aolo, are covered by frescoes of Correggio and
his pupil Parmegiano. These frescoes have suffered so much from
neglect and time, and from unintelligent restoration, that it is
difficult in many cases to determine their true character. Yet Toschi
did not content himself with selections, or shrink from the task of
deciphering and engraving the whole. He formed a school of disciples,
among whom were Carlo Raimondi of Milan, Antonio Costa of Venice,
Edward Eichens of Berlin, Aloisio Juvara of Naples, Antonio Dalco,
Giuseppe Magnani, and Lodovico Bisola of Parma, and employed them as
assistants in his work. Death overtook him in 1854, before it was
finished, and now the water-colour drawings which are exhibited in the
Gallery of Parma prove to what extent the achievement fell short of
his design. Enough, however, was accomplished to place the chief
masterpieces of Correggio beyond the possibility of utter oblivion.

To the piety of his pupil Carlo Raimondi, the bearer of a name
illustrious in the annals of engraving, we owe a striking portrait of
Toschi. The master is represented on his seat upon the scaffold in the
dizzy half-light of the dome. The shadowy forms of saints and angels
are around him. He has raised his eyes from his cartoon to study one
of these. In his right hand is the opera-glass with which he
scrutinises the details of distant groups. The upturned face, with its
expression of contemplative intelligence, is like that of an
astronomer accustomed to commerce with things above the sphere of
common life, and ready to give account of all that he has gathered
from his observation of a world not ours. In truth the world created
by Correggio and interpreted by Toschi is very far removed from that
of actual existence. No painter has infused a more distinct
individuality into his work, realising by imaginative force and
powerful projection an order of beauty peculiar to himself, before
which it is impossible to remain quite indifferent. We must either
admire the manner of Correggio, or else shrink from it with the
distaste which sensual art is apt to stir in natures of a severe or
simple type.

What, then, is the Correggiosity of Correggio? In other words, what is
the characteristic which, proceeding from the personality of the
artist, is impressed on all his work? The answer to this question,
though by no means simple, may perhaps be won by a process of gradual
analysis. The first thing that strikes us in the art