whether executed on copper, on panels, or on canvass, always sufficiently choice, that does not display a profusion of materials, of ultramarine, the finest lake and green, with a strong body, and repeated retouches; yet for the most part laid on without ever removing his hand from the easel before the work was completed. In short he spared neither time nor expense, contrary to the custom of all other painters, with very few exceptions. Such liberality, calculated to do honour to a rich amateur, painting for amusement, is infinitely more commendable in an artist of such circumscribed resources. It displays, in my opinion, all the grandeur of character that was supposed to animate the breast of a Spartan. And this we would advance, no less in reply to Vasari, who cast undue reflections upon Coreggio's economy, than as an example for such young artists as may be desirous of nourishing sentiments worthy of the noble profession they embrace.
It is still current in Coreggio that Antonio commenced his first studies under his uncle Lorenzo. Subsequent to which, according to Vedriani, he entered into the school of Francesco Bianchi, called Il Frari, who died in 1510, a school established in Modena. There also it appears he acquired the art of modelling, at that time in great repute; and he thus prepared in clay, along with Begarelli, the group of that Pietà, in Santa Margherita, where the three most beautiful figures are attributed to Coreggio. In the same highly distinguished city it is most probable that he also laid the foundation of that learned and cultivated taste so conspicuous in his works; the geometrical skill exhibited in his perspective, the architectural rules of his buildings, and the poetry of his warm and lively conceptions. Thus his historians, judging from the specimens of his early style, assert that he must have sought it in the academy of Andrea Mantegna at Mantua; but the recently discovered fact of Andrea's having died in 1506, does away with such a supposition. It is, nevertheless, extremely probable that he acquired it by studying the works left by Andrea at Mantua, for which I can adduce various arguments. I have described pretty fully the character of Mantegna's picture of Victory, the most extraordinary of all he produced; imitations of this are to be met with in many of the works of Coreggio, but most evidently so in the picture of his St. George at Dresden. The manner in which Coreggio could have imbibed so exquisite a taste, was always considered surprising and unaccountable, prevailing every where, as we find it in his canvass, in his laying on his colours, in the last touches of his pictures; but let us for a moment suppose him a student of Andrea's models, surpassing all others in the same taste as we before observed, and the wonder will be accounted for. Let us moreover consider the grace and vivacity so predominant in the compositions of Coreggio; that rainbow as it were of colours, that accurate care in his foreshortenings, and of those upon ceilings; his abundance of laughing boys and cherubs, of flowers, fruits, and all delightful objects; and let us then ask ourselves whether his new style does not appear an exquisite completion of that of Mantegna, as the pictures of Raffaello and Titian display the progress and perfection of those of Perugino and Giovanni Bellini.
In regard to his education in the studio of Mantegna, the generally received opinion in Lombardy is, that Vedriani must have been mistaken in a name; and that in place of Andrea, he ought to have pronounced his son Francesco, the master with whom it is maintained Coreggio resided, either in quality of pupil or assistant. Mantegna's school, indeed, had risen into great reputation, having given striking proof of its excellence even in foreshortening from above; besides surpassing Melozio, as I elsewhere observed, so as only to leave another step before reaching the modern manner. This was reserved for the genius of Coreggio, in common with the master spirits of every other school, who flourished during the same period. In truth from his very first attempts, he appears to have aimed at a softer and fuller style than Mantegna's; and several, among whom is the Abate Bettinelli, have pointed out some such specimens in Mantua. Signor Volta, member of the Royal Academy there, assured me that Coreggio is named in the books of the Opera di S. Andrea, for which reason, several of the figures on the outside of the church, and in particular a Madonna, better preserved than the rest, a youthful essay, but from the hand of one freed from the stiffness of the quattrocentisti, have been attributed to him.[14] In Mantua likewise I saw a little picture in possession of the Abate Bettinelli, about to be engraved, representing a Holy Family, in which, if we except a degree of stiffness in the folds, the modern manner is complete. A few other of Coreggio's Madonnas, to be referred to this period, are to be seen in the ducal gallery at Modena, with other works mentioned in various places. Among these is a picture of our Lord, taking farewell of the Virgin mother, previous to his passion, a piece recognized as a genuine Coreggio by the Abate Carlo Bianconi at Milan.[15] Doubtless many of his other early productions were of an inferior description, and are dispersed abroad, either unknown, or disputed, Vasari having recorded of him that he completed many pictures and works.
Wherefore is it then that in the published catalogues we meet with so very scanty a list of his pictures, nearly all esteemed excellent? It is because whatever does not appear superlatively beautiful has been doubted, denied, and cast aside as unworthy of him, or attributed to some of his school. Mengs himself, who investigated the relics of this great artist, and was very cautious of admitting any disputed productions, declares that he had only seen one specimen of his early style, that of his S. Antony, in the gallery of Dresden. This, as well as a S. Francis and the Virgin, he painted in 1512, in Carpi, when he was eighteen years of age.[16] From the stiffness apparent in this last, and the contrasted softness of the others, he was led to conjecture that Coreggio must have suddenly altered his manner, and attempted to penetrate into the unknown cause of it. He suspected, therefore, that what de Piles, followed by Resta, and some other writers, first advanced in his Dissertations, against the authority of Vasari, must be correct,[17] namely, that Coreggio visited Rome, and having observed the ancient style, and that of Raffaello and Michelangiolo, along with Melozio's pictures in the sotto in su, or foreshortening, he returned into Lombardy with a different taste acquired during his stay in the capital.
Yet this able scholar proposes such a view of the case, with singular deference to the contrary opinion of others, and even presents his reader with arguments against that view, to the following effect:—"If he did not behold the antique," (and the same may be averred of the two distinguished moderns,) "such as it exists in Rome, he may still have seen it as it appears at Modena and Parma; and the mere sight of an object is enough to awaken in fine spirits the idea of what it ought to be." And my readers, indeed, will be at no loss to find examples to confirm such an opinion; Titian and Tintoretto, by the mere use of modelling, having far surpassed those who designed statues; and Baroccio happening to cast his eye upon a head of Coreggio, soon distinguished himself in the same style. And if we may farther adduce an example of the power of sovereign genius, from the sciences, let us look at Galileo watching the oscillations of a bell in a church at Pisa, from which he drew the doctrine of motion and the principles of the new philosophy. So likewise might this great pictorial genius conceive the idea of a new style, from a few faint attempts of art, and thus won the applauses of the world of art, bestowed upon him from the time of Vasari, as something due less to a mortal than to a god. Doubtless in the first instance he received no slight impulse from the finer works of Andrea, from the collection of ancient relics in Mantua and Parma, from the studio of the Mantegni, and that of Begarelli, equally rich in models and designs. To these we may add an acquaintance with artists, familiar with Rome, with Munari, with Giulio Romano himself; and finally the general influence of the age, every where dissatisfied with the meanness of the late style, and aiming at a more soft, full, and clear development[f] of the contours. All these united in facilitating the progressive step which Coreggio had to take, though his own genius was destined to achieve the task. This it was that first led him to study nature, with the eye of the ancient Greeks, and that of his great Italian predecessors. The leading geniuses of their age have often pursued the same career, unknown to each other, as Tully has expressed himself, "Et quâdam ingenii divinitate, in eadem vestigia incurrerunt." But we must here check ourselves, in regard to this portion of the subject, having to treat of it anew at the distance of not many pages. At present we have only to inquire whether Coreggio really adopted the modern style at once, as has been asserted, or by gradual study.
Upon this point it is much to be regretted, that the Cavalier Mengs did not obtain a sight of some paintings in fresco, executed by Coreggio, as it is said, in his early youth, during the period he was employed by the Marchesa Gambara; but which have now perished. For, doubtless, he would thus have been enabled to throw much light upon the subject; and at least I could have wished that he had met with two pictures produced by Antonio in his native place, though but recently discovered, as in these, perhaps, he might have detected that sort of middle style, which is seen to exist between his St. Antony and his St. George at Dresden. The first of these has been called in question by Tiraboschi, on the ground of there being no authentic document assigning it to Coreggio; though I think it ought to be admitted as his, until stronger arguments, or the authority of experienced professors of the art, compel us to deny it. This picture was formerly placed in the chapel of La Misericordia, and very old copies of it are still preserved in many private houses at Coreggio. It represents a beautiful landscape, together with four figures of saints, St. Peter, St. Margherita, the Magdalen, and another, most likely St. Raimond, yet unborn.[18] The figure of St. Peter bears some resemblance to one of Mantegna, in his Ascension of St. Andrew, just alluded to; while the wood and the ground are extremely like that master's composition. This fine piece was much damaged by the lights, or, as some suspect, by the varnish, purposely laid on, in order, by decreasing its value, to prevent its being carried away; but, on the contrary, it appears for this very reason to have been removed from the altar, and a copy substituted, in which the last of the above figures was exchanged for one of St. Ursula. The original afterwards came into the possession of Signor Antonio Armanno, one of the best connoisseurs at this time known, in respect to the value of engravings, as well as of other productions of our best artists, which he has likewise, in a singular degree, the art of restoring even when much defaced. So in this instance, by the most persevering care, during a whole year, he at length succeeded in removing this ugly veil, which concealed the beauty of the work, now renewed in all its pristine excellence, and attracting crowds of accomplished strangers to gaze upon its merits. It is generally allowed to exhibit a softer expression, in the modern style, than the St. Antony, of Dresden; though yet far distant from the perfection of the St. George and others, produced about the same time.
About this period, Allegri painted in the church of the Conventuals, at Coreggio, what is termed an ancona, a small altar-piece in wood, consisting of three pictures. It appears certain, that the two altar-pieces already mentioned, opened the way also to this fresh commission; for from the written agreement, he seems to have been in his twentieth year, and the price fixed upon was one hundred gold ducats, or one hundred zecchins, which proves the esteem in which his talents were held. He here represented St. Bartholomew and St. John, each occupying one side;[19] while in the middle department, he drew a Repose of the Holy Family flying into Egypt, to which last was added a figure of St. Francis. So greatly was Francesco I. Duke of Modena, delighted with this picture, that he sent the artist Boulanger with orders to copy it for him; and thus obtaining possession of the original, he dexterously contrived to substitute his own copy in its place, a deception which he afterwards repaired by presenting the convent with some fresh lands. It is believed that it was afterwards presented to the Medicean family, and by them was given in exchange, to the house of Este, for the Sacrifice of Abraham, from the hand of Andrea del Sarto. It is certain that it was to be seen in the royal gallery at Florence, from the end of the last century, and was there commended by Barri, in his Viaggio Pittoresco, as original. In progress of time, it began to be less esteemed, because less perfect, perhaps, than some of the masterpieces of Coreggio, and not long after, assuming another name, it began to be pointed out by some as a Baroccio, and by others as a Vanni. The same Signor Armanno, before mentioned, who was the first to recall[g] to mind the copy remaining at Coreggio, presented us, also, with this hidden treasure. Its originality, however, was disputed from the first, it being objected, in particular, that Allegri had depicted the subject upon board, whereas this Medicean painting was found to be upon canvass. But this doubt was removed on comparing the work with the copy of Boulanger, made upon canvass; for certainly if the genuine production were really painted upon board, the imitator could hardly have succeeded in palming upon the holy brethren one of his copies upon canvass. The probability of its genuineness is still greater when we reflect, that no gallery was ever in possession of a Repose similar to it, so as to have contested with the city of Florence the possession of the original; so frequent an occurrence, both now and in other times, with works of art repeated in different places. Besides, the hand of the master is, in itself, nearly enough to pronounce it genuine; we see the remains of a varnish peculiar to the author; a tone of colouring perfectly agreeing with his pictures at Parma; insomuch, that many very experienced judges of art, and among others Gavin Hamilton, whose opinion carries great weight, have united in giving it to Coreggio. At the same time, they admit, that it is a piece partaking of an union of his styles, during the progress of the second; and if we are careful in comparing it with his other representation of the Repose, at S. Sepolcro, in Parma, commonly entitled the Madonna della Scodella, we shall discover much the same difference as between Raffaello's paintings in Città di Castello and those at Rome. Such a distinction was noticed by some very respectable professors, even during the heat of the controversy, who agreed in declaring, that the Medicean picture in part resembled Coreggio in his best manner, and in part differed from it.
There are two other pictures of his, mentioned by the Cavalier Mengs, which may be referred to the same class. One of them is the "Noli me tangere," in the Casa Ercolani, but which subsequently passed into the Escurial; the other a picture of the Virgin in the act of adoring the Divine Infant, which adorns the royal gallery in Florence; both of which he declares are in a taste which he failed to discover in the most sublime and celebrated pictures of Coreggio. To these we may add the Marsyas of the Marchesi Litta, at Milan, with a few other works of Coreggio's, inserted in the catalogue of Tiraboschi, which is the most copious extant. From such evidence it must, in short, be admitted, that this artist was possessed of a sort of middle style, between that which he formed as a scholar and that which he completed as a master. And we have equal reason for believing what has been stated respecting Coreggio's having attempted a variety of styles, before he made choice of the one by which he so greatly distinguished himself, and thus laid the foundation for his pieces being attributed, as they have been, to different masters. In fact, his conceptions of the beautiful and the perfect were deduced in part from other artists, and in part created by himself; conceptions that could not be matured without much time and labour; on which account he was compelled, as it were, to imitate those natural philosophers who try an infinite number of different experiments to discover some single truth which they have in view.